Dec 082013
 

marcel_duchamp

urinal

Click to View: Jeu d’échecs avec Marcel Duchamp (1963)

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Much talk of Marcel Duchamp on NC lately. Read Stephen May’s essay “Beauty & the Brothel of Illustration: An Impractical Guide to Making Art” and Paul Forte’s essay in this issue “Visual Thinking and Cognitive Exploration.” I thought it would be helpful to see the man himself, hear his words and follow his life. This is a remarkably sumptuous filmed interview that tracks Duchamp artist through his life and influences (among other things, he rather hilariously recommends getting married).

dg

Dec 082013
 

Lowe in Studio

There is a line in Rilke’s “The Spanish Trilogy” — “…to make the Thing, Lord Lord Lord, the Thing” — that rings down through this amazing interview, NC Contributing Editor Nance Van Winckel with visual artist Lynda Lowe, an interview about art, making art, and the art of collaboration. All art is, yes, about making Things. We forget that sometimes. Expressing ourselves, making a point, sending a message, selling a line, finding a market, all take a back seat to the thingness of the Thing, its sudden and utter presence, sui generis and unique. Whether it’s a poem or a painting or some combination thereof (or a novel or a figure in a block of stone…).

dg

01 Installation Object of the Object

01 Installation view of The Object of the Object, for the Poetic Dialogue, 13”H x 20’W x 4”D, 2008
Collaboration with poet Nance Van Winckel

NVW: I thought we’d begin with a few questions about our collaboration for the Poetic Dialogue Project, a group exhibit of poets and artists who were paired to combine poetry and visual art. Since we both live in Washington, we were paired together. I remember coming to your lovely studio near Tacoma and seeing all the cool “tools” you’d collected and thinking about a poem I’d written called “Left to Our Own Devices,” which was also about tools, tiny clock-repair tools.

I sensed we were both interested in objects and, as we went on to discuss, “thingness” or “objecthood.” We called our collaborative project The Object of the Object. I particularly love the piece of yours with those calipers in it. I would suppose that as an artist you must have developed a close kinship with the “tools of your trade.” Can you describe a bit what our collaboration WAS (the series, sizes, etc.) and also talk a little about the subject of “things” and its appeal to you as a visual artist?

05 Object of the Object panel 15

Panel 15, The Object of the Object, 12” x 12” water and oil media, wax on panel 2008

Lynda Lowe: The Poetic Dialogue’s intent was to have a visual artist and a poet collaborate in the creation of a new work for a traveling exhibition. It was on my mind to not just make an illustration for your poems or for you to write something in reaction to a painting, but to integrate these forms as much as possible. Since we didn’t know each other before beginning the collaboration, we spent time sniffing out the turf where we might find something common and fertile. We passed back and forth word lists, favorite readings, images, and poems to see where we might begin.

Through Rilke’s poetry we discussed the interiority of the object, its thingness: “to make the Thing, Lord Lord Lord, the Thing.”

Things contain narrative, perhaps even a kind of sentient presence. Humans make stories from, and meaning out of, even the most random collection of them. The idea seemed a good starting place as it shows up in your poetry and also in my imagery. Thus began “The Object of the Object.”

02 Object of the Object panel 1

Panel 1, The Object of the Object, 12” x 12” water and oil media, wax on panel 2008

Our work had to grow organically between us and achieve a balance that honored both word and image. I started with a group of paintings on 12” square panels that were deliberately left unfinished and sent images to you. You sent poetry in progress. We had to meander about with some directionless hiking for a while. An “aha!” moment for me was reading the last line in your poem “Coxswain”: “in us are the woods.”

Beautiful! Imagery began to coalesce for me. Our circumvolution continued. I remember we discussed the creation of a codex form where a viewer-reader would have to physically walk the expanse of a series of panels, thereby engaging time and memory through repeated imagery and text. The final product was a twenty-foot span of eighteen panels that were seated on a shallow shelf, leaning against the supporting wall.

[youtube]http://www.youtube.com/watch?v=yfxepF7Mcgc[/youtube]

NVW: During our collaboration, I recall you also brought up another term that’s near and dear to my heart: wabi-sabi. I think you rightly sensed my simpatico with this idea as you so well described it in our email exchange back then, ” the worn beauty of age and the graceful disorder of nature.” I know your work is influenced by Eastern philosophies in general and perhaps by the concept of wabi-sabi in particular. In our collaboration, how did these ideas influence the process and/or product?

Lynda Lowe: We both pay attention to that earned patina: your marmot playground of rusting factory equipment and my hundreds of old wall photos taken on travels. The layers of wear, weather, the mark of a passerby build such beautiful surfaces that speak of narrative use and history. Nature has these cycles of age and re-growth too of course. Being a gardener you can’t miss it. Imperfection and disorder is an undeniable part of the landscape on every level. When I’m developing a painting, vestiges of many additions and subtractions layer the work and this is never quite predictable. It lends a wabi-sabi quality to it.

Object of Object (panel 4)

Panel 4, The Object of the Object, 12” x 12” water and oil media, wax on panel 2008

NVW: I know you’re a great lover of T.S. Eliot and in particular his Four Quartets. You’ve used passages of his poetry in your work before, as well as lines from other poets, myself included. Can you explain a little about how you think text—and perhaps specifically poetry—may best share the visual field with your incredibly textured and expansive imagery?

Lynda Lowe: Text and imagery are in some basic way, information. They comprise part of a larger perceptual field. I’m very interested in how we construct meaning from a personal blend of reason, intuition, memory, and spirit. In the combining of elements such as poetry, diagrams, equations, realism, intuitive mark, and abstract color field, I’m creating a matrix that suggests these are all part of a unitive whole.

Object of the Object (panel 6)

Panel 6, The Object of the Object, 12” x 12” water and oil media, wax on panel 2008

NVW: I was happy to reconnect with you recently in Tacoma at the Museum of Glass and the opening for your wonderful show, a series of 108 ceramic vessels called The Patra Passage. Again, I realized we had another mutual interest, Lewis Hyde’s wonderful book The Gift. I recall reading this book in the mid-1980’s and being very moved. It helped me to feel a better acceptance and even joy about my own life-choice: to make poems. Hyde speaks about art as a kind of gift the artist gives to her world. The gift is meant to be shared. This making and giving concern important aspects of community and shared values.

Hyde’s messages came to me at a time when I really need to hear exactly that. The promises of financial reward, publishing contracts and such sorts of “recompense” had begun to feel far off and unreachable to me, but I still loved and valued poetry and I wanted to continue with this art front and center in my life. Can you talk about your vessels which you gave away, and which the recipients (myself included) will again give away, and so on—and how, as an artist, you think about this interconnectedness of art-making and art-giving? And how The Patra Passage, in particular, was inspired? Here’s the wonderful video about that project:

[youtube]http://www.youtube.com/watch?v=GKd7mLPFzes[/youtube]

Lynda Lowe: After a rough couple of years and I felt I was looking at life through the other end of the telescope. What do I consider valuable when viewing things in reverse, not ahead? I’d been incubating ideas for the Patra Passage for over a decade. The image of a bowl repeatedly shows up in my paintings as a symbol for the fluid act of giving and receiving. Interconnectedness is of great interest to me.

I knew where I wanted to take the idea, but the project required a total change in media and a large commitment of time without income. Lewis Hyde’s writing was and is indeed a true gift and encouragement. Also hugely significant is the privilege of many wonderful supporters and participants – you being one of them! The Passage seeks collaboration and connection. The website more fully describes the project. I wholeheartedly invite interaction from all visitors to the site: www.patrapassage.com.

Patra vessels on bench

The Patra Passage, detail of some of the 108 vessels, 2013

Patra vessel

The Patra Passage, Patra vessel, 5” x 5” x 5” 2013

Patra  vessel

The Patra Passage, Patra vessel, 2013

NVW: What’s your next project?

Lynda Lowe: I’m in that transitional phase now after the launch of the Patra Passage where it’s back to the meandering path without a destination in mind. For the moment I’m playing again with my old friend T. S. Eliot and The Four Quartets. I don’t think I could ever mine that out. There are several exhibitions ahead, including the return of the Patra vessels at the Museum of Glass in Tacoma. And soon I’ll be working collaboratively with poet Joseph Heithaus on another project. I’m grateful to be doing something I love and that challenges me.

Path-to-the-Path

The Path to the Path, 24” x 56” water and oil media, wax on panel, 2008 (T.S. Eliot quote used in this painting, title credit to Nance)

 

Falling and Flying 2

Falling and Flying II, 48” x 48”, water and oil media, wax on panel. 2012 (Rilke quote used in this painting)

Oaxaca Wall

Oaxaca Wall, 38” X 32”, water and oil media, wax on panel. 2012

—Nance Van Winckel & Lynda Lowe

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After completing an MFA at Indiana University, Lynda Lowe taught fifteen years at Wheaton College and Northern Illinois University.  In 1998 she left her academic position and began painting full-time. Soon after, a move to the Pacific Northwest brought fresh opportunities and the construction of a studio on the Puget Sound in Washington state where she currently resides.

Lowe’s overall imagery combines sections of color field, realism, text, and diagramatic figures. She employs fragments of poetry, handwritten scientific observations, and mathematical formula and layers them alongside highly rendered recognizable images to suggest that the construction of meaning is shaped from many different frames of reference. Archetypal symbols are deliberately integrated into her art, pointing out that the human experience is intrinsically connected the sentient world. Her surrounding environment and her travels abroad also profoundly impact her work.

A recent project, the Patra Passage. centers on the gifting of 108 hand-built ceramic bowls which are re-gifted at least three times throughout one year. After they return, the Museum of Glass in Tacoma, Washington, will host an exhibition February – May, 2015.

Lynda Lowe’s paintings have been widely exhibited nationally in galleries and museums. She has been the recipient of two Artist Fellowship awards from the Illinois Arts Council, a distinguished resident of the Ragdale Foundation, a finalist of the Neddy Award, and represented by the following galleries:

  • Gail Severn Gallery, Sun Valley, ID  www.gailseverngallery.com
  • Arden Gallery in Boston, MA   www.ardengallery.com
  • Forre Fine Art in Aspen and Vail, Colorado and Ft. Lauderdale, Florida  www.forrefineart.com
  • Abmeyer+Wood, in Seattle, Washington   www.abmeyerwood.com

More of Lynda Lowe’s work can be viewed on www.lyndalowe.com and www.patrapassage.com.

Nance Van Winckel

Nance Van Winckel is the author of six collections of poems, including After A Spell, winner of the 1999 Washington State Governor’s Award for Poetry, and the recently released Pacific Walkers (U. of Washington Press, 2013). She is the recipient of two NEA Poetry Fellowships and awards from the Poetry Society of America, Poetry, and Prairie Schooner. Recent poems appear in The Pushcart Prize Anthology, The Southern Review, Poetry Northwest, Crazyhorse, Field, and Gettysburg Review. She is also the author of four collections of linked short stories and a recent recipient of a Christopher Isherwood Fiction Fellowship. Boneland, her newest book of fiction, is just out with U. of Oklahoma Press. Her stories have been published in AGNI, The Massachusetts Review, The Sun, and Kenyon Review. Nance’s photo-collage work has appeared in Handsome Journal, The Cincinnati Review, Em, Dark Sky, Diode, Ilk, and Western Humanities Review. New visual work and an essay on poetry and photography appear in Poetry Northwest and excerpts from a collage novel are forthcoming in Hotel Amerika and The Kenyon Review Online. Click this link to see a collection of Nance Van Winckel’s mash-ups of poetry and photography, which she calls photoems. She is Professor Emerita in Eastern Washington University’s graduate creative writing program, as well as a faculty member of Vermont College of Fine Arts low-residency MFA program. She lives near Spokane, Washington with her husband, the artist Rik Nelson. Her personal web page is here.

