May 292010
 

In re the last post. Here is a site with a photo of Madame Jodjana and some text, English and, what?, Dutch?

I think there’s more material on the web if you track Raden Mas Jodjana who, I think, was her husband. Actually, I am just tracking this myself. Not sure who Raden Mas Jodjana is. But Madame Jodjana was actually Dutch.

More added May 31 in response to Natasha’s comment:

You know I am trying to piece this together. I think I recognize the guy sitting in the chair next to her in the photo. He was living in Paris with her, taking care of her, I think. She introduced him (I think) as the youngest son, an adopted son, she and her husband, she said, had adopted something like 50 children. I could be wrong. It’s been a while. (In fact, I probably am wrong. Memory doesn’t serve well at this distance.)

She told me she had been part of the Dutch colonial crowd living in Indonesia and had to leave when the Dutch pulled out. But she’d met this guy, a member of the Javanese royal family, and they got married and came to Europe. And she was living in Paris because the Dutch were peculiar about immigration. All this is from a vague memory of a conversation. She and her husband had made their living dancing and teaching. But he was much older. There were black and white pictures of them and their children and famous people all over the cluttered room in her house. She was a semi-invalid and never got out of her chair.

It’s funny how the blog brings all this up and then allows me to fill in blanks I didn’t even know were there.

Apparently, her husband was influenced by a Sufi teacher. Whatever it was she was teaching, it made an impression on me–oh, how impressionable I was in those days! Certain exercises I still teach to my boys.

May 292010
 

Suddenly everything makes sense. Read this BBC piece on art and schizophrenia.

On an autobiographical note: In Paris, Christmas 1969, I saw Salvador Dali emerge from a limo with a lovely young woman in a leopard skin coat (leopard or ocelot–some patchy feral cat). Ask me what I was doing in Paris. Getting into trouble mostly. Also taking acting and movement lessons from an aged Javanese temple dancer named Madame Jodjana.

Ah, more information than you need.

dg

May 272010
 

In the dark days after the humiliating defeat of our villanelle, Paris and I have done some serious soul-searching.  The defeat weighs heavy on her (as it does on the author.)  She remains convinced that the Numero Cinq readership failed to identify the alternating motifs of pathos and love within the poem’s intricate structure.  But alas, as Paris tells me frequently, “Get over yourself.”  (Have truer words ever been spoken?)  We will be back, she vows.

So sex then.  An odd thing happened to me this semester:  almost all of my stories became highly sexualized.  I can’t blame my advisor for this, short of saying that he pressed me to build strong desire/resistance patterns in story structure.  He admonished me to make something happen in my stories, but didn’t say how.  As I reflected back on the stories I wrote this semester, I was surprised to see how I dealt with his guidance: I put a lot of sex in my stories.  This lead me to ponder, why?  I think the answer lies in a deeper, more complex relationship between the mind and the body, a relationship steeped in my culture and history as much as anything personal.

The Canadian poet, Steven Heighton, says that “violence is the sexuality of America.”  In his essay, “Body Found in Reservoir,” he explores how portrayals of violence in North American culture reflect a punishment of the body for its sexuality.  Another Canadian, songwriter Bruce Cockburn, put it this way in his song “Last Night of the World,”: “I learned as a child not to trust in my body//I’ve carried that burden through my life//But there’s a day when we all have to be pried loose.”  I didn’t consciously seek to ‘pry loose’ this mind-body contradiction in my stories this semester.  It arrived because I wanted to add a component of strong desire to my writing, but at what point does a torrid sex scene become, as my wife recently commented on one of my stories, gratuitous?   Heighton says this:

Violence is the sexuality of white North America because violence is all we have left.  The passions demand a physical outlet but in our bones we feel it’s somehow wrong to love the body.  So sex—no matter how aggressively marketed or universally portrayed, no matter how frankly and coolly discussed on talk shows or in the narcotic literature of self-help—remains fraught with an obscure gloom and guilt.”

Hollywood certainly offers up raw sexuality at every turn.  To return to my muse: Paris Hilton embodies this contradiction.   Her sexuality certainly calls attention to her body, but the mind seems a tad empty.  (Sorry P.)  Our culture in general offers the body willingly, with its ubiquitous promises of a perfect, unobtainable model (botox, liposuction, laser hair removal, Hair Club for Men, etc.)  Yet all these ‘cures’ seem to take us further away from the real body and into some hyped-up fantasy of perfection, which constantly implies that such perfection lies tantalizing close but always a hair-breadth out of reach.  Steven Heighton puts it more eloquently:

For the first few hundred years, it (the hiding of the body) worked.  Nowadays, if North Americans are still fundamentally puritanical, they show as much skin as anyone else—though in this seeming casualness there’s a strain of the frantic exhibitionism I mentioned before in regard to porn.  No group of people at peace with their bodies could muster such sad, huddled masses of anorexics and bulimics and the world’s highest per capita rate of abuse of steroids, sleeping pills, sedatives, and laxatives.

So back to my sexual drift this semester:  Did my use of sexuality in creating characters or situations reflect a healing of the mind-body?  Can I continue to write about sex without turning it into soft-porn?  The following sexual motifs appeared in my last four stories:  men masturbating each other in a foxhole, a threesome, oral sex in a parking lot, and S&M scenes between a husband and wife.  None of these stories was explicitly about sex, but these recurring situations gave me some pause.  Clearly a good sex scene ratchets ups the tension in a story, but writing about sex is certainly not daring anymore.  So what am I trying to accomplish with this?  A part of an answer might lie in Nancy Willard’s essay, “What We Write When We Write About Love.”  (Found in The Best Writing on Writing anthology edited by Jack Heffron.)  Willard describes a childhood scene where she is supposed to be watching a group of fraternity brothers serenading her sister as part of a courting ritual.  Instead of watching, she turns her binoculars onto a couple in the back seat of a car, doing what couples do in the backseat of cars.

Writing a love story is a little like finding yourself with a pair of binoculars in your hand, caught between passion and scruples, ceremony and sex.  If you err too far in either direction, you can end up on the side of pornography or romance.  The difference between a love story and a romance is one of intent.  When you write a romance, you carefully follow where many have trod, so that your readers can recognize the genre through its conventions.  But in a love story, you try to show love as if your characters had just invented it.  Follow your characters, and they will give you the story, but you can’t tell ahead of time where they’ll lead you.

What I draw from this is that sexuality becomes a matter of intent, not content.  It becomes a matter of healing, not manipulation.  It arcs toward love, toward the fusion of the mind-body gap.  It should celebrate, not denigrate.   Heighton says, “wherever the flesh is hated, or endangered, love is threatened as well.”

—Richard Farrell

May 272010
 

Ferocious, blood-thirsty, fearless, foolhardy--the walking definition

Dg’s cat Hobbes has slaughtered three chipmunks in the past two days. The last appeared at the back door this morning at about 8:30 a.m. Hobbes was still batting at the body, trying to get it to play. Then at about 9 a.m., dg was roused from a blissful nap (er, writing session, er, oh, right, I was doing packets) by Jacob’s shouts from the kitchen. Hobbes and a fox were crouched and staring at each other in the tall grass (lawn mower malfunction). The fox took off, and Hobbes shot into the house, looking twice his normal size, breathing hard. This has nothing to do with writing, I am aware of that, but dg thought you should all know what a War Zone he lives in with bodies piling up and blood everywhere.

dg

May 262010
 

Herewith the opening lines of new story  just published in Ninth Letter (Vol 7, No 1; Spring/Summer 2010).

I went to see my friend Nedlinger after his wife killed herself in that awful and unseemly way, making a public spectacle of herself and their life together, which, no doubt, Nedlinger hated because of his compulsive need for privacy and concealment, a need which seemed to grow more compelling as his fame spread, as success followed success, as the money poured in, so that in latter years when he could no longer control or put a stop to his public notoriety, when it seemed, yes, as if his celebrity would completely eclipse his private life entirely, he himself turned reclusive and misanthropic, sought to erase himself, as it were, and return to the simple life of a nonentity.

You will recall that Nedlinger began his career as a so-called forensic archaeologist specializing in the analysis of prehistoric Iroquoian ossuaries in southwestern Ontario and it was then, just after finishing his doctorate, before lightning struck, that he met Melusina, at that time a mousy undergraduate studying library science, given to tucking her unruly hair behind her ears and wearing hip-length cardigan sweaters with pockets into which she stuffed used and unused tissues, note cards, pens, odd gloves, sticks of lip balm, hand lotion and her own veiny fists, her chin depressed over her tiny, androgynous breasts–in those days she wore thick flesh coloured stockings and orthopedic shoes to correct a birth defect, syndactyly, I believe it is called. Only Nedlinger, with his forensic mind, could pierce the unpromising surface, the advertising, as it were, to the intelligent, passionate, sensual, fully alive being that hid in the shadows…

–Douglas Glover

Buy the magazine–read the rest.

May 252010
 

Okay, this was an evil contest for the judge who has been tortured trying to decide among the Final Five (not to mention the other estimable entries). Never mind that after the aphorism contest the judge had to hide out in Sea Hills, NJ, for five weeks to avoid violence and public opprobrium. This time the pain was in the judging (and, believe me, the judge tried to hand off the honours but was flatly turned down several times). This time the general quality of the entries was so high, surprisingly high–it seems the NC crowd is upping its game, rising to the occasion. (I hope I haven’t turned you all into poets!) The Final Five are all just fascinating poems. And Gary Garvin may hedge about his “Spam Villanelle,” but you have to grant him the wit of the initial conception and the follow-through. The poems Gwen Mullins and Anne de Marcken entered are definitely the most “felt” poems, delicately threading emotion, language and thought. Of these two, the judge possibly admires the Anne de Marcken poem the most but he likes the Gwen Mullins poem on personal grounds–he has sons growing up. But then the judge appreciates the brash humour, the pure joy of Julie Larios’s ratty-ness poem. He wanted that one to win, especially because his dog makes a brief appearance (apparently a part of Julie’s inner menagerie, go figure). And finally he decided that Julie’s “At Play” should win because he admired it spareness and clarity of line and thought and its lovely description of the act of thought or writing. And so he thought he was done. But then he read them all again–torn, torn as he was upon the rack of ART!–

Continue reading »

May 242010
 

burroughs1William S. Burroughs & James Grauerholz in Lawrence, Kansas

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When I was in grade school, William S. Burroughs visited my house. At least I think so. Strange old men with secrets were fairly commonplace in Lawrence, Kansas.  Old Man Puckett, our octogenarian next door neighbor on Delaware Street, lived alone in squalor for all the time we knew him, until he was robbed and murdered in his home. The men who killed him found little of value, but it was obvious they were looking for something. After the crime, police searched his house extensively, and after removing the floorboards they found just shy of $100,000 hidden. Old Man Puckett came to our door once trying to get us to sign some sort of petition. When he tried to come in the door without my parents’ permission, my bulldog just about ripped his arm off. My mother brought him in and wrapped his arm in gauze, but he refused to go to the hospital.

Old Man Burroughs was better prepared when he came knocking. When mother opened the door and my bulldog growled, he simply waved his cane at her and she slunk back away from him. He spoke slowly and lucidly to my mother, accusing me of trespassing on his property and chasing his cats. This was probably true – I chased every cat I saw, and so did my bulldog. My father glowered in the corner, but didn’t open his mouth.

Old Man Burroughs didn’t say a word directly to me until he’d laid out his case to my parents. He then looked directly into me. “You should know,” he said, “that I’m quite proficient with a handgun.”