Dec 072013
 

Heading home after the first semester as Writer-in-Residence at the University of New Brunswick. I’ve been living at Mark Anthony Jarman‘s house just across the street from the Saint John River in Fredericton, about a 10-minute walk from the campus, also a 10-minute drive from the university’s research woodlot where I walk the dog often. R. W. Gray lives just down the third-floor hall from me. Both Mark and Rob have new books of stories coming out. According to legend, the house is built on property once owned by Benedict Arnold. Photos by dg, maj & ch.

dg

DSCF6934From the back

DSCF7031Up to the third floor where dg lives

DSCF7028Third floor sunlight, R. W. Gray’s door on left

DSCF7030Second floor landing looking out on Waterloo Row and the river

More dawg (Lucy) 087The house dawg

DSCF7032Second floor hallway

DSCF7037Living room and TV room beyond, new pellet stove at far right

Lucy & ClarissaLucy and Clarissa

Lucy and FifiLucy and Fifi

DSCF6893MAJ and Clarissa

DSCF6880Lu in the university woodlot

DSCF6876Woodlot

Clarissa and LucyLu and Clarissa’s shoes

Dec 062013
 

William Olsen

William Olsen is a dear friend and former colleague at Vermont College of Fine Arts, a publisher, editor and poet, a major force, diffident and yet such a presence. In this new poem, he pens what he calls “among other things, some sort of response to and loving argument with a favorite poem, Coleridge’s “Frost At Midnight.” The Coleridge poem situates itself as an address to the poet’s son, sleeping in his cradle. It’s night; it’s cold. Frost outside. Everyone is asleep except the poet. The world is so still the stillness seems to flutter with presence that disturbs meditation, the presence of the Stranger, which is a kind of Coleridgean encapsulation of a neo-Platonic deity behind or beneath the phenomena of existence. The poet bemoans his own childhood (much to complain of there) cooped up in the city grime and tells his son he’s lucky; he’ll grow up in sight of “…lakes and shores / And mountain crags…” that are the “eternal language” of God.

Olsen’s poem plays with Coleridge’s poem starting with a brilliantly suspended first sentence that takes seven stanzas to come to an end as the poet takes us deeper and deeper beneath the surface of things, past regret and mother’s tears and “funereal vacuities” (more than a hint of humor here) to something that, in the end, is not Coleridge’s Stranger nor his God, rather something the poet cannot name or even choose to name. Note the line “wherever it is leaves must fall” and its echo farther down “The leaf falls to earth…”

The leaf falls to earth and keeps
falling and cups the frost,
then decomposes beyond the deeps,
to teach us how to be lost.

And the word “teach” here echoes the Coleridge poem that also is about teaching: God “Great universal Teacher!” But Olsen is much less credulous or sanguine than Coleridge. He cannot say why things are nor who speaks through the delicate traceries of frost and the decomposing leaves that teach.

dg

Far down below black, lowest regret,
deeper than death, and deeper yet,
down where my mother weeps to me
to leave tomorrow’s sorrows be,

far below sadness and tenderness,
where more is less and less is less,
below the sky or the sky-blue lake
brimming over like the hull of a shipwreck,

below where the crows crow and the cows sleep,
below the bluestem and the apples the cows crap,
below the prettiest sunset,
below even the bluest white-

bright-last-sunlight upon even bluer waves
gleaming their overly-precious granite graves,
below funereal vacuities,
extravagant superfluities,

far below the lovers’ quarrels,
or their story’s broody morals,
in its own good timely time, time has gone back home.
Time and time again, homeless time—

all the time in the world, homeless,
homeless space of universe,
all the time that time might pass
inside a shiny timeless hearse——

far down below idling hopes,
below the learned astronomer’s telescopes,
wherever it is leaves must fall
is neither my life nor my choice to call.

                            §

Upon a few gnarled stunted vines
fall’s first frost fairly shines,
mist rising up from fields while new minted frost
mummifies a shingle-sided house.

Here is a glittery homelessness
better acquainted with earth than with us.
All we are is less substantial,
all our fears, less substantial.

Dawn is ready and the heart is able.
Fear could not be less substantial.
I’ve had it with odes to dejection,
which is never more than the fear of rejection.

                            §

Here’s what frost isn’t—insubstantial,
querulous, of itself too full,
a mood of ferried buried
waves and the threadbare eroded

dunes we sightseers climb up and down to ruin.
Torment never spread itself this thin.
Incandescent, heartless, so like tin—
gull-gray gulls shriek atonal tunes.

The light of frost is the understudy of day,
this lake, once, as hard as rock:
icebergs—like ships, they broke
to floes which, farther down on their luck

drowned, to nothing—invisibly.
This frost is anything but free.
It looks like the moonlight got good and lost.
It got busted, sprung, and lost.

Frost has a cryological conscience:
the afterworld is cold chance.
Lunatical . . . white as a grin.
It shines unapproachably, like sunlight shines on tin,

whitening fields between cars and houses.
Plow-slashed furrows freeze
over smooth to its silver sky.
Forgive this intricate analysis

but it looks so stunned and incredulous.
It is spotty, like a roof of a vacant crystal palace,
Instantaneously tenuous,
it scribes the window glass.

                            §

It is so distinct from rain.
It shuns asphalt as too human.
The lustrous is
incipient in us.

Its deposition of glory
is inexplicably ordinary.
What a tenacious
underside of heaven it is—

it won’t be pushed around or salted or plowed like snow.
It won’t be tracked on and no weatherman will see it lift.
It is profligate thrift.
Its past is vaporous.

Beauty never spread itself so thin—
incandescent, the heartless night
turned inside out—
pasture field light.

                            §

The great lovers once frantic to touch
in darkness no dawn or frost can reach—
my mother gone in the blink of an eye,
my father going by and by,

all mothers, all sisters, all fathers, all sons,
all brothers and keepers, everyone’s
truest, best, lost influences,
nameless lovingkindnesses. . . .

it is all and none of this.

                            §

It seems irretrievably early.
Time is awake, only barely,
infinitesimal hates,
infinitesimal fights.

Tight, fibrous and delicate,
around the fine white plow bared roots,
its extremely minute white
threads appeared overnight.

It prompts us and then reproves us.
Its intricate paralysis
crystallizes . . . miraculous.
Preposterous.  Analogous.

                            §

The leaf falls to earth and keeps
falling and cups the frost,
then decomposes beyond the deeps,
to teach us how to be lost.

                            §

So night may be said to be over,
over, and over at no real cost,
each dawn the stars take cover.
Stop fretting about the frost.

Frost clung to the shadow places
and as always already was there
before anyone could take a step.
In the sky, stars stayed on

while you were asleep.

                            §

While you were asleep
everyone was asleep;
if we sleep, if we die,
stars hang in the sky.

Between our houses
is its heartlessness,
but whatever grass
is, the frost blesses

whoever sees this,
whoever would mean
that frost be seen
not heard in this:

now fields steam and
its steam mists to sky.
Under us is only sand
and who can say why,

or whose voice this is.

—William Olsen
———————————-

William Olsen is author of five collections of poetry, including Sand Theory (Northwestern, 2011). He has received fellowships from the Guggenheim Foundation, the NEA and Breadloaf.  He is co-editor of Planet on the Table: Writers on the Reading Life (Sarabande) and, most recently, Poetry in Michigan/Michigan in Poetry (New Issues). He teaches in the MFA and Ph.D program at Western Michigan University and edits New Issues Press. His home is in Kalamazoo.
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Dec 062013
 

dg and Lucy at Lawrencetown Beach in Nova Scotia

The Fiddlehead is one of the grand old Canadian institutions, a literary magazine that first published in 1945, that published me regularly back in the days when I was a young strip of a writer just starting out (in those days the fiction was edited by Kent Thompson and  Roger Ploude). Now Ross Leckie is the editor; his office in the English Department at the University of New Brunswick is just down that hall from mine. Mark Anthony Jarman and Gerard Beirne are the fiction editors; the summer fiction issue has become a major publishing event of the year under their inspired leadership.

dg

Introducing the Judges for The Fiddlehead’s 23rd Annual Literary Contest

The Fiddlehead‘s annual literary contest is now closed, and we’re pleased to announce this year’s fabulous judges.

Fiction Judge
Douglas Glover
Douglas Glover’s newest book, a collection of short stories called Savage Love, appeared in the fall of 2013. He has won the Governor General’s Award for his novel Elle as well as the Rogers Writers’ Trust Timothy Findley Award for his body of work. He edited Best Canadian Stories from 1996 to 2006. He teaches in the MFA program at Vermont College of Fine Arts and is the current Writer-in-Residence at the University of New Brunswick. He edits the international online arts magazine Numéro Cinq.

via The Fiddlehead Blog: Introducing the Judges for The Fiddlehead’s 23rd Annual Literary Contest.

Dec 052013
 

keun

Gilgi

Gilgi
Irmgard Keun
Translated by Geoff Wilkes
Melville House Books
Paperback; 229 pages; $16.00 US/CAN

In the spring of 2011, Melville House published as part of their Neversink Library a compact but tremendously potent little novel by German author Irmgard Keun called After Midnight. First published in 1937 as Nacht Mitternacht, After Midnight is Keun’s third novel, written in exile after the Nazis banned her books and effectively prevented her from further publishing. A tale of censorship and acquiescence, of nationalistic fervor and vile human pettiness, of disappeared persons, of vengeful murders and polite suicides, After Midnight contemplates above all the moral obligations of a writer in times of government oppression and blind patriotism.

Keun secreted herself back into Germany in 1940, protected by rumors of her demise, and lived long enough to see her novels receive renewed critical attention in the 1970s and ‘80s. Her life is easily romanticized (defying the Nazis, wandering in exile, staging her own suicide), but Keun’s time away was no holiday. As an aging writer explains to the protagonist during the party scene that is After Midnight’s climax, “You’ll find any other country is smooth and hard as a chestnut shell. You become a trial to yourself and a burden on others. For the roofs you see are not built for you… And the language you hear is not spoken for you.”

Now Meville House has released Keun’s debut novel, the 1931 bestselling Gilgi, ein von uns. Translated by Geoff Wilkes (and conspicuously missing the “one of us” subtitle), this is the first time Gilgi has been fully published in English. The eponymous Gisela – she prefers the name Gilgi because “the two i’s are better suited to slim legs and narrow hips like a child’s” – inhabits a seemingly free Germany, a Cologne that is worlds away from the party demonstrations and concentration camps spoke of in After Midnight. Still, a painful recession is bankrupting whole companies and ruining personal fortunes, the Weimar government is clamping down on individual freedoms, and all the while gangs of communists and Nazis are beating each other up in the streets. Keun shows complete awareness that something terrible was about to happen, even if Gilgi, not much interested in politics, doesn’t seem to care.

What does interest Gilgi is ambition. Aged only twenty years at the novel’s outset, Gilgi works as a typist by day, studies in a rented room by night, and only ever allows herself some fun when she feels she’s earned it. Any activity she deems unproductive or unenjoyable is simply “a pointless waste of time, and completely incompatible with Gilgi’s character and her conscience.” She is quite sure, furthermore, that all her successes are a direct result of such diligent work; that the unemployed and the poor, “these people who don’t work, ambling so idiotically, frivolously, dozily through their lives,” simply aren’t trying hard enough.

Gilgi’s work ethic, her independence, and even her boyish-but-alluring body are all indicative of Gilgi’s life as a New Woman, a concept popularized by Henry James but prevalent in German society in the wake of the First World War. The German New Woman of the Weimar era was – according to popular magazines of the time like Die Dame and Uhu – intelligent and athletic, sociable and sexually liberated, while still being beautiful and refined.

Gilgi’s (perceived) firm grip on her life’s trajectory begins to fall away on the morning of her 21st birthday, when her mother informs her she was adopted as a baby from a poor seamstress named Frau Täschler. Täschler, a “faceless” old woman whose poverty Gilgi finds repulsive, reveals that Gilgi is in truth the daughter of the enormously wealthy Frau Kreil, though the birth was hidden away to avoid a scandal. But before Gilgi can dissolve into an absurd melodrama of confused identity and lineage, the protagonist is distracted by that most unrelentingly force of destruction: love.

Enter Martin Bruck, world-traveling writer and romantic adventurer; a man of forty-three years who scorns money and finds steady employment far too quotidian for his taste. Gilgi of course falls desperately for Martin, in a fit of passion that rips her away from her work, from her ambitions, and ultimately from her once-firm sense of self. Gilgi’s lover, alternately worshipful and condescending, wastes no time in imposing upon her his image of an ideal woman.

While she’s no stranger to flirtation or male attention, Gilgi learns for the first time what an absolute chore it is to care deeply for another human being. “The hours of happiness come at a high price. The bill is presented promptly,” she muses. “Pay it! With what? With fear and twinges of pain. No, I don’t think the price is too high, I just find the currency strange.” Gilgi wants her love to fit into a rational economic system, a scheme she can control or at least plan for, but finds sorely that one cannot make a budget of one’s desires.

Martin comes across as a bit of a type, the Writer, what with his penchant for swapping drunken stories with old sailors, dreaming up romantic narratives for backstreet curio shops, and punctuating long periods of inactivity with furious, flittering frenzies of writing. (Gilgi, desperate to justify the relationship to herself, lies to friends about the frequency of these frenzies, “then she believes it, because she wants to believe it.”) Keun is expert at charting of his and Gilgi’s relationship – as the currents of euphoria flow alongside terror and anxiety and self-doubt.

In fact, many of Gilgi’s supporting cast bear resemblance to common character tropes. From the beautiful and carefree artist Olga, to the brooding and sexually frustrated off-brand Raskolnikov named Pit, to Gilgi’s three mothers (working-class, bourgeois, and wealthy), Keun’s characters feel oddly familiar. But this is precisely the point. Just as Gilgi is a (fictional) living product of New Woman ideals, so the other characters may be seen as reproductions of tropes from other serialized popular novels. The connection is explicit: all the characters, most evidently the three mothers, read the very magazines they’re being pulled from. “My beautiful love shouldn’t turn into a kind of Strindberg play,” opines Gilgi, and Keun here knows exactly what sort of joke she’s making.

Of course it’s nothing new to have fictional characters read and reference fiction. Any believable facsimile of the world will include its own references to novels and films, and the rather fun irony here is that nothing is more life-like than a human being comparing her life to a work of fiction. But Keun’s efforts are particularly pointed. When Gilgi finally meets the true mother, locked away behind her wealth in labyrinth of chambers and antechambers, she is described dismissively as a “title character in a mediocre magazine serial.” Gilgi insists that Frau Kreil explain herself, “so that you become a living being for me.” Kreil, shocked into silence by the meeting, says nothing. So Gilgi constructs Kreil’s narrative herself, and a “magazine-lady” she remains.

Gilgi herself is a remarkably complex protagonist, occasionally naïve but also fiendishly clever, particularly in her understanding what it means to be a young woman in a male-dominated society: “the shape of Gilgi’s little breasts is clearly visible under her blue-gray velvet dress, convincing Herr Reuter that Gilgi is ‘the’ woman who understands him.” Even when she is overtaken by desire for Martin, she never ceases being cognizant of what love is costing her: “What I see in the mirror is what someone else has made out of me.” Martin rarely allows Gilgi to have her say, casting doubt as to whether Martin can really see her as “a living being.”

The novel is told in a fluid third person, but so close is the narrator to Gilgi’s thoughts that “she” and “I” are used almost interchangeably. Certain of her thoughts and actions are described from without, others as if Gilgi herself were the narrator (a version of free indirect discourse), and – increasingly so as she becomes more disconnected from her firm concept of self – the action is described even with the universal “you.” Some of Gilgi’s most profound revelations about what fierce desire can bring upon a human animal (“…and deep down you sense the purpose of pain and inevitable loss…”) are directed as much at the reader as they are at Gilgi herself.

Keun brilliantly depicts every change in Gilgi’s constantly evolving understanding of her love for Martin; the narratives by which she justifies her actions, the cynical resignations to self-loathing. Gilgi can casually joke to a friend in one moment that she has “been stung by a wild hormone,” and spend a sleepless, tormented night waiting for Martin to come home in the next. Keun here hints at something her protagonist slowly begins to suspect. Gilgi, though she believes as we all do that she is a cohesive, self-motivated individual with a consistent identity, may actually be something far more fragmented.

Beneath her athletic figure and her daily routines, Gilgi is an absolute mess of warring desires. “There are two layers in me,” she realizes, “and the upper one, it dictates – everyday words, everyday actions-little girl, little machine girl, little clockwork girl- the lower layer underneath it-always wanting, always searching, always longing…” She asks, finally, “WhatamIreally?” This, then, is the real horror of love: not that it weakens our resolve or compels us to compromise our individual interests and ideals, but that it forces us to reconsider the commonplace notion that we are firm, consistent entities. The concept of a singular Gilgi, a young woman who is the same from day to day, or even from moment to moment, is revealed to be an illusion.

All the while, Gilgi undergoes a second curious transformation, one that parallels her growing dependence on Martin. She begins to stray from a Randian self-importance and acquires a slightly more liberal, sympathetic view of her fellow man. Having lost a concrete knowledge of her origins, Gilgi considers that her successes stem as much from her bourgeois upbringing as they do from sheer hard work. As a result of the hemorrhaging economy (and of love-induced slothfulness), Gilgi also comes face to face with real poverty. The poor continue to repulse her, but it’s more out of a subconscious understanding of belonging to poverty than a feeling of being above it. And finally, the protagonist’s weakening selfhood makes her more likely to experience her life not as Gilgi, but as a universal you. It’s worth noting that while the socialist Pit is arguably more interested in the welfare of the common man, Gilgi makes the firm distinction between “people” as an abstract intellectual concept and “human beings,” real knowable entities with thoughts, feelings, desires, and pains.

Crisis strikes, and Gilgi is shocked into abandoning Martin and reasserting her independence. On a train platform waiting to depart for Berlin, Gilgi assures Pit that she will inevitably prevail. “There’s a whole heap of people I can beat,” she says, “because my will is stronger and more durable.” And yet she’s also learned humility, “because you belong in the overall structure, you’re not created to stand outside it.” This final conflict – between a human sense of belonging to the crowd while simultaneously feeling that she alone stands above and apart – perhaps confirms more than anything that Gilgi really is ein von uns.

—Adam Segal

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Adam Segal is a writer and culinary professional in Portland, Oregon. He graduated from the University of Iowa some time ago, and has since interned for Graywolf Press and contributed extensively to Whole Beast Rag magazine, among myriad other adventures.

Dec 042013
 

Butane Anvil

Savage Love Cover

Butane Anvil, aka Amber Homeniuk, is a friend from Norfolk County where I grew up. She’s also a chicken-owner and expert who advises my mother on her flock. She likes to dress up and take pictures. She also writes poems — see a selection we published on NC. Re. insomnia — it seems to be going around these days.

I dunno. I love that name, Butane Anvil. I wish I had thought of it.

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An exceptional read this fall was Savage Love by highly esteemed Canadian author and my friend Douglas Glover. In contrast to the aforementioned extremely terrible yet effectively soporific vampire novels, the stories in Savage Love more easily encourage a deliciously unsettling insomnia as they tend to stick to the ribs, or in many cases between them, being keen-edged with interpersonal horror, levity, and relentless skewering.

via Butane Anvil: And Its Heart So Savage.

Dec 042013
 


JM1

 

The first book I reviewed for Numéro Cinq was Joseph McElroy’s Night Soul & Other Stories. It was a book that shook me like few other have. Its sentences were often long, articulated in a style that was erudite and meticulous. But length and erudition wasn’t all, these sentences frequently seemed to syntactically dislocate, or bloom formally and then mutate colloquially, or grow fractal-like with a multitude of subordinate structures resisting simplicity to achieve a kind of nonhierarchical fiction.

The complexity and range of these stories were beguiling, like a new experience, displacing what I thought fiction could do. At the time I knew very little about Joseph McElroy’s fiction, and in my naiveté I compared the stories in Night Soul to wooly, homemade machines; I compared them to a radio slipping between stations. But here’s how novelist Kathryn Kramer says it: “[A]s you wend your way through some of McElroy’s sentences, you find, not so much yourself, as yourself in the process—yourself not lost through diffusion but enlarged through connections.”{{1}}

While reading for that review I stumbled upon this from Joseph McElroy in which he writes: “What can happen? my stories ask, as I ask of my life and yours. Not only what did happen.” This in many ways helped me to read and appreciate McElroy’s fiction more, understanding that his imagination didn’t stop at the aesthetical, but pushed beyond.  “The Man with the Bagful of Boomerangs in the Bois de Boulogne,” a story from Night Soul & Other Stories, is available on Numéro Cinq to get a little of the flavor of what I’m talking about.

Joseph McElroy is the author of nine published novels, including Cannonball (2013), Actress in the House (2003), Letter Left to Me (1988) Lookout Cartridge (1974), and the twentieth-century classic, Women & Men (1987). He has also written a book of essays and three plays. Dzanc Books will be reissuing several of McElroy’s books in the coming year, including the aforementioned collection of essays, Exponential, in e-book form, and his second novel, Ancient History: A Paraphase, in paperback.  He is the recipient of the Award in Literature from American Academy of Arts and Letters and a fellowship from the Guggenheim, Rockefeller, and D. H. Lawrence Foundation and twice from the National Endowment for the Arts. Now in his early 80s, he doesn’t seem to have lost any steam for writing remarkable prose. Cannonball, his most recent novel, has the robustness in style and execution that characterizes his work without a hint of looking back, but with an enthusiastic pressing forward.

Over the last few weeks, Joseph McElroy was gracious enough to take some questions.  We talked on three topics: his unique writing style, Cannonball, and his upcoming books. As you’ll discover, Cannonball is about many things: conspiracies, competitive diving, bogus religious texts, the United States’ most recent war in Iraq, and more.  So, in the way of offering some guidance through the interview, I’ll just mention a few facts. Zach is the novel’s narrator.  At the beginning, Zach is a teenager, and he befriends Umo, a 300-plus pound (possibly illegal) immigrant after seeing Umo dive so elegantly at a community pool.  Zach’s father is the coach of a local swimming club and he has ambitions of coaching a swimmer to the Olympics. Zach brings Umo to see his father, thinking that Umo is the one who’ll help his father. The Chaplin who is mentioned below becomes important mid-way through the novel after Zach has enlisted in the army, receiving a somewhat mysterious offer to be a photography specialist despite his lack of talent as a photographer.  Zach meets the Chaplain twice: once during training and a second time after an explosion at a palace in Iraq. Zach discovers the wounded Chaplain holding what appears to be ancient Scrolls “purporting to be a first-hand first-century live interview with a Jesus” in a water system running underneath the palace. Zach takes from the Chaplain a scrap of the Scrolls, which is later used to prove their inauthenticity.

I’ll leave it that and let Cannonball’s author speak.

—Jason DeYoung

 

Jason DeYoung (JD):  Your style of writing has often been described as difficult, challenging, demanding. Your sentences are often mysterious, long, and multifaceted; they are often wonderfully exuberant with words, too.  You seem to be interested in pushing the English language to “do more.”

Joseph McElroy (JM): I’m only using it for myself, to get at whatever it is I think I’ve found or I’m up to. It’s a great language, the Germanic and the Latinate and Shakespeare’s new words and Anthony Burgess in A Clockwork Orange—the novel and its glossary. American English, too, no matter what people say, the variety of vocabularies overlapping and migrating like people who happen to come to you at a big moment or even who deny you something. When I was teaching at Hopkins in 1975 I wrote down a bunch of short statements about the sentence and said them aloud in class, however gnomic they might have sounded, and felt badly afterward but was told that what I said was OK. I have added to that list, maybe there are forty of those statements. Maybe I’ll publish it and be paid for it someday.

I think about the sentence as drawn between a need to get somewhere and end and then not to end if it can find its continuing shape in what comes next. Thurber on Henry James wanting to say everything at once. Proust both thinking summarily of a whole narrative of things all in one sentence with particulars and wonderful generalized coups of insights, the last sentence of “Swann in Love where he concludes with a longing, almost corny, but shattering climax, that Odette wasn’t even his type—his genre (in the French); James Joyce a great composer of syntactical fragments and of long sentences—in Ulysses xvii, especially on water, where the seriousness, the comprehensive well-informedness implied humorously and lovingly by Joyce in Leopold’s science and municipal technology become also the ongoingness of the sentences, the  “prose” as well as Leopold’s happiness to be giving this young guy Stephen some hospitality in the middle of the night boiling water for tea. Sentences are like home for me, even a wilderness, yes, to seek what I have perhaps found. Eudora Welty, Donne  (his sentences in the poems), poor Cheever recalling DeQuincey in Bullet Park, Jane Austen (the mind of all those fine ironies all at once in her sentences), Nabokov in Pale Fire (even granting a truth in Nadezhda Mandelstam’s charge that the expatriate never achieved maturity), Henry Adams in The Education, the nursing mother whales we look down and see suspended in the watery vault “eyeing us” in Melville’s close to miraculous Grand Armada chapter—sentences so many of our younger memoirists running off at the mouth would do well to have heard and given some thought to— Intricate the passage and the sentence are my unit, pretty much, and can be sometimes several thoughts enfolding one another, passing through one another like neutrons or my reciprocal fortunate memories—and is Melville not a thinker?