Burroughs and I came into Lawrence from opposite ends. He was at the end of a life lived fuller than most, and I was just beginning mine. Both of us were bewildered. He arrived in 1981, when I was eight years old. He seems to have spent most of the eighties fluctuating between the peace of an old warrior retiring to his cottage and deep depression.  His friends had left him and the anti-establishment movement he’d helped found had been co-opted by the establishment. He grudgingly accepted his induction into the American Academy and Institute of Arts and Letters in 1983, and went home broke.  He tried to get Ginsberg, Gysin, Giorno, and the rest of them to come visit him, but they mostly scoffed, referring to his new home in Kansas as Nowheresville.

For the life lived outside the communal graces of religion, family, and conventional sexuality, he was now paying in loneliness. His closest friends were the brood of cats he gathered around his house on Learnard Street. By 1987 he’d finished The Western Lands, the final volume of his Red Night trilogy, in which he supposedly gathered the loose ends of his previous work into a cohesive mythology. I haven’t read the trilogy. I have, however, read The Cat Inside, a brief and surprisingly tender volume he published in 1986 about his beloved brood. In one passage he recounts a series of dreams he has about Ruski and Fletch, his first cats, in which their heads are on the bodies of children. He doesn’t know how to take care of children but he vows to protect them, saying, “It is the function of the guardian to protect hybrids and mutants in the vulnerable stage of infancy.” I’m now very sorry if I tormented his cats.

When I left home at 17, I discovered William S. Burroughs – the writer, not the old man. It wasn’t until I heard a recording of him reading that I made the connection between the two. I read Naked Lunch three times, desperately trying to make heads or tails of it. Like most other male college English majors, I became obsessed with the Beats. But mostly, I loved, still love, the voice of William Burroughs. It was at once weathered and sarcastic, two attributes I assumed of myself way too early. But that’s what it was – William S. Burroughs was who I wanted to be, the literary tradition I wanted to come from, and I’ll even say it – the father I wished I had. His death in August of 1997, just a couple short months after Ginsburg’s, officially ended the Beat Generation, though it had long been usurped and bowdlerized by its own legend. I eventually wrote my graduate thesis on the influence of Naked Lunch on film and popular culture, but I wanted much more than that to write about the influence of William S. Burroughs on me.

Burroughs had a son of his own, Billy Burroughs. I’m continually surprised at how few people know this – or even believe it – when I mention it. But it’s easy to understand why, really.  Not even taking into account his homosexuality, Burroughs just doesn’t seem like father material. He had, after all, shot the boy’s mother. And he in fact wasn’t much of a father to Billy, mostly allowing his own parents to raise him. Billy went to stay with his father in Tangiers where,  according to an article Billy wrote for Esquire, Burroughs allowed at least one of his friends to molest his son. Billy wrote that article shortly before he died at age 33, saying that his father had poisoned his life. He did, though, read and reread his father’s books – I imagine this was a way to feel close to his shadow-father – and cherished every scrap of affection his father threw him, like the Rimbaud copy mailed to him when he reached puberty, the glass-cased Amazonian butterflies , and the shrunken heads mailed from Africa. Billy also wrote two novels. While his father was recovering from his heroin addiction, Billy became an alcoholic of the most extreme sort, vomiting blood while having dinner with Ginsberg, needing an experimental liver transplant, and eventually dying alone in a ditch in Florida. William Burroughs was in New York when Ginsberg called and told him. That was 1981, the year Burroughs moved to Lawrence. Burroughs fell back into methadone and/or  heroin use around that time, and was addicted for the rest of his life.

My Grandpa Light, my mother’s father, died in 1997, a few months before Burroughs. I loved him, but I didn’t cry at his funeral the way I cried in my apartment  that August. My Grandpa Proctor, my adoptive father’s father, died just last October.  He’d had lung cancer for about a year. I hadn’t gone back to see him because he wanted me to reconcile with his son, whom I’d chosen not to see since my mother divorced him. When I said I couldn’t Grandpa Proctor disowned me, via email. But I went back to Kansas when he was pissing blood and treatments were stopped. I didn’t know if he’d let me in when I showed up on his doorstep. But he did. He was old, and broken, and wanted to talk. So we talked – about his job as the first union projector operator at the theater downtown, and how all his sons got smallpox the same summer when they lived on 19th Street and they had to quarantine the house and have the rest of the family stay out at the shack on Lone Star Lake. I remembered that shack – we used to spend our summers there when I was in early grade school. It was only about half the size of the loft apartment my wife and I were sharing when my grandpa got cancer, but somehow my grandparents fit all three of their sons, parents, siblings, and their families into it. I asked him what happened to that old place.

lone-star-lake-crewAt Lone Star Lake – my grandpa (far left), adoptive father (middle), and uncles (photo courtesy of my Aunt Carol)

“Oh, we sold that place sometime round ‘85, to some old artist type, name of Burroughs. You probably heard of him.” He then told me how this artist type didn’t even do much out there after he bought it, just rowed out to the middle of the lake and sat all day. “And get this,” Grandpa told me, “I sold it to him for under $30,000. Now just two years ago the owners sold it for $160,000 to some guy in England, just because that old Burroughs lived there.” I didn’t believe him when he told me, but I googled it and found the eBay listing. I even found a journal entry from Burroughs himself about our shack:

I got me this cabin out on the lake. Got it cheap since I was able to put up cash, which the owners needed to put down on another house they is buying out in the country. Could easy sell it now, but what for? A few thousand profit? Nowadays what can you do with that kinda money? My neighbor tells me right in front of my dock (I’ve got access, and that is the thing matters here on the lake… a dock, see!), well, my neighbor tells me that right in front of my dock is the best catfish fishing in the lake, but I don’t want to catch a catfish…I could cope with a bass, or better, some bluegills — half pound, as tasty fish as a man can eat — fresh from the lake, and I got me an aluminum flat bottom boat, ten foot long, $270…a real bargain. I likes to row out in the middle of the lake and just let the boat drift…

So there it is. Burroughs spent the last years of his life in the middle of the lake of my youth. I won’t even venture a guess as to what he thought about out there, but I do know that less than a month before he died in 1997 he wrote in his journal:

Mother, Dad, Mort, Billy – I failed them all –

And I don’t know what conclusions to draw from that, what lesson there is to be learned, what connections there are to make. I’m now 36 years old, three years older than Billy Burroughs was when the weight of his father’s legacy ravaged his liver and landed him in a ditch in Florida, but less than half as old as William Burroughs was when he exited the world addicted, without a family, and adrift alone in the middle of a lake so muddy my wife refuses to set foot in it. I have a daughter now, who will be a year old in just a couple of weeks. Somehow I’m glad she’s not a son.

burroughs-rowingBurroughs, rowing in Lone Star Lake

— John Proctor

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May 232010
 

As usual, across the continent vast crowds line up to vote in the villanelle contest!

Voting has officially closed in the in the 2010 Numéro Cinq Villanelle Contest. The people have deliberated and formed an opinion. Let it be recalled that in ancient times the great Greek tragedies were written in just such an atmosphere of competition and public debate, the agon of  literary competition. These Numéro Cinq contests are in a direct line with the classical contests that forced artists to make their greatest efforts. Beauty and competition have always gone hand in hand.

Click here to see the winning poems!

May 212010
 

Here’s a poem by John B. Lee, a poet who lives in Brantford, ON, just along the highway from the farm where I grew up and which my family still owns. For a while, John even taught at the high school I once attended. One nice coincidence: The first time I co-judged (with the novelist Lisa Moore) the Winston Collins/Descant Best Canadian Poem contest, we picked John Lee. The judging was blind, so the convergence of fates was particularly appealing. “Burning Land” is written, yes, in Canadian. “Stoneboat” is a word I grew up with: a flat plank sled on low iron-shod wooden runners, drawn by horses, used to haul stones out of the fields. (See also “tobacco boat”–a tall narrow sled on steel runners, drawn by a single horse between tobacco rows during harvest.)  James Reaney was a massively influential and inspirational southwestern Ontario (Sowesto, as we call it) poet and mythographer. Raymond Knister was an early modern short story writer and novelist who died young in a drowning accident. His was the first Canadian novel I ever read that was about my home territory–he even talks about tobacco growing (we raised tobacco from the 1920s on). Raymond Knister’s daughter still lives in Waterford, my home town. I ran into her in the drugstore last fall.

dg

———

Burning Land

“talk farmer …”
my mother chastens me
in conversation, for
though I have been to school
I’m still her wayward son
and what shall I say
shall I say
clevis and gambrel
sheaf and stook
shall I limit my earth
to the matter of mud
the matter of water and loam
or lambing in April
or driving a spile in the bloat of a cow
or the bark of maple in spring
what shall I tell her
concerning the Georgics of Virgil
the shearing of ewes, the keeping of bees
of Piers and his plough
of Jefferson’s science
of the three sisters of the Iroquois
or of Clare who wept at the closures
of the Idylls and eclogues of Spenser
of old or the pastoral beauty
of Eden and Eve
of her murdering son
and the land where he roamed

how David the King was a poet
with his lyre and his psalms, how he sang among sheep
how Wendell Berry walks on Sunday
with his pencil to the page
how Frost came appling out of orchards
blunt and rubbling at his dry stone wall
how Reaney
lost his Milton in a furrow
how his father
pierced a gasy rumen with a fountain pen
how Knister came to wintering after horses
writing “the horses will steam when the sun comes”
and how I listen for such lines
how I learned my Greek on shoulders
my mind much like a stoneboat with a single earth-heaved stone
how I came to Latin
in a cowflap, Latin fallen from the paper cows of Rome
how I told myself such stories
with a clay clod in my hand
I might have been Prometheus
with my breath of ancient words
while the ashes of my forehead
burned like burning land.

—John B. Lee

May 202010
 

The judge and his dog

After an orgy of gin & tonics, a sleepless night, and a long, heartfelt discussion with a blue dog, the judge (anonymous) has rendered a decision. (Remember him in your prayers.) Below, please find the poetic finalists for this year’s contest.

“Spam Villanelle” made the final cut for its outrageous inventiveness. Julie placed two poems in the top five which will no doubt embarrass her, but what can one say? Gwen Mullins, obviously. And Anne de Marcken for the lovely juxtaposition of the inner and outer sea.

There are some wonderful poems in the entry list, all worth reading, especially dg’s  (alas, he can never win) and Jacob’s sheepfold poem written after reading Tristan Tzara and Natasha’s cell phone poem and Anna Maria’s snake poem and Julie Marden’s students’ heart-breaking poem. And more. It’s amazing to see the NC crowd pitch in and enjoy writing for writing’s sake, to try unaccustomed forms and genres. In pretty much every villanelle, there was a moment of inspiration, a line with zing, a bit of quirky humour or a thought well-turned. I love watching these contests unfold, watching the minds at play. It’s also lovely to see Sage & Sarah join the fray and the general atmosphere of welcome and support. Five months and it already seems like a special place.

Continue reading »

May 192010
 

Sorry to obsess. But look at 1 Samuel 5 & 6, a passage that has the feel of parody. The Israelites have just gone into battle against the Philistines taking their Ark of the Covenant with them as backup. But the people have been backsliding again and the battle is lost and the Ark goes over to the other side. The Philistines of Ashdod put the Ark in the temple of Dagon, one of their gods, a statue of some sort. The next morning that statue has fallen over onto its face. They put the statue back up, but the next morning they find it with its head and hands cut off and placed on the temple threshold. This is an uh-oh moment for the Philistines of Ashdod who quickly make arrangements for the Ark to be handed off to another Philistine town. Thus begins a kind of musical chairs situation and God rains down destruction and slaughter: plagues of emerods (hemorrhoids) “in their secret parts” and mice. After seven months, the Philistines decide to put the Ark on a driverless ox-cart and send it down the road toward the Israelites. They include a parcel of trespass offerings, golden emerods and five golden mice! I love the emerods and the mice and the head of the god stuck in the doorway. I can’t escape the feeling that the author here was being a bit lighthearted at the Philistines’ expense. No doubt, I shall be reproved by biblical scholars around the world.

The Ark cart eventually trundles into an Israelite farming community called Bathshemesh where the people open of the cart and check out the offerings and make celebratory offerings of their own and notify the Levites to come and take the Ark back. This is all cool except that the poor Bathshemeshites unwittingly have made a fatal error: God whacks 50,070 of them for looking inside the Ark (more collateral damage).

dg

May 172010
 

Warning:  The following post contains traumatic and emotionally harrowing details.  Not for the faint of heart.

I lost my copy of James Salter’s short story collection, Last Night, and it’s torn a hole into the depth of my soul. On a flight to Northern California for the weekend, I was reading the collection and happily marking up several stories as I went. Only after arriving at my hotel did I realize that the book was not in my luggage.  I must have left it in the little seat pocket on the plane.

I hate losing books!  I feel like a piece of me has been ripped away and is out there floating around the skies right now, on some Virgin American 737-300.  I spent several hours marking up this book and writing notes in the margins and now those thoughts, those connections, are gone.

To demonstrate the profound emotional trauma of this experience, I offer the following evidence:  This is the third book I’ve lost.  My first lost book was Crime and Punishment (also a heavily marked copy). I lost this about 8 years ago and have yet to recover.  (One wonders if they have therapy for this affliction?)   Then, about 4 years ago, I lost my copy of J.M. Coetzee’s The Master of Petersburg…this one in the San Diego airport.  And now Salter.  Seriously, these losses stay with me.   My only comfort, my only hope, is that these three lost books have found new, gentle homes.  I beseech the universe that some lonely traveller has stumbled upon these lost books and is reading them.   I need to imagine someone curled up by a fire with a Salter story, perhaps with a glass of single malt Scotch, a snoring dog at his (or her) feet, rain lashing against the roof.  Only this fantasy will help me get to sleep tonight.

—Richard Farrell

May 162010
 

Another of the gorgeous Dore illustrations

In Judges 11 we find another fascinating little story. Jephtha is another one of the “judges” called to save errant Israel. He’s an interesting character in himself. Son of a prostitute, he has to live in exile in the land of Tob until the Ammonites attack Israel. This echoes several Bible stories including the early life of Moses who has to escape from Egypt for a while before coming back to save the Israelites from Pharoah. Any number of Biblical heroes have to live in exile or in the Wilderness before achieving greatness (echoing shamanic practice).

The Israelites promise Jephtha he can govern them if he helps them fight the Ammonites. So off he goes to whack some Ammonites after promising God to sacrifice the first thing that comes out of his front door when he returns home victorious (what was he thinking? what was home life like? what sort of innocuous thing wandered in and out of his front door? goats? puppy dogs?). As luck would have it, the first thing that comes through the door to greet him is his little daughter who dances out happily expecting big hugs and, maybe, souvenir t-shirts. She asks Jephtha why he looks grumpy and he tells her, well, now I have to offer you as a burnt offering to the Lord. She is, to my mind, justifiably dismayed, but she’s a good daughter. She says, okay, but let me go up into the mountains with my girlfriends to mourn my virginity for two months. Jephtha says okay to that (the text emphasizes that his daughter is an only child–think of it). And the girl and her friends spend two months camping and hiking in the mountains bewailing her virginity (have teenage girls changed since then; I mean, really?). Then she comes back and Jephtha burns her on the altar. The KJV translation here is absolutely gorgeous in its description of a sweet, real little girl on the cusp of womanhood.

Continue reading »

May 162010
 

Voting is now CLOSED for the 2010 Numéro Cinq Annual Villanelle People’s Choice Competition. Gary, this time you cannot vote more than once (although if you are indecisive, you can change your vote). The judges are puzzling over what to do with David Helwig who wants to be considered in the Golden Age category. Also there are three entries from authors under 16. Since voters have already begun splitting their votes, we shall just continue except that the new “Barracuda Class” will be for authors under the age of 16 (Sage, Sarah & Julie Marden’s students Danny & Anibelys).

In any case, let popular opinion reign here. Remember that so far no one has been expelled from Numéro Cinq for over-indulgence of psychotropic drugs or expressing incorrect ideas.

The official entry list is here. Vote for your preference in the COMMENTS section below this post. Voting closes midnight next Saturday, May 22, 2010. Remember, ANYONE can vote!

And for your edification, I attach a photo of Hobbes which proves without a doubt that he is not fat as suggested in one of the entries.

————–

As of Saturday midnight the votes cast are:

NC People’s Choice Open (Shark Class) Competition

Jacob’s dating poem 1 vote

Farrell A Dream Deferred 1

Axelrod This is why I rant 1

Gary’s Spam Villanelle 2

Julie’s Art of Rat… poem 1

Sandy’s Villanelle No 2  1

Julie’s Mind at Play 1

Gary’s Blue Dog 2     1

Anna Maria’s watersnake poem 2

NC People’s Choice Barracuda (Under 16) Class

Sage’s poem about Hobbes & the mouse 3

Sarah’s “Unlikely Hero” poem 2

Danny & Anibelys 1

dg

May 152010
 

Gustave Dore illustration

I have surged through Joshua, Judges, Ruth, and part of 1 Samuel (Kings), catching mistakes and misinterpretations from the last time I read through. The Bible seems more strange and alien than ever, fascinating in its fierce anarchy. (Might I just mention in passing the plague of hemorrhoids God sends to the Philistines and their attempt to make a Trespass Offering by fashioning five gold statues of their hemorrhoids. 1 Samuel 6:4 I went to bed last night trying to imagine what a golden hemorrhoid would look like.)

Briefly, since I’ve been trying to keep track of what I called the slaughter of the innocents (or collateral damage), I want to draw your attention to the horrific story of the Levite and his concubine (Judges 19). This follows a murky little bit of text about a man named Micah who seems to set up his own mixed religion with pagan images and Hebrew sacred items mixed and a Levite priest to conduct services–this is during one of those backsliding moments when the Israelites have fallen away from the truth faith. Judges 19 seems to start fresh, but it could be the same Levite priest. He takes a concubine (later she’s referred to as his wife as well), but she “plays the whore” with him and runs away to her father’s place. The Levite goes to get her and eventually starts home. They stop for the night at a place called Gibeah where a nice old gentleman invites them to stay at his place. During the night a crowd of party animals called “sons of Belial” surround the house and ask the old man to send the Levite out so they can have sex with him (this is a repetition of the Genesis 19 episode at Lot’s house in Sodom). The old man offers them his daughter and the concubine instead, but the rowdies want the Levite.

Finally, the Levite convinces them to take the concubine after all. The young gentlemen rape her through the night, and when they’re done, they turn her loose. She manages to crawl to the door of the old man’s house, manages to reach up and get her hands on the doorstep, and dies. In the morning, the Levite gets ready to leave and notices the concubine. He tries to rouse her, but she doesn’t respond. He packs her on his donkey and takes her home. And then he gets a knife and cuts her body up into 12 parts (including the bones) and sends the bits off the the far corners of Israel. His reasoning is that he wants to gather a horde to wreak vengeance on the men of Gibeah–and he does. (This part of the story refers forward to 1 Samuel 11:7 where Saul cuts up a yoke of oxen and sends the pieces to the corners of Israel to summon the hosts. Weird connection, yes? concubine=oxen?) But my mind is still back there with the concubine for whom things have not gone well. Not well at all.

Here is the climactic bit of the story (my emphasis).

019:021 So he brought him into his house, and gave provender unto the
asses: and they washed their feet, and did eat and drink.

019:022 Now as they were making their hearts merry, behold, the men of
the city, certain sons of Belial, beset the house round about,
and beat at the door, and spake to the master of the house,
the old man, saying, Bring forth the man that came into thine
house, that we may know him.

019:023 And the man, the master of the house, went out unto them, and
said unto them, Nay, my brethren, nay, I pray you, do not so
wickedly; seeing that this man is come into mine house, do not
this folly.

019:024 Behold, here is my daughter a maiden, and his concubine; them
I will bring out now, and humble ye them, and do with them
what seemeth good unto you: but unto this man do not so vile a
thing.

019:025 But the men would not hearken to him: so the man took his
concubine, and brought her forth unto them; and they knew her,
and abused her all the night until the morning: and when the
day began to spring, they let her go.

019:026 Then came the woman in the dawning of the day, and fell down
at the door of the man’s house where her lord was, till it was
light.

019:027 And her lord rose up in the morning, and opened the doors of
the house, and went out to go his way: and, behold, the woman
his concubine was fallen down at the door of the house, and
her hands were upon the threshold.

019:028 And he said unto her, Up, and let us be going. But none
answered. Then the man took her up upon an ass, and the man
rose up, and gat him unto his place.

019:029 And when he was come into his house, he took a knife, and laid
hold on his concubine, and divided her, together with her
bones
, into twelve pieces, and sent her into all the coasts of
Israel.

dg

May 152010
 

Herewith it’s a huge pleasure to introduce my friend  Bill Gaston, a writer of poignant and sometimes Rabelaisian family stories, plays, novels, and a fine sports memoir Midnight Hockey. He teaches creative writing at the University of Victoria on Vancouver Island (way to the left if you’re looking at a map of Canada). “The Night Window” can be found in print in Bill’s story collection Gargoyles. It’s a story I know well because I included it in Best Canadian Stories the last time I edited the annual anthology (during my ten years as editor, I picked Bill three times).

dg

The Night Window

By Bill Gaston

 

Tyler’s librarian mother has brought two home for him. He hefts them, drops them onto his bed. One is on fly fishing. The second is Crime and Punishment. Tyler suspects Dostoevsky is a writer he will read only if made to, for instance if it’s the only book he brings on this camping trip.

Tyler knows that what he is actually weighing here is his degree of insubordination. Yesterday his mother’s boyfriend–Kim–went through all their gear, inspecting wool sweaters and cans of food. Peering into Tyler’s hardware store plastic bag he shook his head and pointed in at the new reading-light with its giant dry cell battery.

“It’s a natural-light camping trip,” he said, unpointing his finger to waggle it, naughty-naughty, in Tyler’s face. Tyler saw how he could fall to an easy hate of his mother’s boyfriend, except that Kim was just always trying to be funny. His mother had explained this early on.

“Umm…no lights?” his mother began, half-coming to Tyler’s defense. “If I have to pee in the middle of the night? Kim, you want some on you?”

It was this kind of statement (which had Kim laughing over-loud) that made Tyler turn away blank faced, that made him not want to go camping, and let his mother go wherever she wanted without him. It must be exactly this sort of statement that offends her co-workers at the library; it’s the reason she fits nowhere, and dates someone like Kim Lynch.

Continue reading »

May 142010
 

I recently saw the film adaptation of Disgrace, J.M. Coetzee’s 1999 Booker Prize winning novel.  In the novel, David Lurie is a white college professor in post-apartheid South Africa who has an affair with one of his students, a girl named Melanie Issacs.  Melanie files a complaint against Lurie and he is dismissed from his post.  He travels to the country to live with his daughter, Lucy, a young woman trying make her way as a farmer.  At the farm, Lurie and his daughter are attacked by three black South Africans, foregrounding the huge issues of race and land ownership and post-colonial Africa.  Lucy steadfastly refuses to leave the farm, even though her attackers continue to roam nearby.  David begins a healing process himself by helping to euthanize stray dogs in a make-shift animal clinic.