JD: But how do you see your style?  Do you see it as those things, as I mentioned?

JM: A rhythm of amazement and precision, risk maybe sometimes like Faulkner’s in Absalom or As I Lay Dying, his best—blunt elusiveness like Beckett’s?  Beckett maybe in The Letter Left to Me.

JD: Could you talk a little about the evolution of your style, how you developed it, influences, philosophy?

JM: Philosophy? Read it all, Barthelme advised. Haphazard. Dos Passos and the collage of informational forms in the USA trilogy made a huge impression. Japanese legends of warriors, black armor. Great Expectations, the great sources in a kid’s helpless snobberies, the first novel I ever took apart and analyzed, I mean a teacher in second year high school told me to—I mean I saw that this story was a thing made and could be studied as to how it worked. Technique, structure. I can’t think where my style came from at the moment. Science reading. The fear of not gathering what I wanted into a sentence. Don’t trust the writer answering this personal question. Sentences, though.

JD: Well, how do you think about sentences?  How do you know when they’re done and what are you looking for?

JM: I thought I had to curb my syntaxes when I was ten or eleven years old and writing stories. It wasn’t till I was in college that it occurred to me that the structures of my sentences might be truer than… —I wonder if the highly inflected Latin I had four years of in school in an amiable way suggested to me that I might find truthful structures in English while positioning parts of a sentence as if I were working with declensions, dative, ablative, accusative, a nominative toward the end, say, of the sentence. I have only a little graduate school German, whatever I kid myself I get in facing-text renderings of Rilke—so I never thought about holding the verb off till the end.           

cannonball

JD: Cannonball is your ninth published novel. What are some of the discoveries you made while writing (these could be technical or emotional or something else) or what surprised you the most about writing Cannonball?  This question is inspired by those wonderful three sentences in your essay “Socrates on the Beach”: “Writing is thinking. Getting somewhere. Even into ignorance.”

JM: Sounds like you want to take readers away from the book itself, but no, not you, Jason.  “Ignorance” I mean here is an achievement, right? Limits crashed into for now, a dark space you fall into. But limits which if you live in them are like the next question, which is even, Why the need of questioning?

Cannonball takes the mess afflicting its characters to a new stage and is clear about it.  Some of it is learning how things began. Why the huge, in fact corpulent Asian probably “illegal” teenager who can dive so astonishingly well came into Zach’s life to begin with. It’s all there. How things happen. Something’s at stake for the reader. This is my most uneasy-feeling or darkest book. More than Lookout Cartridge. My only really dark book, upshot after upshot, though with a young voice that itself isn’t dark.

Stanley Elkin, in the days of carbon paper—was it that early?—said somewhere more or less that your American novelist makes his POV hero six or seven years younger than himself; this is what is known as Carbon 14 dating, Stanley explains. My hero, and at the end of it all he is something of a hero, is six decades younger than I and I’ve been happy to hear from some young readers (they’re all younger now) that Zach is convincing. He’s a remarkable witness, for all he doesn’t quite know. You have to look at what happens. People sometimes they come to you at the right time asking you for what is needed. What does William James say about this in the Varieties of Religious Experience: What actually happens. It’s right there. What do we learn from the Chaplain? What are we to make of it? And what of him is saved by Zach—one of the best surprises in the story. Somewhere between Catch 22 and The Red Badge of Courage, I’ve heard said of Cannonball. That doesn’t come too close. Closer to Crane if I have to compare. But Crane? Hemingway admired The Red Badge—who said: You make it up out of what you know—though he didn’t know much about women and men together.

“Surprised,” you said? I was surprised how the closeness between brother and sister developed. What it has to do with the war and diving. I let the characters be. That means make the scenes speak. Brother and sister in the car toward the end, things changing between them slightly – one of the best things I have done. Each new book asks the reader to read what it says. Many readers would rather talk about something else. The father is seen by one reviewer as an absence. But we know a lot about him. Maybe for some readers each scene the father’s in might seem to leave out some dumb confessional explanation by him of himself some reader thinks is needed. It’s not. The son Zach doesn’t know him too well, perhaps.  Zach tells what he knows. The father seems to find fault with the son. But not only.  What the main character Zach sees gives us even richly these extraordinary limitations of the father character.  He recedes but not into indefiniteness. Proust would have given us a wonderful analysis of the man. I might have in another novel. Proust the greatest novelist of the twentieth century, so much closer to me than these other names I hear myself placed with and am so unlike.  Doesn’t mean I write like him. In this novel, did father sacrifice son to get what he wanted? The father probably doesn’t see it that way. Attentive reader grasps the question. By the time of his enlistment Zach makes his own choice.  But he’s invited to enlist, remember, and if you read, you can find how he came to be invited. The reader might try accepting the characters as given. All the information’s provided—a lot, and often I would say American information.  The chaplain, what happens to him and before he recedes, all that he leaves us with. Lazarus. Zach’s half-unknowing influence on events. Government thinks one character is alive but isn’t, another dead but isn’t.

lc

JD: I’m interested in the idea that you wrote Cannonball out of your “anger about the Iraq war,” as you mentioned in another interview.  Were your emotions purged or lessened by writing the novel? Or is the point of writing with these strong emotions meant to be a transference of sorts of your emotions onto the reader? And if that’s so, do you agree that writing is a “hostile act,” as Joan Didion called it so many years ago?

JM: Transferred into the story, I would say. Story stands between the reader and the writer: there it is, for the reader to take or leave, and not for the writer to explain, much less explain where it came from. Writer probably does not entirely know. I say the Scrolls, one source. An American curse, mouthing some Christianity lipservice to justify any damn thing we do as a nation. So from archaeology and weapons of mass destruction and confirming all our self-promotions comes an ancient transcript torn and fragile and part-lost derived from what we know and what we do purporting to be a first-hand first-century live interview with a Jesus not at odds with American success myths. Lawrence meant something else when he said “The essential American soul is hard, isolate, stoic, and a killer.” But the cruelty in a whole segment  of our politics (right wing? the word “wing” is misleading) is hard to believe. {{2}}

I guess the Scrolls are near the source of Cannonball. But springboard diving another point of departure definitely.  Perhaps never quite been done like this before in a novel.  Even the calculus of it at the very end connects it to the war and the brother and sister and the Hearings about Competition.

For me there are no individual beginnings for a novel—several points of departure, impulses, subjects scattered out there, that I let myself be at sea with or in orbit around or they in orbit half out of reach around me and gradually the subjects gather their relations. The diving accident, as the reader will understand, draws so many of the book’s elements together; but so does the brother-sister relation; and friendship; and the Scrolls, and so on.

JD: What about “hostile act”?

JM:  What exactly, and who, am I, as you put it, agreeing with? Anger could be out of control. Anger could be a clarifying force. Writing is fighting, I think Nietzsche said. Only as it’s trying to think something through. It’s meditation, too. I have it both ways. There are the sentences and there are the people.

201105140057260.LgWomen-and-men

JD: One of the more interesting facets of your style is the confluence of simultaneous events for instance early in Cannonball, Zach, the narrator, is shooting onto film one of Umo’s dives, while at the same time Zach is being told about a question Corona’s wife has asked E, Zach’s sister; but also there is a “breaker fluke,” and the power flashes, and on to that an “old woman” “materialize[s]” to speak.  This is all captured in an 18-line sentence.

JM: (An 18-word sentence would have been better.) It’s an embrace a love a prayer but to whom(?), so many parts of one in-motion act—vision like a dive you might want to see all the parts of but at the same time as William James in that late book refutes Zeno’s infinitely dividing up the space traversed so supposedly you never get there?

Everything at once may make hash of causality. It’s also the way we can feel—not overwhelmed so much as in touch with a lot suddenly, our decision-making all but dissolved or some aesthetic thrill at the changing core of things if there is one. A reader might note that a character close to Zach is interested in what happens right before an event; another what comes right after. A nose for how things happened. Something to do with photography, too—what seems to take Zach to the War, Army’s employing him for that. Reader might follow why. Zach’s not a pro. Really not much of a photographer. Though maybe that makes the photography more interesting. It’s not photography that takes him back to the War the second time.

JD: In a lot of Cannonball, sports and war and religion are all mixed up, and it is in many ways a political novel.  Do you believe that sports are (or can be) a replacement or placeholder for war?

JM: Sure. Who doesn’t? Conflict coming at you unavoidable—doesn’t mean that knife-fighting is the ultimate moral test as Cormac McCarthy, a great landscape writer, would have us believe, who dismisses Henry James. You have to decide how far the always interesting pressures of a competitive sport can take you. Character-building as coach says, whose own character may have been stunted by it; it lives in fantasy—but imagination, finding new combinations and possibilities is our social and ethical genius if we would seek it in ourselves. Diving, soccer, karate—art? Maybe, or some texture or task like how to live. Football takes brains, all those playbooks, but the allegiances and simple-mindedness and insane fandom, God.  Preoccupation with sports makes us trivial but it’s dramatic, too. Degrees of difficulty in competitive diving measure beauty too. Never apart from the behavior of the water.  Yeats, the “fascination of what’s difficult” —Orwell, the overcoming of something difficult in writing, hence a density. Someone says “difficult” —of art—but “difficult” is never spelled out, it’s conveniently left indefinite, it’s never voiced as a word that refers to a clear idea or standard, though it pretends to in readers’ mouths. What are we willing to look for in other people?  Intricacies of courage.

Joseph_McElroy,_Ancient_History,_cover

JD: Ancient History being re-released just a few months after your most recent novel, why Ancient History: A Paraphase and not, say, Hind’s Kidnap? Or is the latter forthcoming?

JM: Partly an accident of publishing; Hind’s Kidnap is coming out as an e-book, and I hope for a print reprint.  A young writer friend of mine thinks Ancient History (1971) has a lot to say to young people now, so we pushed for a print reprint.  Jonathan Lethem wrote an intro.  What publishers choose to bring back, it’s all something of a lottery.

JD: I’ve read that your next project is a nonfiction book on water.

JM: It’s been in progress nine years. Almost done. I don’t think there’s anything like it. One small side of it visible in an essay that appeared recently in New England Review, “Wetland Reflections,” about a made wetland in lower Bronx River. I’m interested in what water is to us.

JD: Any other new work?

JM: Sceenplay. Children’s book. Libretto.  A novel called Voir Dire begun in 1991.  600-some pages so far. An excerpt published a few years ago. And another novel at last getting finished was the first effort I ever made to understand what I was doing—being made to move by outside forces yet somehow within their restrictions making my world move—sorry about that word “world” —and what awaited (though not necessarily me). You sign up for what you think the job is and it turns out to be something entirely different. More to it, you know, than that. It gives me the chills how that novel is still clear in my mind. I started it around 1948, do you believe me? Been sort of writing it since I was 18. It’s getting done by Spring.

—Joseph McElroy and Jason DeYoung

JM2

Joseph McElroy is the author of nine novels including A Smuggler’s Bible, Lookout Cartridge, Actress in the House, and Women & Men.  He has also published a book of short stories—Night Soul & Other Stories—and a collection of essays—Exponential.  He received the Award in Literature from the American Academy of Arts and Letters and fellowships from the Guggenheim, Rockefeller, and D. H. Lawrence Foundations, twice from Ingram Merrill and twice from the National Endowment for the Arts.  He was born in Brooklyn, New York in 1930.

Jason DeYoungJason DeYoung lives in Atlanta, Georgia.  His fiction has appeared or forthcoming in REAL: Regarding Art and Letters, New Orleans Review, The Los Angeles ReviewNuméro Cinq, and The Best American Mystery Stories 2012

[[1]]Kramer, Kathryn, “Dr. McElroy, Homeopath: What One Goes to Him For,” The Review of Contemporary Fiction. Spring 1990. Vol. X, No. 1. Page 80[[1]]

[[2]]The full D. H. Lawrence quotation from Studies in Classic American Literature: “The essential American soul is hard, isolate, stoic, and a killer. It has never yet melted.”[[2]]

Dec 032013
 

Louise Manifold & Kevin Barry

Today Numéro Cinq begins a new special feature tagged Uimhir a Cúig, which means Number Five in Irish, wherein you will find some of the best in contemporary Irish literature and culture exhibited. To launch Uimhir a Cúig, we have a video by the amazing and uncanny Galway artist Louise Manifold with text and voiceover from the massively celebrated Kevin Barry, winner of last year’s Dublin IMPAC International Literary Award for his novel The City of Bohane as well as the Sunday Times EFG Private Bank Short Story Prize. Barry is a wonderful read. He is especially good on the rhythm and nuance of Irish idiom (his stories set in pubs are wonderful, put you in mind of Flann O’Brien) and comedy in a dark time. Cotard’s Delusion happens to be a real pathology in which the sufferer believes he is dead.

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This is a piece I wrote to go with a video and audio installation for an artist called Louise Manifold in Galway based on Cotard’s Delusion — a rare mental state in which you wake up one morning and believe yourself to be dead. It was apparently Cotard’s that inspired Beckett’s The Calmative. Louise filmed the interior of a derelict old cinema in New Jersey — as good a locale to define a state of living death as any!

—Kevin Barry

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[vimeo]http://vimeo.com/65849098[/vimeo]

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My wife is distraught and has refused to accept the facts of the situation. I suppose her reaction is common to the bereaved. She cannot accept that the old realities are done with now. That I have no heat in my bones to lend her now. She rants like a mad woman – she refuses to accept the pure state of my absence; she will not accept that I am no longer here. I can only hope that time will do its patient work on her now – as they insist it will –  and that she can find something or someone to live for again; she is not an old woman yet.

It is Saturday I can tell even by the feel of the streets and somehow by the way the light falls – there is a species of winter light that holds the particular resonance of Saturday – and it is late morning, and the people are about and lost in the make-busy routines of their lives, as though any of it matters, and I move among them and sometimes, even still, I draw passing nods from the acquaintances of my old life, but I do not return their smiles and gestures – how could I? – and their faces fall into frown and puzzlement then, and I sense the way a chill of cold certainty passes through them. Word will have got around of my demise, and they will know it is a spirit they have seen, or sensed, or a cipher, or a ghost, for I could be nothing else now and no other, for I have passed on, and I throw no shadow in the white winter sun.

But I can taste the world still even though I am no longer a part of it. Still there is the waft of coffee from the cafes but it stirs nothing in me. Still from the tannoys of the shops I can hear sentimental pop music – old love songs I would have held her to, in discos, in 1978 – but it stirs nothing in me. Still I can recognise the beauties of the planet – they are all about on this fine bright Saturday –but they stir nothing in me.

I could not name for you the precise moment of my death. I suspect, of course, there was a significance about the moment when the tendrils of smoke came from my nostrils. It was a sweetish, greenish-black smoke, as from the burning of a seasoned ash wood. Perhaps something left me at that moment – another might call it a soul – and it was perhaps then that I become merely this husk; I became something to be carried on the breeze off the river, on the wind off the bay.

I can witness the moments of my old life still but only as a stranger. I am puzzled by my actions. By the decisions I made and the paths that I took. What a fool I was. What a happy poor fool I was. What a happy and arrogant and deluded poor fool I was.

I walk straight ahead with my shoulders thrown back and the head held high and the people walk straight at me but they swerve at the last moment though they cannot see me but somehow they must sense me – I was once of the tribe, and my scent is about the streets still. These are the streets of our lives and our Saturdays, as though we are a confluence at the centre of the universe – what arrogant poor fools – and I walk on, as always I walked on, and as ever I am drawn to the water.

The occult places are where the rivers enter the sea and I walk now by the mesmerizing roar of the black water, and I am drawn along the same old pathway again – tang of sea – and I walk into the saltwind and into the light; I am there and I am not there; I have become water, wind, light.

— Kevin Barry

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Kevin Barry is the author of the story collections Dark Lies The Island and There Are Little Kingdoms and the novel City of Bohane. He has won the International IMPAC Dublin Literary Award and the Sunday Times EFG Private Bank Short Story Prize. His stories have appeared in The New Yorker, Granta, Tin House and many other journals. He also writes plays and screenplays. He lives in County Sligo, Ireland.

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Born in Co. Galway Ireland, Louise Manifold studied at Central St Martins College London and the Galway/Mayo Institute of Technology, Ireland. She has exhibited extensively throughout Ireland, and internationally in group exhibitions at ISCP, New York. Proximal Distances Chicago, Supermarket Art Fair, Stockholm, Red House Arts Centre Syracuse New York, Candid arts centre, London. 411 Galleries Shanghai, China and the Botin Foundation, Spain. Louise has been the recipient of numerous awards from Galway City Council, Galway County Council, The Arts Council of Ireland and Culture Ireland,  In 2009 she was one of the four artists short-listed nominated for Allied Irish Bank Art prize. Louise is currently based in Galway and is on the board of directors of Galway Arts Centre, and  Artspace studios Galway, Ireland.

 

 

 

Dec 032013
 

Last packet of the semester done, last writer-in-residence student conference done, reference letters written, residency lecture almost done, dog snoring beside me on the bed, snow all around outside the window, a couple of belts of good old Auchtentoshan Scotch under the hood, and the man feels, well, he feels like this.

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[youtube]http://www.youtube.com/watch?v=zg_XS0HDtR0[/youtube]

 

 

 

 

Dec 022013
 

Here’s a teaser to David Winters’ terrific interview with Christine Schutt at Quarterly Conversation. We’ve been reading about her on NC as part of our focus on Gordon Lish and his influence on contemporary fiction. This interview a  wonderful addition to the ongoing discussion.

dg

 

CS: “’Reality,’ of course, is man’s most powerful illusion; but while he attends to this world, it must outbalance the total enigma of being in it at all.” So says Erik H. Erikson, but reality does not for me “outbalance” the bewildering experience of being in the world. Add the scrim of memory and incessant excursions into the past, and the most I can do to construct a world is to stitch together sensations of it. I do not want an impenetrable style but prize compression and music. I abhor quotidian easy speak, psychobabble, brands, news and slogans—a “writner’s prose” as Gordon Lish once described it. Mine calls for close, hard readers of fiction. This year in reviews of Prosperous Friends, I was bumped up from being a writer’s writer to being a writer’s writer’s writer; either way, it cautions challenging prose ahead. A lot is left unsaid and must be inferred simply because I want to avoid the dulling effect of belated language.

via The Christine Schutt Interview | Quarterly Conversation.

Dec 022013
 

Louis Armand at Jazz Republic 23.5.13

L

ouis Armand’s fiction saunters through the darkest underbelly of society, illuminating the forgotten and the discarded. His recent novel Breakfast at Midnight (2012) reads like a twisted, brilliantly savage acid noir: amid a decaying Prague, rechristened Kafkaville, a quasi-mystery unfurls through the addled mind of a nameless fugitive, a man looking to solve a murder and piece together his own history. Canicule, released this past April, finds purchase through the lens of cinema: a man commits suicide, forcing his friends—failing screenwriter Hess and terrorist-sympathizer Wolf—to reenter each other’s orbit. A narrative revealed in snippets—“I’m not able to put the pieces back together, because I don’t understand them,” Hess confesses. “They’re pieces of an alien life, a completely alien life.”—the novel’s elasticity feels like an experimental film, spliced together on a dusty Steenbeck. Constantly moving forward and backward in time, Armand refuses to coddle his audience, and the result is a tale full of irony, repetition, and alcohol-fueled remorse.

Now comes Cairo. Set for publication in January (Equus Press), the following excerpt fuses themes and beats from Armand’s earlier novels: a murder, followed by a mystery left for men out of their element to decipher. Cinema bubbles throughout, as well, as Armand’s characters employ film tropes to handle their increasingly odd situation. And yet, while these ideas resurface, Cairo’s aura is nothing like that of Breakfast and Canicule, for while those settled on a far more serious plain, Cairo is downright playful. What makes this excerpt so very interesting is that it showcases Armand’s gift for language, both in his wickedly funny character exchanges and in the way he describes locations: senses are explored, filling us in on not only the tangible space, but also its sonic properties, its perfume, truly creating in three dimensions the underbelly of the underbelly.

Benjamin Woodard

louis armand_cairo_front cover

ELEPHANT’S EGG 

T

he East Ham Mortuary off Barking Road was a squat cube of dark brick with a set of blue doors at the entrance. Nicky Cohn was waiting under a yellow CCTV sign, collar up, cigarette drooping from the corner of his mouth, somehow still alight in the drizzle, when Joblard wheeled up riding the clutch. A naked fluorescent blinked over the doorway, lending the journalist’s features a decidedly funereal cast. The light glistened on the wet chrome of the BSA’s petrol tank, catching the steam as it hissed up from the single cylinder. Then it didn’t. Then it did.

“You’re looking bright and chirpy,” Nicky Cohn said as Joblard yanked off his helmet, face a blur behind frozen breath. “Not half bloody cold.”

“Nice night for it alright,” Joblard said, “though I’d rather be in the back lounge getting intimate with a pint. You been in yet?”

“Nah, just got here. Thought I’d have a fag before trying to blague my way past the Homicide and Serious Crime boys. I recognised two of them when I peeked in through the door. They can be right cunts when it suits them.”

Joblard stuffed his gloves inside his bellstaf jacket, helmet under one arm.

“That’s good, I could fancy a couple of cunts on a night like this.”

“Not like these you wouldn’t. Speaking of which, what’s your Spielberg up to these days?”

“You on the square brother?”

“Eh?”

“Freemasons. Grand Lodge. He’s got some notion about poking a camera into the holy of holies. Ladies of the Illuminati.”

“The what?”

“Yeah, I reckon our mate Johnny Fluoride might’ve been getting him some of the more candid stuff. Kind of spank-and-tell exposé of the secret handshake brigade.”

“Tell me about it after,” Nicky Cohn said, tossing the unsmoked half of his cigarette on the ground. “I’m freezing my balls off out here.”

Behind the blue doors was a corridor and an office with a little window where Nicky Cohn showed his press credentials and signed in. Joblard took in the atmosphere. A couple of plods eyeballed him from where they were sitting beside a pair of swing-doors, like they were on stakeout duty waiting for a corpse to show up and trying to outguess each other about whose it might be. Joblard grinned at them. It was a rule he had with cops: you never break eye contact and always smile, drives the fuckers nuts. Nicky finished with the forms and they waited for a technician in a blue smock to come and give them the grand tour. He was a tall and skinny, with a straggly goatee and hair down past his collar and acne on his neck. Student-type. Taking full advantage of the opportunities society had on offer.

“This way gentlemen,” he said, taking a chit from the receptionist behind the window. “My name’s Zack and I’m your guide for this evening. The main attraction’s just through here and on the left.”

They ran the gauntlet of the two Homicide boys, busy giving Joblard the business with their cop stares, tongues working the backs of their teeth, but not making any more than a show of it.

Joblard jerked his thumb back at the swing-doors, behind them now as their guide steered them left along an underlit tunnel of half-tone green:

“What’s with the local entertainment, Zack?”

“One of our residents has attracted special attention.”

“Zack,” Nicky said, “I have a confession to make. That’s who we’re here to see.”

The technician stopped and scrutinised the chit he was holding.

Joblard, trying to get a look at it over the technician’s shoulder, found himself with an unobstructed view of a dandruff condition on the verge of spiralling out of control. Greenish flakes of dead scalp layered the back and shoulders of Zack-the-mortuary-technician’s smock, sifting down between greasy cords of black hair. Joblard edged back to maintain a safe interpersonal distance. Dandruff always made him think of leprosy. It was an association he’d had ever since childhood and the smell of antidandruff shampoo in the change rooms. Afraid he’d catch the stuff. At least they’d had the decency to wash. Some people, he thought, ogling the back of the technician’s head, lack the very basics of self-respect.

“You’re not here to see 856?”

“No.”

“We’re supposed to report anyone who wants to visit the new guy.”

Nicky slipped a freshly minted portrait of Queen Liz into the pocket of the technician’s smock.

“Put this towards your scholarship fund, Zack. No-one ever need know. You just got the numbers mixed up, that’s all.”

Zack glanced at the bill, which in the light of the corridor was the brown of a freshly minted turd.

“She looks kind of lonely, don’t you think? Got another one of those to keep her company?”

Nicky slipped the technician another royal likeness. The kid grinned.

“Right through here then, gents,” Zack said, leading the way.