The book was sparse, dark and moving.  I had very little hope that the movie could capture the tonality of the book.  Overall, the movie adaptation managed to convey both the somber tone of the book and the meandering inner journey of Lurie.  John Malkovich played Lurie, and though his quirky face (I mean that in a good way) at times had a comic effect, I thought his portrayal of this serious character was excellent.

I found myself thinking about Doug’s section on “Novel Form and Memory” from his book, The Enamoured Knight.  Doug discusses how novels use “substitute memory devices,” usually within a character’s consciousness, to remind the reader of the what has happened and keep the novel from “sprawling.”  By using only dialogue to access memory (or substitute devices), the story tends to get clunky and the dialogue begins to sound unnatural and un-dramatic.

I suspect this is the main reason feature films run mostly between an hour and two hours: films and plays simply can’t supply the substitute-memory devices needed to develop length (it has nothing to do with TV and shorter attention spans).

I read this quote a while back but it really stuck with me.  I think this is the first time I’ve been able to apply this idea to a film adaptation of a novel I’m fairly familiar with.  Longer scenes in the book became compressed in the movie.  A novel of some 250 pages (I don’t have my copy…drat…I must have loaned it out…I’m a hoarder with my books too, so this causes me great pain.)  probably takes me 6-8 hours of solid reading.  So even in a good adaptation, like this one, so much of the richness and texture of the book gets lost.

—Richard Hartshorn

May 132010
 

Proctor

 

This past  month I’ve read and re-read fifteen short pieces, each of which  might be called a list essay. I say this with the confession that before last month I didn’t even know such a form existed. I did, though, find myself writing in it and blindly starting to lay out some basic precepts as I wrote, then trying to identify them in other essays. I can’t precisely identify  the methods I used in finding the essays I chose, except to say that I searched through my non-fiction anthologies for essays that looked like the ones I was writing (and I mean “looked” in the most physical sense – I tried to find essays that resembled lists), googled the term “list essay,” and asked everyone I knew if they could think of possible examples. Perhaps rather haphazardly, I found and read the following “list essays”:

  • Leonard Michaels, “In the Fifties
  • Wayne Koestenbaum, “My ’80s
  • Jonathan Lethem, “13, 1977, 21” [from Lethem’s The Disappointment Artist; also the anthology The Fourth Genre: Contemporary Writers of/on Creative Nonfiction]
  • Susan Allen Toth, “Going to the Movies” [from Harper’s Magazine, May 1980; also The Fourth Genre anthology]
  • Carol Paik, “A Few Things I Know About Softball” [from Fourth Genre: Explorations in Nonfiction, Volume 9, Number 2, Fall 2007, also The Fourth Genre anthology]
  • Debra Marquart, “Some Things I Know About That Day”
  • Wendy Rawlings, “Virtually Romance: A Discourse on Love in the Information Age”
  • Nancy Lord, “I Met a Man Who Has Seen the Ivory-billed Woodpecker, and This Is What He Told Me” [from Fourth Genre: Explorations in Nonfiction, Volume 9, Number 1, Spring 2007, also The Fourth Genre anthology]
  • Michele Morano, “Grammar Lessons: The Subjunctive Mood” [from Morano’s Grammar Lessons, also The Fourth Genre anthology]
  • Meriwether Clarke, “The Grimm Brothers: A List Essay
  • Sei Shonagon, “Hateful Things” [from Shonagon’s Pillow Book, also The Art of the Personal Essay anthology]
  • Christopher Smart, “My Cat Jeoffry” [from Smart’s Jubilate Agno]
  • Brenda Miller, “Table of Figures” [from Miller’s Blessing of the Animals, also The Best Creative Nonfiction, Vol.3]
  • Anonymous, “(names have been changed)” [from The Best Creative Nonfiction, Vol.3]
  • Dawnelle Wilkie, “What Comes Out” [from The Best Creative Nonfiction, Vol.3]
  • Tim Bascom, “Community College”

In reading at these essays I tried to establish certain “rules” that the pieces seemed to share, and found that in fact this motley crew did have some common characteristics.  I also should note that I’m looking at the pieces in terms of their connections to this form, not as individual pieces, so all references to them will be in terms of how they illustrate the precepts of the form. So here’s what I learned:

1.

That the term “List Essay” might not be precisely correct. David Blakesley wrote a review of Reinventing Rhetoric: The Dialectic of List and Story by John D. O’Banion, in which he sums up O’Banion’s admixture of the list story like this:

List is the form of discourse utilized by logic or systematic thought; story is the form utilized by narratival thought… In their application, “List records scientific truth, with logic providing tests of a List’s accuracy and universality. Story embodies aesthetic ‘truth’ (meaning), with narration providing guidance in revealing and discovering such situationally bound meaning.”

It’s important to point out here that the list essay is a different entity than the list story, since technically the essay is a non-fiction form that usually contains elements of both systematic and narrative style. So by this reasoning, almost every essay is to some degree  a systematic-narratival or list-story essay – the only “list essays” would be the ones that don’t employ any narrative. With this in mind, I’d propose the title systematic narrative essay. Aesthetically it’s not as concise as “list essay,” but I think it actually rolls off the tongue quite nicely. And the process itself of reading a bunch of unrelated essays and attempting to delineate precepts that they all follow is itself an example of the tightrope walk between narrative thought and systematic application, as each of these essays does tell a story, most of them intensely personal, and my attempt here is to figure out some analogous connections between their systematic methods of telling those narratives.

2.

That the force that drives the essay is at least as much concept as plot. The list essay could be called a non-fiction concept story. In eleven of the 15 essays I read, the concept was even stated in the title:

“Community College”

“Table of Figures”

“Grammar Lessons: The Subjunctive Mood”

“A Few Things I Know About Softball”

“I Met a Man Who Has Seen the Ivory-billed Woodpecker, and This Is What He Told Me”

“Going to the Movies”

“My ‘80s”

“In the Fifties”

“The Search for Marvin Gardens”

“The Grimm Brothers: A List Essay”

“Virtually Romance: A Discourse on Love in the Information Age”

And in the other three the concept was subtly, almost secretly  implicit:

“A Few Things About That Day” [about an abortion]

“What Comes Out” [about an abortion clinic]

“(names have been changed)” [about an 11-year-old girl with HIV, presumably from her stepfather or uncle)

The importance of this is that not just the action, but the structure itself of each essay revolves around the concept. And “revolve” is a good word for it, as very few of the list essays I’ve read follow a linear narrative, and even the ones that generally do, like “A Few Things I Know About Softball,” “Community College,” and “The Grimm Brothers: A List Essay,” break up the narrative with systematic stylistic devices. In “…About Softball” Paik breaks up the sections with headings like “Lesson1: Put your body in front of the ball,” “Lesson 2: Catch with both hands,” and so forth. “Community College” reads like a log book of a college lecturer, with headings for each of the 16 weeks of the semester. “The Grimm Brothers” injects social, literary, and historical critique into a skeletal summary of the brothers’ lives, attempting to draw conclusions as to how they wrote the fairy tales that have become part of Western culture’s collective unconscious.. In Jonathan Lethem’s “13, 1997, 21” he tells the story of watching Star Wars twenty-one times at the age of thirteen when it came out in the summer of 1977, and even the form serves the content – it’s told in twenty-one short, concentric sections.

3.

That they can be panoramic in scope or ultra zoomed in, sometimes both at the same time. The panoramic view  allows essayists to think of their subjects  on a macro level. In Michaels’s “In the Fifties” and Wayne Koestenbaum’s “My ‘80s,” both writers use the decade to frame events in their own coming-of-age stories. Both relate literary and cultural touchstones associated with the respective decades – Michaels using Dylan Thomas, McCarthyism and Greenwich Village bohemians and Koestenbaum using Tama Janowitz, AIDS, and the Greenwich Village gay subculture – to private events in their own lives. This juxtaposition gives these private events an epic scope. Conversely, in “The Grimm Brothers: A List Essay,” Meriwether Clarke uses 53 ultra-short paragraphs (1-3 lines each) seemingly to remove the epic-ness of the Grimm Brothers’ legend, simply relaying fact after fact about their lives and work. I’ve found the zoomed-in approach less common in list essays. But, like on Debra Marquart’s “Some Things About That Day” in which she lists everything she remembers about the day she had an abortion, the process of listing everything one remembers about one event can reveal to the writer and the reader why this event has defined the writer. The essay is only two pages, eleven paragraphs of 4-6 lines each. In the third paragraph, she finds it “difficult to remember the order in which things happened.” In the seventh paragraph she recounts telling her husband she was pregnant and him asking, “Is it mine?” And in the last paragraph she arrives home from the procedure to find him watching the NBA playoffs and telling her how brave she is. This isn’t the only action of the short essay, but I point it out because it reveals the importance of this day as a reflection of the days before and after it. Also, in “13, 1977, 21” Lethem attempts, through the prism of the systematic retelling of his pre-teen obsession with Star Wars, to come to grips with his mother’s death at the time and his own budding sexuality. Which brings me to the next thing I’ve learned:

4.

That the form is a great way for the writer to get grip on material, how it fits together. So many of the essays I read seem to be working themselves out either implicitly or explicitly in the process of listing and arranging all the individual parts. In “Going to the Movies,” Toth, in three brief numbered sections, tells of three different men she goes to the movies with, how they watch movies, and how she watches movies with them. Each of these is reactive, starting with the men’s names (“Aaron takes me only to art films.” “Bob takes me only to movies that he thinks have a redeeming social conscience.” “Sam likes movies that are entertaining.”) and portraying herself only in her semi-romantic relationships to them. Then, in the fourth and final section, she tells of going to the movies alone, putting her feet up, and singing along to musicals with happy endings, where “the men and women always like each other.” It is through the systematic, quantified analysis of the men she goes to the movies with that she finds her own place in the narrative. In “The Subjunctive Mood” Morano employs a 2nd-person perspective to simulate a Spanish language lesson, which she beautifully interweaves with her on-and-off relationship with a suicidal man while living in Spain: “This is the when, the while, the until. The before and after.The real and the unreal in a precarious balance…But at least the final rule of usage is simple, self-contained, one you can commit to memory: Certain independent clauses exist only in the subjunctive mood, lacing optimism with resignation, hope with heartache.” “Community College” also uses this teacher’s perspective to frame his narrative in time and space, logging his students’ actions strictly from their interactions with him as their writing teacher. By Week 16 – Finals Week – he knows probably more about the students’ personal lives than he wants to, and the Week-by-Week log of their failures, excuses, and minor triumphs shows as well as any essay I’ve read the unique relationship a college professor has with his or her students.

5.

That they’re generally pretty short. The title of one, “I Met a Man Who Has Seen the Ivory-billed Woodpecker, and This Is What He Told Me,” is nearly as long as any of the nine sections. The longest essay here by far, “The Search for Marvin Gardens,” clocks in at a whopping eight pages, and is by far the shortest piece by John McPhee I’ve read. I’m going to test this precept this summer in reading what seems like a book-length systematic narrative, The Know-It-All by A.J. Jacobs, in which he writes about reading the entire Encyclopedia Britannica for a year and arranges the book as A-Z mock entries.

6.