Once when he’d been KO’d in the ring by the southpaw Mickey “the Hammer” Mulligan, Joblard had woken up on the floor staring at a light thinking he’d died already and was stretch out on one of those mortuary slabs they have in movies and any minute some geezer in a white labcoat was going to come in and poke a scalpel in his brain and pronounce the cause of death. Telling himself how “Hammer” wasn’t a name Mulligan earned in the ring but operating a protection racket off Brick Lane. But the room Zack the technician ushered them into wasn’t like anything in a film, more like a wholesaler’s stockroom. The far wall was lined with time-warped refrigerator doors you’d expect to find racks of frozen meat behind. Sides of beef, lamb, pork. A whole raffle bonanza.

The technician went straight to the third door down and yanked it open. Behind it there were three more doors, square, one above another, old paint a dozen hues of off-white cracked and flaking. Johnny Fluoride had taken up residence behind the door third from the bottom. Like those Japanese coffin hotels. Zack trundled out the slab. Joblard shivered. Johnny Fluoride’s body, sans head, was wrapped in semi-opaque plastic. The swim hadn’t done him any kindnesses. Even with the plastic on he looked terrible, like he’d been force-fed through the proverbial wringer. But whatever took his head off, that sure as hell hadn’t beaten around the bush.

“Jesus!”

The corpse, Joblard duly noted, had bare feet. Eventually, he supposed, the Coroner’s Office would release a report. He wondered what they’d make of the fact Johnny here had gone swimming without his boots on. Getting a head start, so to speak. The violent crime boys hadn’t made a positive ID yet. Their floater had washed up not only sans head but sans anything in his pockets. According to Nicky’s mate at the yard, Johnny Fluoride’s body had still been zipped into his army surplus when they found him. Which was how he knew it was Johnny Fluoride. The anorak had somehow kept him afloat, otherwise he mightn’t’ve turned up at all till next week, if ever.

Still, Joblard supposed, it’d only be a matter of time now before the Homicide boys rang the old widow’s doorbell over in Greenwich and got themselves an earful. And then from Greenwich to Canvey, which was all they’d need to put him on the spot. A knock on the door in the middle of the night. But at that moment, all Joblard could really think of was how the fuck…?

The three of them stared at the body for a while in silence. Nicky flicked at the chipped paint on the freezer door. The room seemed to Joblard to’ve grown noticeably colder. Nicky pulled a splinter of old paint from under a fingernail and held it up to the light.

“You know,” he said, breaking the silence, “they reckon lead paint’s accountable for half the violent crime on the planet. God’s truth. But just try telling that to the Homicide boys. And the people responsible for the stuff? Why, only the honest-living folk at Innospec, up on the Manchester Ship Canal, flogging tetraethyl lead wherever it hasn’t been banned yet. Fun places like Burma, Iraq, Afghanistan, North Korea. The fact it’s illegal to sell in good old Blighty doesn’t mean they can’t manufacture and export the stuff. Now if it was anthrax…”

“Somehow I don’t think it was lead paint did that,” Joblard said, pointing at the mess where Johnny Fluoride’s head formerly resided.

“The interesting thing,” the technician said, fingering the tag affixed to the big toe of Johnny Fluoride’s right foot, “is they found river water in your man’s stomach, but not in the lungs. Whoever blew his head off gave him a soaking first. Must’ve had something they wanted. That’s my guess. Held his head under till he talked. Then pop. No further use. Seen it before. The Albanian they found in a suitcase last year? He’d swallowed half a gallon of Thames water too, and not from any tap. Except they used a saw on him instead of a canon. Never found the head, either. Your mate involved in any funny business, then?”

“Nah,” Nicky said. “He ran nostalgia tours for old pub-rock fans. Didn’t know shit from clay. Probably a case of mistaken identity.” Turning to Joblard: “What do you reckon?”

“Yeah, mistaken identity,” Joblard echoed. “Poor sod.”

“Did he have a name?”

“Mmm,” Nicky said. “Can’t remember.” To Joblard: “D’you remember his name?”

“Frank maybe? Don’t rightly think he ever told us.”

“Too bad,” Zack said. “Too bad.”

A wedge of lemon floated in the glass of water Nicky Cohn was holding up to the light, eyeballing the citrus bits drifting around in it. He’d watched the waitress closely while she filled the glass straight from the tap.

“That stuff comes direct from the river, you realise?” Joblard said, trying on the tone of voice of someone attempting to be helpful. “If you’re lucky, there might even be a couple of particles of Johnny Fluoride in there. Not to mention all the other crap they dump in the Thames. London’s Pride.”

Nicky Cohn snorted and set his glass down in front of him. The bar they’d retreated to from the East Ham Mortuary was slowly filling up for the evening with what looked like a regular crowd. Joblard counted at least a dozen different types of Adidas tracksuit. The only beer they had on tap wasn’t beer at all but some foreign crap called Carlsberg, so he’d settled for a cup of tea. The publican had given him one of those looks. The de rigeur TV in the corner was running the day’s Ashes highlights. Depressing viewing. They’d’ve done better switching to one of the disaster channels. BSkyB or whatever. Rapping out the small print on why the world was going to shit. Global warming conspiracy nuts. The latest candidate for World War Three.

On cue the box cut from the cricket roundup to the news desk. Some joker in a flash suit talking to himself in a studio with lots of high-tech graphics making up the décor. Lip-syncing to a soundtrack that’d been swapped for the usual pub banter in competition with some sort of Kylie Monogue remix. Text scrolled across the bottom of the screen. Then cut to footage of what looked very much like riots on Wall Street. Archive material on the Twin Towers going down. Joblard registered crowd shots and helicopters. Something brewing on the other side of the pond, he thought. Nicky Cohn was still eyeing his glass in a manner you might describe at pensive.

“Gone to a better place, if you believe that stuff,” Joblard offered, thinking condolences of some sort might be in order. Though exactly what Nicky’s connection with Johnny Fluoride was, he didn’t know. Nicky looked up from his glass at the bulge Joblard’s gloves made inside his jacket.

“Your tea’s getting cold.”

“Don’t really fancy it anyhow.”

“My mum used to say cold tea’s good for piles.”

“That right?”

“She made my old man drink the stuff till the day he died. Sure enough, never did get piles. Fucked his liver good and proper though.”

“Eh?”

“Used to slip rum in the tea to make the stuff drinkable, when the old girl wasn’t watching. She’d keep a pot cooling on the windowsill for all occasions. Earle Grey. By the time he finished his third cup of an evening, the poor bugger could hardly stand up. Which the old girl attributed to the tea’s potent medicinal effect.”

Joblard sniffed his cup then set it back down on its saucer.

“Just regular tea, this. Probably doesn’t work.”

Nicky squinted up at him.

“They put out a call for witnesses. A couple of those lugs might want to have a talk with you. Canvey jetty. How many people saw you together?”

“Just the barman. And maybe this scarecrow character with some sort of skin disease on his face.”

“Mmm. Barman’ll probably just mind his own business, unless they make a point on it. Who’s the scarecrow?”

“Dunno. Followed me, though.”

“Followed you?”

“Yeah, him and a dwarf. They both followed me when I went over to Johnny Fluoride’s gaff. After the shithead decided to take a swim. That’s the bit I can’t figure out.”

“Dwarf?”

“Former associate of our headless friend, I do believe. Seems Johnny accidentally snapped a pic of him and he didn’t like it. Kind of, in flagrante delicto, as they say.”

“You’re not making much sense, old chum. Care to fill in the blanks?”

Joblard, against his better judgement, took a sip of the tea. Grimaced. Resisted the urge to spit it back out.

“Disgusting.”

“Like I said.”

Joblard wiped his mouth on his sleeve, pushed the cup and saucer aside, then folded his arms.

“Bludhorn paid Johhny Fluoride to take some candids. Some geezer getting his jollies being tickled with a riding crop. High class stuff. In the middle of which, this dwarf turns up, blows the geezer’s head off. On film.”

“Kosher?”

“One hundred percent.”

“So Johnny was tied up with Bludhorn, too, eh? And that’s why you were out on Canvey? Because of these pictures?”

“Except I never knew anything about what was in the pictures till after.”

“And I suppose Bludhorn has them safely under lock and key?”

“Curious are you?”

“Curious, old chum, is hardly the word.”

“Doesn’t look like you’re the only one.”

“You think whoever nixed Johnny might be after the pictures?”

“Stands to reason, doesn’t it? Besides, I spotted scarecrow and his mate hanging around Bludhorn’s club in Soho.”

“Maybe we should give the old bugger a call.”

“Maybe.”

“Got anything better to do for the next five minutes?”

Joblard creased his brow like someone trying hard to think, glanced sidelong at his teacup, then fished his mobile out of his inside pocket. Nicky Cohn looked at him in disgust.

“Knowing how you hate these things…”

“You’re begging for cancer of the brain, you realise that?”

Joblard grinned, fingered the keypad, stared at the screen. The background noise covered the dial tone, but a little icon on the screen indicated that the phone at the other end, Bludhorn’s, was ringing. Joblard had counted to five when the icon was replaced by a message saying his call had been interrupted and please try again later.

“Not answering?”

“Nope.”

“Mmm. You know, this could be one hell of a story.”

“Could be. Could also just be a coincidence.”

“Come off it. Why the heck’d anyone go to the trouble of saving a clown like Johnny Fluoride from drowning just to blow his head off?”

“Beats me. Maybe he washed up all by himself, emptied his own pockets, then blew his head off just for the hell of it. Or maybe he got sucked into another dimension. Dr Who stuff. And his head’s still on the other side, mashed into the vortex. One thing I do know, he was scared shitless of somebody. Said they were out to get him. Thought it was because he saw something he wasn’t supposed to see and they found out about it. Or maybe they wanted to send a message further up the line. Join the dots, you know, so whoever arranged to take the pictures in the first place’d get the connection. So they’d know not to fuck with it. Masonic conspiracy stuff, maybe.”

“Is that what Mr Undertaker says?”

“Bludhorn knows who the geezer is but he’s not saying. In the pictures you can’t really make out his face. There’s just this geezer tied to a chair getting whipped. Stiff upper-lip type. Then there’s a flash. Next thing the dwarf appears out of nowhere and the geezer’s head’s vanished. Just like that.”

“Too bad.”

“Hey, did you hear about that coke-dealer, blew some kid’s head off in Wapping last night?”

“Twelve gauge? Yeah. Sodomised the corpse. Made a real mess of himself afterwards, too. Think there might be a connection?”

“You never know.”

“Nah. It’s too crazy. The lunatic shot himself in the head.”

“What if it only looked that way and someone else shot him in the head?”

“Nah.”

“It’s a possibility.”

“Shit. That’d make four. Four headless fucking corpses in one day. One of whom we don’t know anything about. It’s too much.”

“Don’t forget the tart with the whip. If she copped the same treatment, that’d make five.”

“Five? I don’t buy it.”

“Why not ask your mate to scan the register. See if anyone else’s checked into a morgue lately without their head attached.”

“Bodies could’ve ended up anywhere. In a bleedin’ meat factory, for all we know. Fed into a mincer. Bzzzz. Like they keep finding horse DNA in beef paddies. What if it was human DNA instead? Soylent Green stuff. Kid munching on quarter-pounder spits out a couple of fingernails. Not the sort of thing they’d want to see on the six o’clock news. Imagine it. Wozzie the Cannibal Clown! Bad for business.”

“I’ll stick to being vegetarian.”

“You could do far worse, chum. Say, what’re the chances you can actually find this dwarf character?”

“Dunno. All look the fucking same to me. I was figuring they’d probably show up again by themselves. Unfinished business. You know Bludhorn’s got a thing about midgets?”

“Size.”

“Eh?”

“It’s all about size. Midgets. Small.”

“I know what a fucking midget is.”

“Same reason they go for the oriental girls, you know. Little hands.”

“What’re you talking about?”

“Nothing, chum. Over your head.”

“There’s a freak running around blowing people’s heads off and you’re on about some slanty tart’s manicure?”

“A dwarf. Blowing people’s head’s off. Apparently connected in some way to your Mr Undertaker. Capische?”

“What’s that mean, then?”

“What’s what mean?”

“Capische?”

“Don’t you watch films?”

“Not those sort of fucking films I don’t. You want to have a conversation with fucking subtitles, go to fucking Poland.”

“Maybe the dwarf’s fucking Polish, you ever consider that?”

Joblard blinked, looked thoughtful, creased his brow. Nicky Cohn shook his head, muttering to himself. He sniffed at his glass of water, took a sip.