That the language of the form is generally spare, implying connections that the reader must infer from the systematic framework the essay sets up.  A good example of this is the pair of essays, “What Comes Out” and “Some Things About That Day.” As stated earlier, both center conceptually on abortion. But they deal from opposite sides of the plate glass window, Marquart recounting her own experience getting an abortion and Wilkie recounting the life of the health care worker assisting with the abortions. Both are short, unassuming, and quietly heartbreaking, and neither says what is implied. Wilkie even starts the essay by telling the reader, “We do not talk about What Comes Out,” then clinically and unsparingly  takes the reader through the process the health care workers go through in removing and disposing of it. Marquart, in two brief pages, reconstructs from hazy memory the same process , stating that “My friend tried to soften it for me afterwards. Just say you had a procedure, dear.” So, for both, perhaps the United States’ most heated contemporary political debate becomes simply a procedure to get something out. The human narrative is embedded in the systematic procedure.

7.

That the form, while contemporary, is not without antecedents. I recently discovered “Hateful Things” from the “pillow book” of 10-Century Japanese matron and snob Sei Shonagon, which as advertised is a list of things she hates, including pretentious people, inkstones that malfunction, and men who leave after overnight trysts without saying goodbye. She even states, “Sometimes one greatly dislikes a person for no particular reason – and then that person goes and does something hateful.”

“My Cat Jeoffry,” a poem, is perhaps the piece I remember most from my undergraduate early English literature survey course.  Its systematic structure is rigid – 74 lines, every one starting with “For,” all praising his beloved cat. Smart was obviously insane and did in fact spend a good portion of his life in an asylum, but the 74 lines of “My Cat Jeoffrey” do give a loose, loving, altogether unique narrative portrait.

Coda

I went out to lunch this week at Hunan Delight, my new favorite place in Park Slope for cheap Chinese, and when I opened my fortune cookie at the end of lunch it read:

Digital circuits are made from analog parts.

I’m not usually one to assume meaning in mass-produced slips of paper, but this one spoke to me. I come from a family of electricians and mechanics, and though I can barely keep the oil changed in my car and frequently need my wife to help me operate my Macbook, I know this much: Digital circuits work in bits of information, each bit working into the systematic logic of the circuit; if any bit doesn’t logically fit, the circuit will malfunction. Each bit, though, works in a continuous  strain, and thus has its own infinitely variable narrative order. I teach a class on convergent media, and one of the things we talk about is how digital (online) media have changed the way we read, and think. With the rise of non-fiction as a predominant form in publishing market, perhaps the systematic-narrative, or list essay, is both a response and a reflection of this change.

—John Proctor

 

May 122010
 

Swoon

redel

/

Hazlitt said, “Every word must be a blow.” And that’s the way Victoria Redel writes. Every word and phrase a hammer blow, crafted along the edge of a twisty syntax that is taut, teasing, emphatic and lascivious.

Swoon is something else, is gorgeous, a complex triptych of a book, a classic three-step structure held together by the strings of eros and femininity and point of view (that woman poet) and the technical threading–the repetition of the italicized “Such Noises” prologue poems and the smaller linguistic and image parallels (see, for example, how “…bend into the microphone…” on p.4 in “Somewhere in the Glorious” transforms into “And with that she’d sing, tilting and leaning into/ the purpled head…” on p. 71 in “Tilted Woman”; and how Akhmatova, the “Russian woman” and “my mothers” in “Such Noises” on p. 3 return as the “old Jew” who kvelts in “Noisy Woman” on p. 77). And so, though the book moves through its sequence–the young lover in the throes of eros the bittersweet, to the mother, to the multiple female characters of the austere, Chekhovian prose poems in the last section–it is one complexly woven whole.

In Swoon, Redel has hit her form in a spectacular fashion. She is alive in language. She’s a mature poet, a knowing poet, a wild, romantic poet. But, in the end, what she is most besotted with (what the poet in the poems is besotted with) is language itself.

Look at that second poem already mentioned “Somewhere in the Glorious”; two lines in the middle go: “I have only all my waiting. For what have I waited/ by cross street and elbow, for what gadget of transformation?” Then, two poems later, in “Cabin Note”: “We are still waiting./ But for what?” And then in the next poem “Damsels, I”: “If not for paradise then for what/ do I rut, incorrigible in the palm of your hand?” Nevermind that I’d give anything to have written any of these sentences myself with their insistent and erotic parallel constructions, their open-ended and endless interrogatives, their theological and sexual weavings, their surprising turns of phrase. But Redel has actually managed to thread and suspend the thought through three different poems over several pages so that the mind of the reader, in the middle poem (with its acute exploitation of white space, the emptiness of waiting, quite specific to this poem), is really suspended, in suspense, unconsciously waiting for the syntactic pay-off. And the pay-off is spectacular, not because of the thematic surprise (the connection between desire for spiritual transformation and for love is an ancient theme) but because of the language, the bull’s-eye perfect “what”/”rut” rhyme in the third poem. It goes straight to the heart and the mind. It’s what makes Redel a masterful poet.

I love things like this: “What we do we do in this life with our clothes still mostly on.” A line I could write an essay on, an epigram made poetry by the atypical verb placement. Think how a line like this gets built up. It starts with the idea: We do what we do in life with our clothes on. (A slightly anti-romantic, pretty realistic view of what life is like after you’re grown up.) Redel inverts natural word order–“We do what we do” to “What we do we do”– to make the line surprising, give it rhythm and zing. What we do we do in life with our clothes on. An interesting idea but still not a line Redel would write. She adds the word “still” so that we get: “What we do we do in life with our clothes still on.” Which builds in the antithetical picture of what we do with our clothes off which, accordingly, is not what we really do in life. And finally she adds the amazing “mostly”–“our clothes still mostly on” which twists the whole sentence with a wry, ironic tweak. The epigram becomes story, it becomes the image of a couple doing what they do in life but half-in or half-out of their clothes, that sad, comic moment of struggling, half-dressed transition from passion to so-called real life.

—Douglas Glover

See also “Swoon.”

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May 112010
 

I recently started reading Steven Heighton’s essay collection, The Admen Move on Lhasa, after discovering his writing on Numero Cinq.  The title essay elegantly compares a work of art to a “living and visionary” city, in this case, Lhasa, Tibet.   He contrasts art (and Lhasa) with advertising and schlock (and modern, planned cities.)  There were many illuminating points which I will not be able to do justice to here.  The following are just a few quotes, the ones I underlined and double starred.

…art usually involves an invitation and solicits the entry and collaboration of the audience, while advertising usually implies a threat.  Or, to continue this meandering trip towards Lhasa: art invites you into the city along any available road, while advertising dictates where you enter.  And when.

Perhaps artists can begin to suspect they’ve created a memorable city, a god-haunted world or visionary town—some site worthy of a repeated pilgrimage—only when responses to the work are unpredictably  and ungovernably divergent, diverse, off the wall, missing the point that good artists do sometimes try to make but without ever quite succeeding—always seeming instead to convey something else.  Something impossible to signpost.

Schlock makes us understudies loitering in the wings of our own lives.

It’s not that art cannot be entertainment, the way schlock is, or is advertised to be, but rather that art, while entertaining us, also unsettles.  For whatever sedates us is shuffling us off towards the great sleep of death.  Art, on the other hand, is a persistent wake-up call, the setting off of a quiet siren in the heart.

This entire collection is filled with great essays, insightful, honest and so well-written.  I hate to be simple-minded and say, This is really good, go read it, but…This is a really good collection.  Go read it!

See also Heighton’s poem and novel excerpt on Numéro Cinq.

May 072010
 

So this is my Friday night:  My wife is getting a massage, my daughter is at swim practice, my son is watching The Backyardigans and I’m eating leftover fried rice, having a glass of Napa chardonnay and reading Lynn Troyka’s Simon & Schuster Handbook for Writers. I’m honestly embarrassed by the frequent and glaring grammatical errors in my writing.  My previous advisors and Doug have correctly dinged me on this, and though I have my grammarian wife proofread all my packets, the errors remain.  I am old enough to have diagrammed sentences.  I am old enough to have been taught grammar by rote.  I remember grammar lessons, but the problems linger like some psychic scar from my childhood.  Did I repress those lessons?  Did I simply memorize and forget them because I never imagined they’d matter?  Anyway, this is a cautionary tale, I suppose.  There are probably better ways to spend a Friday evening, though to be fully honest, I’m kind of enjoying myself.

—Richard Farrell

May 052010
 

I’m pleased here to present the first  few pages of Steven Heighton’s new novel Every Lost Country, published just yesterday (really! May 4) by Random House in Canada. Many Numéro Cinq readers will already be familiar with Steven, having read his poem “Herself,  Revised” published here a couple of weeks ago. The poem is from his recently published collection Patient Frame. It is not my intention to flood the market with Steven Heighton prose and poetry, but the man is a walking definition of the word “prolific” and ambidextrous and a compatriot and his words are good companions in the long summer evenings.

dg

from Every Lost Country

Air this thin turns anyone into a mystic.  Dulling the mind, it dulls distinctions, slurs the border between abstractions—right and wrong—or apparent opposites—dead and alive, past and present, you and him.  The brain, rationing oxygen, quiets to a murmur, like a fine-print clause or codicil.  You’re at high altitude for the first time and this mental twilight is a surprise as rewarding as the scenery.  This recess from judgement, sedation of the conscience.  How your sleep here seems too shallow for the nightmares that await you at a certain depth.  You and the rest of the party are basically drunk.  Till now you’ve had to treat others for minor problems only, small cuts and contusions, headaches, insomnia, so this intoxication remains a luxury, not a medical challenge.  Or a moral one.

To you, right and wrong are not abstractions.

Still, think of the freedom of those summit squads dreamily bypassing climbers fallen in the Death Zone—the strange luxury of that.  What Lawson himself has done.  You might have thought twice about joining his expedition as doctor, and bringing along your  daughter, if you’d known his story when you signed the contract.  But at this altitude your numbed mind has to wonder.  Camp One.  Put yourself in his boots if you can.  Now say for certain what you’d have done, or will do.


September 20, 2006, 4: 17 p.m.

She sees the trouble coming because she knows her father.

Sophie sits where she has sat for the last few afternoons, on the flat top of a concrete cylinder rebarred into the glacier, her backside in Nepal and her boots in China—Tibet.  The seat of her favourite ripped jeans covers the line of Chinese characters inscribed in the concrete.  Beside her stands a lightweight aluminum flagpole not much taller than she is and skewed some degrees off vertical.  The breeze cooling her back can’t stir the small Chinese flag, because monsoon winds or, more likely, mischievous Sherpas like Kaljang and Tashi have spooled and tangled the flag tightly to the pole.  Come to think of it—and the notion pleases her on a number of grounds, playful, political—she is likely seated a dozen steps or more inside China now.  Chinese border patrols have to hike up the glacier and adjust the markers from time to time.  A week ago, she and her father and Kaljang and Amaris stood at the edge of base camp and watched the Chinese set up a device on a tripod and take readings and untangle and lower the flag and remove the flagstaff and pry out the marker and roll it laboriously upslope and core new holes in the ice and slot it in.  Some of the men were in blue coveralls and black toques like a SWAT team, others in olive down vests over camouflage gear.  They trudged from chore to chore and said little.  They ignored their audience, though one of the men in camouflage, maybe eighteen or so, waved shyly and blew kisses to her and Amaris.  Amaris ignored him.  Sophie waved back.  Beside her, Kaljang’s eyes narrowed merrily in his brown face and he showed his nicotine teeth.  She snuck a glance at her father on her other side, but he too seemed tickled by the scene, rubbing his salt and pepper stubble, shaking his head affably.  He seemed almost himself again up here.