“Oh, and I forgot to mention,” Joblard said, “they were driving a smartcar.”

Nicky Cohn peered over the rim of his glass, set it carefully on the table, picking a sliver of lemon seed from is lip.

“What?”

“You know,” Joblard said, “one of those poxy little jobs, like a golf buggy with an M.O.T.…”

Nicky Cohn made a sucking sound with his teeth, poking his tongue up under his lip.

“I’ll tell you something, chum,” Nicky Cohn said, straightening his mouth out. “If I hadn’t just seen Johnny Fluoride’s headless corpse with my own eyes, I’d swear you’re flaming nuts.”

Back during what used to be called The Troubles, old Uncle Hugo, ex-Sandhurst, had the good fortune to spend a tour of duty behind eight inches of plate glass in a pillbox in the fair city of Armagh. He’d been standing there one day watching the drizzle slowly mutating from bad to worse when some Fenian fucker, parked on a hillside a mile away, took a pot-shot at him with an elephant gun. He’d seen the shell embed itself three-quarters the way through the glass, big as his thumb. When he told the story afterwards, he’d always joke that if there’d been a tailwind, the bullet would’ve caught him right between the eyes. And taken his whole bleeding head off.

Joblard had been thinking of Uncle Hugo’s story while he watched the helicopters circle the Shard. It looked like the flattened head of an enormous glass prawn, sticking up above the Canada Square towers. Some Mujahadin types had tried to blow it up a week ago and now they had half the RAF up there every night at tax-payers expense, searchlights criss-crossing the rooftops. Every wisearse on the South Bank was probably laying bets on how long it’d be before some trigger-happy Afghan vet in a chopper went bezerk and did the job himself, like the one that smacked into the crane over in Vauxhall. Maybe blame it this time on a meteorite.

What killed Uncle Hugo in the end was a brain tumour. “Size of an elephant’s egg,” he’d say, while the nurse prepared his bed-bath. “Elephants don’t lay eggs, Captain Banks,” the nurse would tell him. “This one did.” And that, as they say, was the end of the matter. Joblard remembered the picture the doctor showed his mum. You could see the skull and what he supposed was brain tissue with a void right in the middle of it. Like that Fenian bullet had a bad karmic vibe that’d lodged in his uncle’s head and grown there for forty years into a knot of dead cell tissue, invading whole swathes of cortex till his motor neurons finally packed it in.

Joblard had tried calling Bludhorn once more after leaving Nicky Cohn, but the proverbial Undertaker still wasn’t picking up. Piss-taker, more like, Joblard thought. If things keep the way they’ve been going. He decided to swing by the Hindu’s hole-in-the-wall for a bucket of soy Vindaloo, papadums and sweet mango. Then back to the Fridge. Upstairs one of the regular parties was in full-swing, sub-sonic bass shaking the windows in their frames. He killed the engine and wheeled around to the service lift, chained the BSA to the grill and hung a tarp over it. The basement lights weren’t on, so he figured Bird Girl probably wasn’t back yet. Decided to go in quietly anyhow, in case she was there asleep. Though how anyone could sleep with that Moby shit playing, he didn’t know.

The basement wasn’t exactly luxurious, but it was big. A single room, about ten yards wide, ran the length of the building, a kitchenette with garret windows at the back. It’d been used once upon a time for storage. Upstairs was where the meat processing had gone on. Some of the residents practiced a type of voodoo to ward of bad spirits, appease the bovine gods. Joblard wasn’t interested in animal karma. The place stank of rat bait. Every other morning he took a bag of dead rats out to the trash. He burned incense. Told Bird Girl there must be some sort of rat disease going around. Had to be careful what he left the bait around in, though, in case one of the resident freaks from upstairs got to scrounging munchies on a comedown.

Joblard left the takeaway by the door, tiptoeing through the basement obstacle course in his boots and trying not to bang his head on any fixtures. The sound of snoring was audible despite the thumping bass. Joblard peered into the bed – a king-size mattress on trestles high enough for a dwarf to camp under. On account of the rats. The bed, though, was empty. The snoring came from the other side of it. Joblard made out something moon-like wrapped in an overcoat, lying on the couch. It didn’t look like Bird Girl. He went over and flipped on the lights. Ol’ Pasty, with his head back, felt hat tipped forward, mouth open, was snoring like a bullfrog. His coat was gathered at the neck in the ball of a skinny fist, blotchy like his face. His other hand was wrapped around the butt of a service issue .45.

By the time the scarecrow got his eyes open, Joblard already had an elasticated ocky strap round his wrists and was in the process of cocooning the bastard with an industrial roll of kitchen wrap. Ol’ Pasty’s eyes bugged. They bugged even more when Joblard shoved the .45 in his mouth and asked him very politely to sit still. Wearing about fifty feet of kitchen wrap, the scarecrow looked like a sick grub. He squirmed when Joblard pulled the gun out of his mouth. It made Joblard think of his first day in school.

“You’re not going to piss on my couch, are you?”

Scarecrow shook his head. His grey felt hat had tipped to one side, revealing a serious case of eczema. It gave Joblard the creeps.

“Where’s your mate?”

Scarecrow just looked at him.

“You’re not fucking Polish, are you? Rozumiesz anglielskiego, ty głupi pizdy?

Scarecrow glared.

“Suit yourself.”

Joblard tore off a strip of kitchen wrap and somehow got it around the scarecrow’s head without making contact with the eczema.

“Since you’ve got nothing to say,” Joblard pocketed the gun. “Any trouble breathing, just remember to holler.”

Joblard went to the kitchenette and grabbed a six-pack of Guinness from the fridge, then back to collect his vindaloo. He pulled up an armchair by the door and killed the lights, letting his eyes adjust to the gloom. Maybe, after he’d enjoyed a decent meal, he’d get the jumper leads out and see how the scarecrow responded to a little encouragement. Maybe the fucker was mute, hehe. That’d be a laugh. Better him than me.

Outside, the same Moby track was still echoing in the stairwell. There was the sound of the DLR rattling by. The usual peace and quiet. Joblard grinned to himself, spooned some rice into his curry, popped a can of stout and settled back, munching on a papadum, to see what the remainder of the evening might bring.

Nicky Cohn was standing in the middle of the room, toeing an orange-and-brown paisley rug Bird Girl had said blended with the couch. Joblard couldn’t help thinking she was right. He spooned some instant into two give-away Wozzie Burger coffee mugs and snapped off the kettle. Poured. Doused the mix with soy milk.

“Sugar?”

Nicky Cohn pulled a face like the very idea appalled him.

“Nice place you’ve got here. Pity about the stiff.”

Joblard brought over the coffee and stood beside Nicky Cohn. They both sipped their coffee, surveying the couch. The scarecrow’s brains had made a complete mess of it. But there was no denying it had a certain affinity with the rug. Little fractalised blobules of red, black and grey floating in a type of Rorschach amber that continued half-way up the wall, punctured by bone shard. Bits of the scarecrow’s brains were even stuck to the ceiling. Joblard thought he recognised a patch of eczematous scalp glued to the lightshade – a paper globe that’d once been white, but now looked like a sepia pock-marked moon. Sea of Tranquillity and all that.

At some point in the night Joblard had dozed off under a dusting of papadum crumbs and pilau rice. What woke him was a sound like rats trying to burrow out through the walls. He’d been dreaming of a boat, somewhere on a river. A sort of funeral barque. Egyptian. Head of a jackal at stern. Anorexis, or whatever it was called. Dog god. With a gold sarcophagus in the middle of it. Like Bludhorn’s museum. Naked midgets at the oars. Ol’ Pasty there, too, beating a big drum. A sail with billowing Rosicrucian eye. And Joblard himself, trapped inside the sarcophagus, gasping for breath, tangled in mummy wrappings, trying desperately to escape.

He spilled what was left of the vindaloo grabbing for the .45 wedged in his Bellstafs, lucky the safety catch was still on. At first he thought the scarecrow had gotten away. The place was quiet. The party upstairs must’ve ended. And then he saw it, a faint mock of paracelene from the back windows glinting on the kitchen wrap, casting a long shadow up the wall. Only it was no shadow…

“What d’you know,” Nicky Cohn slurped his coffee. “Looks like your pal must’ve wore falsies.”

“Eh?”

“Unless those are yours?”

He poked his mug towards a splotch on the back of the couch. Joblard squinted at it. A pair of dentures was embedded in the muck. They seemed to grin back at him.

“Yikes.”

“Think someone’s trying to finger you, old chum?”

Joblard pulled out the scarecrow’s gun. Sniffed at it. Nicky Cohn glanced at him with a vague look of apprehension.

“Hasn’t been fired. Beside,” he held the gun out for Nicky Cohn to inspect, “no .45 on Earth could’ve done that.”

 Nicky Cohn demurred.

“Still, doesn’t exactly look good, does it?”

Joblard stuffed the gun back in his pants.

“What’re we going to do?”

Nicky Cohn held out his empty mug, Wozzie-the-Clown smirking sideways from it.

“I’ll take another one of these, if you’re offering.”

It’d been just after four o’clock when Joblard called Nicky Cohn. Figured he slept in his office. Got the answering machine. Shouted something incomprehensible at it. Rang again. Third go, the answering machine cut-out mid-message and the real-life Nicky Cohn came on.

“D’you know what time it is?”

“Of course I know what fucking time it is!”

“This better be good, old chum.”

“What if I told you there’s a headless fucking corpse sitting on my couch?”

He’d made it there in fifteen minutes. The sort of thing possible in London only around four a.m.

“You weren’t kidding,” Nicky Cohn said, when he saw the scarecrow. “There’s a corpse with no head sitting on your couch. What’s he wrapped in plastic for?”

Joblard spieled it out while Nicky Cohn clicked his tongue, shook his head, toed the rug. Sniffed.

“Rat bait,” Joblard explained.

His visitor appraised the room without moving from the spot, keeping an eye out for stray rodents.

“Nice place…”

Handing Nicky Cohn a fresh mug of coffee, Joblard pondered the situation. Nicky was right. If the cops got hold of this, they’d be all over him. Wouldn’t matter what he said. Wasn’t a single alibi he could think of that’d hold water. So to speak.

“In the films,” Nicky Cohn offered, warming is hands around his coffee, “they always search the body first, get rid of any I.D., then put it – the body, that is – in a bin liner and dump it somewhere. Got any of those housewife gloves? You know, for washing dishes and stuff?”

“What about his mate?”

And that’s when Joblard knew he’d have to find the dwarf. But even then, none of it made any sense. He’d spent half-an-hour scrubbing the wall and ceiling, scooping bits of brain matter off the floor, then bundling the stiff into a couple of bright yellow bin-liners – the ones they sold cheep at the local Sainsbury’s. The couch was a goner. He tried getting the stains out with diluted bleach. It only made matters worse. Nicky Cohn sat over by the door and watched, throwing in the odd suggestion from time-to-time. Like why not just toss the carpet over the back of the couch and be done with it?

The only thing Joblard had been able to find on the scarecrow was a roll of tenners and a pawnshop ticket. Castle Square, Brighton. He could dump the stiff and get down there on the bike before the place opened. See what he could find out. But the first thing was where to do the dumping. He’d never been all that conscientious about recycling. And riding about with a couple of bright yellow bin-liners on the back of a vintage BSA wasn’t exactly low-key. But then, nothing he ever did was. He figured the best thing to do was drop the lot into the canal, over by Tequila Warf. It was only a block away. Nicky Cohn didn’t like the idea quite so much. It wasn’t the headless corpse that bothered him. It was being a possible accessory that gave him the heebie-jeebies.

“Don’t tell me you’re suffering from a case of journalistic ethics?”

“Do I work for the Sun?

“Thought you type were all the same.”

“Listen, chum, some of us have a future to think about.”

“What about the poor fucker with his head blown off. You reckon he didn’t have a future to think about?”

“Not sure I get your point, chum.”

“Nicky. There’s a headless stiff on my couch. If we don’t get it out of here, I’m screwed. You think I popped Johnny Fluoride? There were witnesses.”

“I just want to be able to write the story without calling down any heat. My mate at the Yard already smells a rat. Like where I got the tip-off on the floater. This could end up ruining my expense account.”

“Shut up and give me a hand, will you.”

Joblard bundled the disposal job in Bird Girl’s rug and left the stain on the couch to look after itself. Between the two of them they got the rug out into the yard, along the alley behind the Rajasthan Café. Nicky Cohn huffed and puffed at the back while Joblard shouldered most of the weight up front.