Read the rest!

May 042010
 

kate_waterKate McCahill on the Ganges

It’s a huge pleasure to introduce Kate McCahill who is a former student of mine at Vermont College of Fine Arts (she hasn’t graduated yet). Before coming to VCFA, Kate traveled in India, and when she came to work with me, she was writing a series of essays about that experience (with a book hovering in the near distance). These essays were remarkable for their structure and verve, their plots and their attention to character and detail. This is one of my favourites.

The big news for Kate, though, is that she’s just been awarded the Mary Elvira Stevens Traveling Fellowship, funded by Wellesley College (Kate’s undergrad school). Kate expects to get about $15,000 to finance a writing trip from Guatemala to Patagonia.

dg

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The day I met Teddy, the heat and the grimy streets of Pune had mixed a muggy haze outside, which leached its way into the bookstore, slicking our foreheads and necks. As I examined the travel section, the bell above the door clanged and Teddy came in, stood for a moment in the doorway, backlit by the sun, and then walked over, close to where I stood, so close I could hear him breathing. I watched from the corner of my eye as he scanned the horror novels and selected an old hardcover. I caught a glimpse of the curling binding: Carrie, by Stephen King.  The bell above the bookstore door clanged again; hot wind blew in.

Teddy was a tall black man with close, tight curls and white teeth save for a brown one towards the molars, which he’d learned to hide by keeping the left side of his mouth closed. Because of this, he talked with only half his mouth, and that, combined with the rotting tooth behind full lips, gave him a sly, crafty look. We were four hours northeast of Mumbai, in a city known mostly for an ashram, built by the guru Osho.

Teddy’s eyes sidled to mine as we browsed, but I looked away. Aman had warned me of certain people on my first night in Pune. There were those who came to Pune for the money there could be made selling drugs to hippies at the ashram, or slipped pills into their coffees at the German bakery, or took them away by motorbike into the night. Aman was a friend of a friend, a second cousin of a farmer I’d met while still in Dehra Dun, and I figured he was exaggerating a little, trying to scare me into being extra-careful. But I took the horror novel in Teddy’s hands as a sign nevertheless. The books on the shelf before me bore beaten bindings and dated titles, and I set my attention on those. The USSR Today, one stated gloomily. Myanmar: Temples of Splendor, read the cracked yellow spine of another. When I tugged it down, opening the long cover that drew stickily back, a flattened moth broke off and spiraled to the floor. The pages showed Technicolor tourists admiring a crumbling, sunlit temple.

Those books were like the maze-like, rutted streets outside, the old men on rickety gray bicycles, even the street-children, their cries at once pitiful and joyful, and the beggars with their practiced wheedling. I would remember each one as an enduring, Indian staple: worn by time, accustomed to crowds, doggedly resilient. Teddy, on the other hand, was fresh, with pearl buttons on his Western shirt and pointy shoes on his feet. “Have you read this?” I heard him ask. I looked up; he waved Carrie. I couldn’t help it: I smiled, shook my head, and pretended to look grim. He wasn’t like the enduring things of India, standing so tall in the bookshop, and speaking English, too.

“What’s wrong?” Teddy asked, seeing the look on my face. “What’s it about?” His question was mockingly innocent. Even if you knew nothing about Carrie, the cover, with her body stained red, told you everything. “Just joking,” he said at my raised eyebrows, and flipped fast through the pages like he was just seeing how long it was, how closely set the type.

“So, you can’t stand the gore?” he asked after another moment. When I looked at him, he winked. Be careful, Kate, a little voice said. But Teddy continued talking, and I kept listening. “That Stephen King—he’s something else,” he remarked, lowering his voice a little as an elderly Indian couple brushed past us. “He’s American, like you?”

I could tell by the way he said it that he knew the answer, but I nodded anyway. His own accent sounded imprecise—a little off-kilter, rolling and round. He was from South Africa, if I had had to guess.

He looked at me like he was waiting to hear me ask where hewas from, but I remembered Aman’s warning and said nothing. When I looked up from the Myanmar book again, he’d bent to examine the rest of the Stephen King section. I slid my book back beside the others on the shelf, and as I walked towards the door to leave I ran my fingertips along the soft spines once more. Just before I reached the end of the stack, the pad of my first finger caught on the broken coil of a spiral-bound book, and I drew my hand back. I thought I felt a tiny spark as my fingers left the book. I stopped, peered at it, then eased it out from between the other books. It was a loose-leafed notebook, the kind you buy in American drugstores. I felt Teddy glance over, but in that moment, nothing could keep me from lifting the cover and looking inside. There was something funny about that notebook, I just knew.

Handwriting choked the inside cover and the very first page: all Sanskrit and all in pencil, delicate marks made by a trembling hand. The words spilled onto the next page, and then the next and the next. In places, the writing ran over itself, and as I turned the pages the characters grew smaller and began to march up and down the margins and snake between each coil of the binding. It was as if the writer had had the book as his only source of paper for a very long time.

“Someone’s journal,” I heard Teddy whisper beside me.

“Maybe,” I said. Put it back, the little voice said, and leave Teddy. That’s what Aman would want you to do. But I just couldn’t take my eyes from those pages. The notebook felt both heavy and flimsy, like the words were weighing the cheap paper down. Teddy didn’t try to take the book, didn’t say anything else, and together we looked at the pages the way little kids look at picture books without reading the words. The tightness of those words; their growing frenzy.

Towards the very end of the notebook, we came across a nearly clean page, startling and white like a flat, smooth stone in grass. The lines resembled the veins on a wrist, and the only other thing there was a signature at the lower right. The signature was both scratchy and looping, if that can describe it: hard at its points, but soft in its curves. How had it happened, this page? I heard Teddy’s breath quicken a fragment. Had the writer waited as he filled up every other page for the person who would sign their name on the only blank one? I imagined a prisoner, or someone exiled. Someone banished. Was it a hastily scribbled prayer?

Teddy brushed the signature delicately with one calloused thumb. I reached out myself and felt the way the writing cut into the page. It was impossible to tell whether the signature was a man’s or a woman’s, in the way it both rolled and cut into the page. I glanced at Teddy; he shrugged. When I looked down again I felt a little chill, even in the hot store: looking at that page was like seeing a secret.

I felt guiltier and guiltier as I held the book in my hands. What was it doing on these shelves, anyway? I glanced towards the counter at the young shopkeeper, who was typing into her cell phone intently, perched on a stool with her legs crossed. I closed the book, knelt down, and slid it onto the lowest shelf, taking care to tuck it in so that it wasn’t easily visible to a browser. Teddy didn’t protest. It didn’t occur to me to even ask whether the book was for sale: I simply assumed it was not. For one selfish second I imagined waiting for Teddy to leave, and then slipping the book into my purse, hurrying back to Aman’s and holding it open again, this time alone.

We stood there for a while, looking at the place where I’d slid the book back. Teddy finally broke the spell. “Want to grab a chai?” he asked, and I felt relieved that he’d broken the strange book’s spell. What could be said, after all, except that those pages had held a mystery? All of a sudden I was aware again of the shouts of chai-wallas outside and the shotgun explosions of motorbike engines in the street. No, I didn’t have time to drink chai, meditations started in an hour and I still had to meet Aman beforehand. I shook my head.

“Can I at least get your name?” Teddy asked, and I gave it to him. What the hell; we’d already shared one secret. “I’m Teddy,” he replied, and plucked Carrie back up off the shelf. “I’m taking this one,” he added, grinning.

“Good luck with that,” I said, and without looking again for the spiral-bound book on the shelf, I left the store and went back out into the sunshine.

The ashram wasn’t like the rest of Pune, which was built, as far as I could tell, around the wide, trash-littered, dried-up river that divided the city. Aman lived on the northern side, opposite the ashram, up a little street lined with apartment buildings built in the seventies. Most of Pune’s streets were unpaved—except for the wide avenues that circled the city center—and were crowded with vegetable stands and bidi shops, vegetable-wallas and munching cows. If you walked from Aman’s flat away from the river and up the hill a ways, it was like stepping back in time: no cars, just cows and bike rickshaws and a crumbling red temple, centuries old. Strings of marigolds for sale. But the ashram was always gleaming, always manicured, perpetually gated to keep in the scented flowers, the shining floors, and the servants in their clean white linens.

Beggars gathered at the ashram gates, but of course they could never go in; two guards planted there day and night made sure of that. You could feel the shift as soon as you entered; gone were the noisy cars, the shouting hawkers, the trash on the ground. Fake waterfalls obliterated all unpleasant noise. Neatly shaven grass; tall, carefully-planned stands of trees.

I was late to meet Aman after the bookstore, even though I’d been rushing. It always took longer than I thought it would to race back to the flat and change into my red robe. Everyone at the ashram had to wear the red robe, even the guards and front-desk agents. The robe was to keep us all looking the same, all equals I suppose, but when you walked around the city you sure could tell who was part of the ashram and who wasn’t. The most devout in the ashram wore their red robes everywhere. Personally, I hated my robe, which chafed against my skin and made me sweat profusely, but when I didn’t wear it to the ashram Aman took offense. He’d given it to me as a gift, and wore his each day, washing it carefully in the evenings and putting it out on the little balcony to dry in the night.

I didn’t tell Aman about Teddy as we sat sipping our tea before meditation. I didn’t mention the notebook either. I wanted to keep it a secret, preserve the mystery. I held it in my mind like a precious stone, something to be guarded and saved. Instead, Aman and I just drank our tea and talked about our schedule: noon meditation, another at two, and then the White Robe ceremony in the evening.

Aman had taken great pains to ensure that I attended at least one White Robe ceremony. In the first few days I’d arrived, we’d both been too exhausted; meditation at five AM followed by afternoons of touring Pune tired us both out. But today, Aman was determined. The morning before, he’d sent me across the street to his neighbor’s, a woman who lived with her teenaged daughter. They lent me a white robe stamped with cream-colored flowers. Aman laundered it again for me after I brought it home – just in case, he’d said. In case of what? I wanted to ask, but bit my tongue. Deep down I knew why. While Aman’s apartment was clean right down to the shoes lined up by the door, the neighbor’s house was really a two-room flat, smaller than Aman’s and stinking of cigarettes, the windows shut tight to preserve the air conditioning. I didn’t mind the smell, just the close, freezing air. The television blared.

Aman drank down the last of his tea now and we made our way to the meditation room. It was just as the website pictured: the whole room sparkled with mosaics made of mirrors. Aman and I showed our ID cards at the door, removed our shoes, and went in; thirty people or so already sat cross-legged on the low, wide steps that rose toward the back of the room, their eyes closed. Silently, Aman and I joined them, and he settled into a cross-legged position. His breathing soon deepened and slowed. I closed my own eyes.

I tried to let me thoughts slip from me, but my legs fell asleep right away, still unused to the position. I cracked my eyelids open: everyone around me kept their backs straight and their hands folded. Someone dimmed the lights and a gray-haired woman wearing lots of turquoise jewelry lit a candle up front, clicked two little chimes together, and the room fell into an even deeper quiet, steady breath the only sound.

But I couldn’t keep my mind still. This wasn’t like the yoga I’d practiced up in Rishikesh, in an old man’s living room that became a studio every afternoon. In this glittering space, thoughts crowded in on me and raced around. Little twinges in my muscles and on my skin grew into itches, cramps, and I wanted to stretch so badly but knew that if I did, I would bump the people around me, break them from their trances. The candle smelled sickly sweet, and the room grew very warm with all of the bodies. Notice your breath, I reminded myself, but my thoughts just shot away from me again like little film reels. I was hungry. What were my parents doing, right now? And where was that scarf I bought in Thailand? I hadn’t seen it lately. My mind circled over itself, and then I remembered the journal. I thought of the words that filled the pages, and then startling empty one. I settled on the thought of slowly turning the notebook’s pages. I imagined touching the penciled words. Teddy’s breath on my neck. When the gray-haired, turquoise clad woman touched the chimes together again, I blinked in the light with everyone else, like waking up from a dream. I hadn’t emptied my mind, but I’d come close, had thought only of that creamy blank page for the final long minutes of the session.

Aman never spoke about his actual meditation. When I tried to ask him, on our second day together, what he tried to think of when he meditated, where he tried to send his mine, explaining that I was struggling with the concept, he’d shrugged. “We each find our way,” he’d said, and though he was never short of words anywhere else, we both avoided further discussion of the hours we spent in inward silence. After this meditation, we talked of yoga later on, of his adopted son who was planning a visit later in the week, and of where we’d take our lunch. We ambled to the German bakery, still in our robes, and ate soup together at a long table where other soul searchers, also in their robes, talked and ate too. Outside the German bakery, vendors displayed long racks of red and white robes for sale. I tried not to meet their eyes on the way out.

Aman liked to wash before the White Robe ceremony, so after we’d attended the second meditation and eaten dinner, which Aman purchased in tins from the same neighbor who’d lent me the robe, he went into the bathroom. I could hear the water running as I took off my red robe and slid on the white one. At least it was cooler, sewn of thin cotton instead of the red robe’s scratchy polyester. Aman emerged from the bathroom eventually, his hair slicked back with water, his white robe cloaked over him. He’d ironed the robe that morning; I told him it looked nice. He told me mine did too. Then we walked back across the river to the ashram, where a hundred other people in white robes waited outside of the big auditorium, its silhouette reflected in the meditation pool that lay before it.

You weren’t allowed into the auditorium until right before the White Robe ceremony, so while Aman chatted with old friends who’d donned the white robe for years, I recognized an Israeli girl, Eti, that I’d met in a yoga class the day before. She, too, was looking around, standing a little apart from everyone, so I went over to say hello. She always toted a huge backpack, and it was no wonder, with the number of robes we needed here. She smiled when she saw me coming over, and we talked about the mall, where she’d been that morning. “I just could not get up for this morning meditation, you know?” she said. “Maybe tomorrow!” And then the doors were opening and people began flowing in along both sides of the meditation pool.

It took quite a while to get to the door, because everyone needed to remove their shoes and place them in cubbies, then grab a handful of tissues for when the breathing meditation got started. People murmured and mumbled in line, but no one spoke too loud or laughed, unwilling perhaps to break the stillness of our reflections in the meditation pond. Slowly we made our way up the stairs and into the cavernous auditorium lobby. I unlaced my sneakers and tugged them off, tucking my socks inside, and stuffed them beside Eti’s in an available cubby. We started to follow the other white-robers inside.

“Miss,” I heard a woman call from behind me. Eti and I turned; the woman was talking to me. “Miss,” she said again, and beckoned with her hand for me to come back. Eti and I looked at each other; I shrugged, and she found a place on the floor.

“I’m sorry, miss,” the woman was saying, as I pushed back through the doorway, against the flow of the white robes. “You can’t attend the ceremony today.” She glanced at my robe. “It’s the flowers, these little flowers here. The robe needs to be totally white, just plain.” She shrugged her shoulders and legitimately tried to look sympathetic. Sorry, they’re the rules, her look said.

“Are you serious?” I asked her, and a few heads turned. I was making a commotion, but I just could not believe it. After Aman washed the robe? After the neighbor lent it to me? The woman nodded. “Sorry,” she said, out loud this time, and then coolly moved her gaze from my face to monitor the others who still trickled in. I glanced through the doorway; Eti had craned her neck from where she sat and was watching me, confused. I didn’t see Aman anywhere. I held up my hands at Eti, the universal gesture for who knows? Eti waved, smiled a little smile that genuinely seemed sorry, and I was at least grateful for that as I laced my shoes back up and left, taking the stairs two at a time, my face aflame.

Mostly, I was annoyed—after the initial shock of being banished wore off—that I didn’t have a change of clothes. I figured, as I tried to steady my breath and slow my beating heart, that I had two choices. I could go home, or I could wait for the White Robe ceremony to end so I could still walk back with Aman. After pondering the walk home alone, across the bridge beneath the dimming sky, I chose to wait, and so I walked out the ashram gates, white robe and all, and down to the German Bakery, where I thought I’d get a coffee and try to find a magazine, or a person to talk to, that would take my mind away from this mess.

Stupid white robes, I muttered as I walked past the beggars, who must have sensed my frustration because they didn’t even bother to approach me. Or maybe they just figured I was stingy. Or, maybe even beggars hold off when someone’s having a conversation with herself. Damn freaking flowers, I mumbled as I entered the German Bakery, and what finally stopped my cursing was the sight of Teddy, standing there at the counter plain as day and talking with the girl serving coffee.

He turned and grinned, recognized me immediately, then took a moment to look at my white flowered robe. He studied my face. “Everything okay?” he asked carefully. I must have still been red in the face.

“I’m okay,” I said, then blurted it out. “I got turned away from the White Robe ceremony just now.” He grimaced.

“Was it the flowers?” I nodded. “How’d you guess?” I asked, half sarcastic.

“I’ve been to a few of those White Robe’s in my time,” Teddy said. He put on a grim doctor’s face: “I’ve seen this a few times before.” I laughed at his tone, which compared the ceremony to a serious condition that lacked a cure.

“It’s silly,” I admitted, “but I was so embarrassed! It really sucked, you know?”

“Let’s have a coffee and make fun of the ashram,” Teddy said. I couldn’t help but laugh, and nodded yes. A coffee was what I needed, all right. For those moments I forgot all about the empty page in the journal and the little voice that warned me about Teddy, and instead just felt happy that Teddy was there, for sly as his half-smile was, he was being kind. He bought two coffees, and we looked around for somewhere to sit. All the chairs were full, tables littered with dirty cups and newspapers.

“Let’s go outside,” Teddy suggested, so I followed him out the door and we sat down on the sidewalk outside of the coffee shop, lowering ourselves carefully so as not to spill the steaming contents of our mugs.

“So what do you do here, Teddy?” I asked him as we sipped. I could smell chocolate emanating from the bakery.

“I’m a PhD student,” he answered. I was surprised, but then I knew nothing about him. “Anthropology,” he added, anticipating my next question. “I’m especially interested,” he paused, put down his books, stretched his hands out before him, “in the palms.”

“You read palms?” I asked, before I even realized the words were out of my mouth. Sure enough, he looked offended.

“I don’t just read palms,” he insisted, like he’d dodged the question all his life. “I read them in the traditional, voo-dooey way, yes,”—he wiggled his fingers in the air to emphasize voo-doo—“but my degree has many levels. Astrology, physiology, human biology, psychology…” the list petered out. He set his coffee down beside him and leaned back on the heels of his hands. “It’s a complicated degree,” he finished, and drew a pack of cigarettes from his pocket.

I watched him strike a match and light a cigarette. As an afterthought, he offered the pack to me. I shook my head. “So, what can you see in the palms?” I asked him. I looked at my own; they were sweaty, for one thing, with a few scooping lines.

“Oh, you can read many things,” he finally said vaguely, maybe still miffed at me. He drew on his cigarette and blew the smoke out into the street. He took another drag, exhaled.  “Many things,” he said again, this time as if to himself, drawing the words out like swoops of honey pulled from the jar. I guessed he’d decided to make me beg. He turned and looked at me for a long moment, his gaze uncomfortably piercing. I looked away.

“You don’t have to tell me,” I said. I reached for his pack of cigarettes and took one out. He struck the match.

“It’s not that I don’t want to tell you,” he finally said. “It’s that…” he paused, dragged. “I’m afraid to tell you what the palmist sees.” I waited for him to explain. The cigarette tasted smooth and had a thick gold filter.

“Everyone wants their palm read,” Teddy said, “but when they hear what the lines mean, they often see them as…” he waved his hands, looking for the right word. “As ugly,” he finished. “People are afraid of the truth in the lines.” He looked over, down at my hands. I was touching the lines of my left hand with my right fingers. When I noticed the movement, I lifted my cigarette to my lips.

He grinned at that. “Do you really want me to read it?” he asked.

“Yes,” I said, and then I realized that I meant it. I guessed I wanted to hear what was so bad, the way we’re compelled to stare at car accidents we pass on the freeway.

“You sure?” he asked. “Because I will. I’ll tell you what it says.” His voice was still lighthearted, and I nodded.

“Okay then, hand it over. Ha, get it? Hand it?” He snickered. I fake-laughed. “I get it,” I told him, and stuck my left palm out.

He flicked his cigarette into the gutter. “Get rid of yours, too,” he said. “I need to see both.” I obeyed, tossing the golden butt in behind his. He rubbed my outstretched palms with his thumb, as if to draw out the lines. For a very long time he stared at them, looking back and forth between my two hands.

“It’s a very interesting hand,” he muttered finally. “A very, very interesting hand.” Again he went quiet, pressing my palms again with his thumbs. Then he let both hands fall.

“You will have an ordinary life,” he said with a shrug. He wouldn’t meet my eyes.

“That’s it?” I checked my palms again myself; what was so wrong with them? “Tell me, Teddy,” I urged. “I won’t be hurt.” Even then I think I knew that was a lie.

“Yes, you will,” he affirmed, and inhaled deeply, let the breath out slowly. “This is why I never read the palm of a friend,” he said, and went for his cigarettes again. “They never leave me alone, after that.”

But I wanted to know! I had to know. “Please tell me,” I said, and now I really was begging. What could be so terrifying in the lines?

“Okay,” he finally said, after a few long drags on his new cigarette. “Okay. I can tell you about here, because the hand is always changing to show the present. Here,” he reached for my right palm and poked a finger into the longest line, “in India, you are afraid. You are suspicious. And, you are often alone?” he looked at me. I nodded. “But, you feel as though you are searching for something here?” he continued. “And,” he added, “you worry you’ll go home without it.” Again he looked at me, confirming. I nodded yes. “You’re expecting something. Not expecting,” he laughed, “as you Americans say, but expectant. You’re waiting for something.”

“That doesn’t sound so horrible,” I said. It was all I could think to reply. Only later would what he’d said would really sink in; all throughout India, I felt challenged by the constant eyes upon me, the crush of people always.

“There’s something else,” he told me. “Something happened, before you were born.” He let the words sink in for a moment, then continued. “Maybe something happened with your parents, or in your family, or something. I think,” and he paused, took a drag, let the cigarette fall. “I think it was something bad.”

Ever since that moment, I’ve wondered what he meant when he said that. My parents lost a child before me; is that what so darkened my palm? But Teddy was standing now, his coffee cup empty. He stretched his arms high and glanced down at me. I must have looked bewildered, because he said, as if to comfort me, “Don’t worry, Kate. Luck will be on your side.” He mumbled something about how he had to meet his friend inside. “You okay?” he asked. I nodded. “See you, Teddy,” I called softly as he walked away, but I can’t be sure whether he heard.

Instead of returning to the ashram, I walked towards the city center, letting my mind wander into everything I passed. I just couldn’t think too much of what Teddy had said, I just couldn’t. Yet his words were like the empty page of the journal we’d found together: meaningless without context, yet important too, somehow. The most frightening thing was his hesitation, and what he withheld. I thought of the meditating rooms, and tried to send my mind to the quiet tranquility they claimed to hold. I took in the world around me, and walked for miles.

The walk to the city center was always rich for the senses. Food-sellers tended stands from dawn until dusk and the cigarette and sweet shops stayed open through the night. Boats on the river pulled up to the banks, and bums and sadhus slept on the shores, shaded by day and protected from the wind by night with trees and boulders.  Taxis pulled up from the train station; buses came through from Bombay and sometimes from as far away as New Delhi.  The wealthier, more modern side of Pune came next, with paved roads and expensive restaurants, a shopping mall and a university. Aman’s side of the river had bumpy, narrow streets, the buildings alongside crumbling from a dozen layers of paint. I thought that old paint made walls more beautiful, because you could see every color of paint ever used on the place—cream was popular, and yellow and blue. The paint told a history of the building it clung to, and judging by the number of layers around here, that history was usually long. Thin old men pedaled bike rickshaws as I approached the city-center, their sandals flapping on their feet.

The center, when I reached it, pulsed with people bicycles, a score of buses, cars that slunk through the crowds. The visitors ambling around the mall were dressed in Western clothes; almost everyone wore sunglasses, their skin tanned. I forgot about my white robe and let myself observe: the women walking here could have stepped onto Fifth Avenue and would have been admired for their beauty, their cutting-edge style. I hadn’t seen Louis Vuitton since Hong Kong, and suddenly I was surrounded. There was Jimmy Choo and Vera Wang, draped over the wrists and arms and heads of the women who glanced at me, taking in, I guess, the silly robe and the sweat at my hairline. Clearly what they thought of me was not much; they didn’t interrupt the flow of chatter into their cell phones, just raised curved eyebrows or half-smiled to themselves and turned their eyes down, amused. Still, I liked the walk, a striking contrast to the crowd Aman’s street. The woman here picked their way along in stilettos, the men in polished loafers. I imagined them pausing for a bag of mangoes or a pack of American cigarettes before hurrying on down towards the bridge to catch a rickshaw that would rush them back to the city center’s magnetic glitter.

I remembered the wealth I’d encountered in America: a few friends with houses like mansions, a ride in a limousine, dinner at an elegant restaurant with my parents, one night in a four-star, silk-sheeted hotel with my boyfriend.  Here in Pune, amidst all this downtown glamour, I felt a pang at the disconnect. How strange it seemed to have known such comfort, in a place where such a level was now inaccessible to me. I had little money, and my pack at Aman’s contained everything I’d needed, this whole time I’d been traveling. It struck me that everything I had could fit in one bag and meant nothing.

I got lost in the winding streets of Pune, and it was dark before I took a rickshaw back to Aman’s flat across the river. He’d been worried sick about me, it was clear; when I knocked on his door, he opened it immediately, relief in his eyes. His hair was greasy, like he’d run his hands through it over and over. He’d changed out of his white robe, but still had his black sneakers on.

“Oh, Katie,” he gushed, before I was even inside. “I heard about the robe.” He looked me over. “I guess I should have known. They’re very strict about the white robe.” He went to the stove to start tea. “Oh, Katie,” he went on as he filled the kettle, “Where were you? Oh, I’m so sorry. I apologize. What a long night you must have had.” He turned to look at me, to check whether indeed I’d had a long night, and perhaps to hear where, exactly, I’d been. But I couldn’t think of an excuse. How could I tell Aman that a palmist had seen something bad in my hand, and I’d wandered the city as a way to escape? I apologized, explained that I’d gone to the library and lost track of time. As we sipped our tea, I thought of being banished from the White Robe ceremony, but spared Aman the details.

Aman and I resumed our routine. For three more days we rose in the morning, walked across the river to morning meditation, then sipped tea at the ashram. I walked around the city again, this time with Eti, and together we strolled through the mall. Malls are universal things, I realized in Pune. The shops are just an excuse to gossip, to waste time, to escape from whatever burdens your home life brings to you. Each shop window was painstakingly decorated, the costumed models thin and exuberant. Aman and I did not attempt the White Robe ceremony again; we didn’t ever again speak of the night I’d been turned away.
But the ashram wore on me. Beyond the issue of the flowers on my robe, there were the fees, and the guards at the door, and the aging hippies who floated around, seeking nirvana. There was the overpriced tea, the glittering meditation room, the pristine, manicured lawns. This was not what I’d come to India to find; the closest thing to peace I’d encountered so far was the illicit blank page in the journal, the one I could settle my mind upon. After my seventh day in Pune, I told Aman I’d be leaving. I told him while we both stood in the kitchen that night, preparing tea. He was sorry, wishing I would stay so as to more fully experience the ashram, but in the end he relented, helping me to book a train ticket online to Goa, where I planned to meet a friend.

That night, Aman and I went out to dinner, I guess to commemorate my final night in his city. Aman selected a touristy place in the city center, where he was practically the only Indian man ordering dinner, but we had a fine time in any case. We both grew jolly with Kingfisher beer, and I paid the tab in order to thank Aman once more for his hospitality. We took a rickshaw back home, and then Aman lay down in his hammock and I shut out the lights. I packed the rest of my things; my train left at five the next morning. I wished, right before sleep came, to see Teddy again, of all things, and then my alarm was going off, and it was time to wake up and get going.

Aman still slept as I crept out the door. I scribbled a note on the pad beside the phone: Aman: thanks for everything. Will call when I get to Goa. Then I let myself out, closing the door quietly behind me, and then I saw the envelope on the ground.

Whoever had left it had tucked it halfway under the door. I thought it was an electricity notice, or some apartment document, but when I picked it up and lifted the open lip, I saw that it wasn’t anything Aman was meant to see. I drew the page that was inside from the envelope, knowing what it was and at the same time hoping it was anything but.

It was the empty page, with the signature in the lower right corner.

The edge of the paper was ruffled from where it had been torn from the notebook. Now ripped from its context, it had clearly been folded and smudged. It resembled trash. I held the envelope and the piece of paper with trembling hands. I remembered my train. With the papers still clutched in my hands, I ran down the stairs, through the gate, and out into the main road, where I caught a rickshaw that would take me to the station.

I don’t have the empty page anymore. When I got to Goa, I looked up the address of the bookstore and mailed it back. I don’t know why Teddy tore the page from the book, or how he knew where to leave it. But the story has stuck with me, even as my time in the ashram has fallen away. That ashram was a place where I failed, spiritually and logistically, but Teddy and the empty page remain unanswered questions in my mind. Maybe, holding that book in my hands, with Teddy looking over my shoulder, I did find what I was seeking in India. No, the memory of that moment has never left me. I think of Teddy now, his sly half-smile, and realize that perhaps its purpose was both sad and true: the gesture’s most basic intent was to hide something ugly from the world. And I can only hope that whoever wrote that journal will someday come to claim it again. I’ve prayed that they will open the cardboard cover, checking for the scrawled name, and find that page just where they left it, torn from the spiral rings but still intact, blessed in its comparative bareness.

—Kate McCahill

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May 032010
 

Eglon, king of the Moabites, from Figures de la Bible (1728) Illustrated by Gerard Hoet (1648-1733), and others.

Procrastination has reached biblical proportions this packet round–on the other hand, not all my students got their packets here on time, so I have an excuse.

Over the weekend, I got through Joshua and part-way into Judges before I broke down. Joshua divides (like Caesar’s Gaul) into three parts. The first 12 chapters contain the dramatic crossing of the Jordan and the battles for Jericho and Ai (and various other places), also the stories of Rahab, Achan and the trickery of the Gibeonites. The next section is mostly an administrative  interlude in which the various tribes are assigned their allotments in the conquered land. And in the last section, Joshua dies. The first few chapters of Judges recapitulates Joshua, sometimes repeating chunks of text and story pretty much verbatim. And then we begin a series of cycles of backsliding (whoring after strange gods) by the Israelites (who, really, never seem to learn), punishment by God, and then rescue by a local hero who, for some reason, is called a judge. Some of the judges get a good deal of face time, their stories told in graphic detail (the Jael and Sisera story mentioned in an earlier post is part of the story of a female judge named Deborah).

The first time I read through all this material I came away with the impression that it was a kind of veiled history of the Israelites establishing themselves as a monotheistic community amidst a land teeming with polytheists. From Leviticus on, the emphasis seemed to be on establishing and maintaining cultural purity against contamination from the other regional communities. This seemed like a reasonable anthropological synthesis of what I was reading. Now, however, with my trusty Literary Guide beside me, I see greater complexity (and confusion). God makes a covenant with the patriarchs in Genesis to make their people prosper and bring them to the Promised Land. But as we read through the later books of the Pentateuch, we see God gradually introducing an override condition. At first the Israelites are the Chosen People, but then, it seems, they will be the Chosen People as long as they obey him. If they keep acting up (whoring after strange gods), he promises to obliterate them (and there is prophetic material that predicts just this). One of the conditions for God’s beneficence is that the Israelites completely eliminate (early ethnic cleansing) all the strange peoples who already live across the Jordan. God says specifically that they should not make any treaties or deals. Then Joshua goes across the Jordan and the very first thing that happens is that his scouts make a deal with Rahab the harlot which allows her and her family to live with the Israelites for always, thus breaking the covenant. The story of the Gibeonites involves a similar deal with the pagan Canaanites who are allowed to live among the Israelites–and the list goes on. Rather than expunging the polytheists, as they were meant to do, the Israelites keep them around, using them as labour, and then begin to intermarry with them, and so on.
Read the rest!

May 022010
 

Just following my thoughts earlier begun on the way the c(v)ulture industry skews our experience of war (“our” meaning those of us who haven’t actually experienced war). Here is a link to the beginning of an ongoing series of reviews of episodes of the The Pacific by a Marine veteran who did fight in some of the battles portrayed. Why does this man buy the HBO/Spielberg version of war while my student Ross Canton, a thrice wounded Vietnam veteran, doesn’t? Does this man want to remember his life as a made-for-TV movie? Is that what happens to memory and the imagination?

See also.

dg

May 012010
 

I finished up Deuteronomy and the death of Moses this morning and pushed on into Joshua through the well-loved story of Rahab the harlot and the cautionary tale of Achan, the poor guy who stole from the plunder at Jericho and ended up stoned and burned in the Valley of Achor. There’s a great scene in which Joshua gets him to confess by calling him “My son.”  When I was a kid we used to sing the old Negro spiritual (that is what they used to call them–what do they call them now? African American spirituals?) “Joshua fit the battle of Jericho” with hand actions. No doubt this set the stage for my later writing career. Here is Mahalia Jackson singing the song. I love the verb “fit” and the way you have to drop syllables in Joshua’s name to make the song work.

Excellent elucidation of the narrative structure of Deuteronomy in The Literary Guide to the Bible: First person narrator quoting Moses quoting God who is sometimes quoting himself (nested quotations technique). Also the time dance. Moses speaks of that time (in the Wilderness, on Mt. Horeb) and this time (now, when is addressing the Israelites beside the Jordan), while so-called Deuteronomist talks about that time (the time of Moses) and this time (the Israelites in exile in Babylon). The book is full of prophecy because Moses seems to know ahead of time that the Israelites will eventually transgress and God will abandon them and they will be conquered and enslaved and long to return to the Promised Land and he knows this just at the moment when they are about to enter the Promised Land the first time.

Great curses, lovely reference to arrows drunk with blood, also the well-named “hill of the foreskins” (this was after the mass circumcision on the banks of the Jordan–imagine it! or maybe not).

In haste, I am doing packets!

dg