“For a skinny bastard, he sure weighs a bloody tonne.”

Once they’d made it across the parking lot off Brunton Place, it was easy going. Trees lined the canal, shrouding it in shadow. Bits of concrete rubble lay piled hither and yon. Bricks. Steel piping. Coiled wire. A body-disposal paradise. Across the water, a billboard stood up from the wharf, facing the Commercial Road Bridge, as if the plan was to get your average out-bound commuter worked up for the homeward run, and the missus-and-three-veg. Miss Big Tits in the Wonder Bra ad. Hello Pikers! Some local vigilantes had sprayed out the offending bits, adding WHORE across Miss Big Tits’s face. The marketing geniuses had really picked their demographic. It wasn’t called the East End for nothing. Any further east, you’d be in fucking Cairo.

“I heard somewhere,” Joblard said, hoisting the weighted bin-liners across the tow-path to the edge of the canal, “that if you cut the guts open, a body won’t float. On account of the gas. When it decomposes.”

“Not much good when it’s wrapped in a plastic bag, is it?”

“Shit. He’ll blow up like a fucking balloon.”

“Forget it. Your man ever floats, he’ll wash up in the locks. Maybe get pulled down to the river. Means they’ll have company for Johnny boy. Give the fuzz something to think about.”

“Shame about the rug.”

It made less of a splash than either of them expected, swallowed by the dark water. Joblard tossed the gun in after it. There were lights coming on over at the wharf. The six o’clock shift. Time to get a move-on. It was going to be another long day.

— Louis Armand

——————————

Louis Armand is the author of seven collections of poetry and five novels, most recently Breakfast at Midnight (2012) and Canicule (2013), both from Equus (London). His screenplay, Clair Obscur, received honourable mention at the 2009 Alpe Adria Trieste International Film Festival. He is an editor of VLAK magazine and has worked as a subtitles technician at the Karlovy Vary Film Festival. He lives in Prague.

Dec 012013
 

BeethovenBooksBeer-page-001

Just so you know, the Saint John Free Public Library event last night was a blast (too bad for all of you who missed the chartered buses out of Boston, New York and Toronto). When I arrived at the door a couple of hours early to check things out, there was a SOLD OUT ribbon across the poster. I was told they could have sold an extra 50 tickets. I have never been party to a SOLD OUT event in my life.

There was food and wine and beer. The beer was a special one-of-a-kind whiskey pale ale invented by Big Tide Brewing Company brewmeister Wendy Papadopoulos for the occasion — it was called Three Pages to the Wind (I am certain now that this is the reason for the SOLD OUT sign). I naturally started out the evening resolutely insisting that I could not drink because I was going to have to drive back to Fredericton through the moose-haunted dark highways of New Brunswick after. But then someone said the magic words “whiskey pale ale” once too often and I am afraid I succumbed.

Then the Saint John String Quartet started to play and I discovered the truly zen experience of sitting in a library with books all around and a glass of whiskey pale ale in my hand and four lovely people playing stringed instruments for me (I dunno, everyone else seemed to be talking). They played for 45 minutes which, you know, required a second whiskey pale ale and then Wendy Papadopoulos got up and gave an entertaining talk on how she came to invent Three Pages to the Wind (which was, really, so entertaining — the woman is a genius — that I could have listened to it again as there was still beer left).

And THEN I was called up to read from Savage Love, which, was a little frightening because there were three steps up to the lectern and I wasn’t sure by then that I could navigate them. I was told after that I performed creditably and several nice people bought books to make me feel better. Later there was some helpful confusion (no doubt due to the prevalence of whiskey pale ale); I was given clear instructions on how to navigate (I have used the word “navigate” twice — the whole idea of navigation had become problematic for me at this stage) out of the city though somehow I got lost driving out of the parking garage and took ages to find my way back onto the moose-infested highway (I think I was using some sort of echolocation technique at the end).

Of all my reading experiences lately this was the best — what I remember of it. And the words “whiskey pale ale” are forever burned into my brain.

dg

Dec 012013
 

Paul Forte 2013

Paul Forte is a fascinating artist and thinker. “Visual Thinking and Cognitive Exploration” is a major essay on the theory and practice of Conceptual art, also a short history of the tradition, also a lesson on how to appreciate art, and also a Cook’s tour of Forte’s own amazing art (dwell on the images, meditate upon them). Steeped in the history of art and philosophy, Forte sorts out definitions and vectors of influence, does not lean on jargon but explains it, and is above all infectiously passionate about his subject. Note also that the essay is dedicated to the late Arthur C. Danto, a hugely influential philosopher (whom I have myself read assiduously now and then over the years), Forte’s friend and mentor.

dg

For Arthur C. Danto 1924 – 2013

The international Conceptual art movement that swept the art world in the late 1960’s emphasized the primacy of the artist’s thoughts or ideas in the art making process and forever changed how many artists think about and make art.  Reaching its peak in the late 1970’s, the movement was eventually overshadowed by the resurgence of more traditional art forms, but not before sowing the radical seeds of a new consciousness, at least where art is concerned.  Almost a decade after Conceptual art passed from the scene something interesting happened: in the mid 1980’s the movement seemed to resurface in what was touted as a revival called “Neo-Conceptualism” (also referred to as “Neo-Geo”). While roundly dismissed by Conceptual purists at the time as lacking in critical value, Neo-Conceptualism nevertheless signaled a significant turn for contemporary art.

In hindsight it appears that Conceptual art began evolving in the late 1970’s, and Neo-Conceptualism was one outcome of this evolutionary process.  The curious thing about this supposed revival was its acquiescence to the importance, indeed necessity of perception for expressing or communicating ideas along with the return to more conventional materials and methods of art making.  While an implicit acceptance of the centrality of material form in art didn’t necessarily negate or displace the predominance of the idea, it did give material form equal weight or footing, rendering the most controversial theory of the 1960’s, “de-materialization,” highly problematic.  Even so, much of the work that resulted from this supposedly renewed Conceptualism seemed sensationalist and facile.  In this sense the purists were right, and yet the reintroduction of perceptual concerns while adhering to the basic principle of Conceptual art concerning the primacy of ideas was highly significant.  Thus the stage was set to usher in a post-Conceptual era: art, or at least, Conceptual art, seemed to be evolving in a cognitive direction.  “Visual Thinking and Cognitive Exploration” attempts to make sense of this far reaching development and hopefully contribute something to our understanding of aesthetic experience.

 •

Desert Parcel (book fragments)

Desert Parcel (book fragments)
Paul Forte, 2013
Collage on canvass made from the fragments of an illustrated volume titled: Picturesque Palestine, Egypt and the Sinai, published in the late 19th century
39 3/4 x 54 3/4 inches

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“Artists today are an especially serious group of what one ought properly to think of as visual thinkers.”{{1}}[[1]]Arthur C. Danto, “Art of the Free and Brave.”  The Nation, May 8, 2000, p. 45.[[1]] — Arthur Danto

Arthur Danto’s observation about artists, expressed in a review of the Whitney Biennial over a decade ago, seems prescient given the ubiquity of art made along ostensibly conceptual lines today.  Writing for savvy readers of The Nation in 2000, Danto was concerned about what he saw as an erosion of aesthetics for the sake of imparting moral meanings. He was not objecting to art that raised social awareness, only work that might do so at the expense of aesthetic value, as he understood it.  There are many competing concepts of aesthetic value, making the subject contentious to say the least.  And yet, the notion of visual thinking seems generic enough to have some bearing on a host of ways in which art might be valued.  I believe that Danto felt that by focusing on contemporary art as a form of visual thought we might renew the discussion of aesthetic value and perhaps rediscover just what it was about the experience of art that we find so engaging.  Danto’s basic point about artists as visual thinkers remains sound and was never at odds with the possibility of art being used as a vehicle for moral posturing.  His concern over the advancement of moral agendas through art at the expense of aesthetics carries little weight today, because most artists, critics, curators, and others understand that there was never an issue between aesthetics and socially committed art, although a fundamental change in attitudes about the use of aesthetics has taken place, something that Danto may not have anticipated: the aesthetic practices of many contemporary artists have become, for lack of a better term, conceptualized.  In other words, aesthetic properties such as line, form, and color, for example, are often not explored for their own sake as it were but are used as indices or signifiers, elements of visual thought perhaps best understood in terms of the artist’s intentions.  This outcome is one legacy of Conceptual art, that radical re-visioning of art begun by Duchamp and championed by Danto.  There is no little irony in the fact that the undermining of aesthetic attitudes that troubled Danto should come as a result of this legacy.

1 Headstone (Laying NO to Rest)

Headstone (Laying NO to Rest)
Paul Forte 2005
Black Slate, 42 x 22 x 2 ½ inches
Collection Yale University Art Gallery

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Arthur Danto’s view of artists as visual thinkers prods us to re-examine our aesthetic experiences in light of what they can tell us about cognition. Danto’s perspective, shared by a number of his contemporaries, is important because in supposing that many contemporary artists are basically engaged in visual thinking, he suggests a fundamental reevaluation of art.  This reevaluation can be summed up in terms of the potential that art has for deepening our understanding of cognition or cognitive processes.  Certainly such understanding is as important as the moral or intellectual purpose of one’s artwork, if, indeed, that is the intention of the work.  In fact, it could be argued that it takes precedence over any moral or intellectual purpose, however lofty or urgent, because art that explores how we know and understand, however implicitly, can at the very least reveal new and engaging ways of communicating ideas.  Palpable realizations about knowing and understanding are not simply byproducts of one’s social or political messages, rather, they are the very things that make these messages effective, enduring, or even possible in the first place.  If we consider the potential of art in light of this basic value, surely its “moral or intellectual purpose,” whatever it is, will be preserved by virtue of the deeper ways the work has changed our hearts and minds.

7 Ringing silence

Ringing Silence
Paul Forte 2012
Alarm bell, map and biology text in found box
13 ½ x 16 ¾ x 12 ½ inches

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The idea of artists as visual thinkers gained currency in the 1960’s and 70’s through the advocacy of visual thinking by the psychologist, Rudolph Arnheim.  But visual thinking, according to Arnheim, is hardly limited to the activities of artists.  It is a capacity that we all share, artists and lay people alike, and may be the only form of thought capable of engendering productive understanding on a broad scale.  “Visual thinking is the ability of the mind to unite observing and reasoning in every field of learning.  Whether people spend their days on using the physical forces of their bodies as garage mechanics or surgeons or dancers or whether they labor quietly at their desks as mathematicians or poets, the principal instrument on which their minds rely will always be the same.”{{2}}[[2]]Rudolph Arnheim, The Split and The Structure.   Berkeley, CA: University of California Press, 1996, p. 119.[[2]]  That instrument, of course, is the eye.  The practice of one’s discipline forms the connection between observing and reasoning, something that results in the give and take or back and forth of one’s art or activity.  One does, observes and evaluates the results, and then proceeds to adjust the doing as is necessary.  The work of either artist or garage mechanic involves a dynamic interaction between doing or making and observing.

8 Facade Compendium Wall

Façade (Compendium Wall)
Paul Forte 2013
Encyclopedia covers (1893) on wood
42 x 52 ½ x 1¼ inches

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But art making, certainly for the creative artist, requires open observation and careful reasoning.  The mind is always implicated in what and how we see, so the challenge for the creative artist involves sustaining an imaginative approach to both observing and reasoning without succumbing to solipsism or sophistry.  An imaginative mind combined with a critical eye seems to be the key.

2 Compact Record of Discarded Thoughts

Compact Record of Discarded Thoughts
Paul Forte 2005
Wadded paper (artist’s writings), glue, varnish
12 x 12 x 12 inches

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Our knowledge of self and world is in constant flux; there is an ongoing interrelation or interaction between what we know and what and how we see.  Visual thinking in this regard seems more fundamental than abstract thought; thought seemingly divorced from qualitative features of perceptual states that determine what something is like, or to employ a philosophical term: its qualia. The artwork of artists exploring the interrelations between the phenomenal properties of their materials and ideas is often provocative and unusual, calling for a more demanding set of interpretive skills; skills beyond at least aesthetic judgment that puts great store in absolute distinctions between perceptual and conceptual concerns.  When this dichotomy is guiding appraisal of the artwork it is often misunderstood and subsequently misjudged.  For example, critics, curators, and the art viewing public often overlook or underestimate the cognitive value of contemporary art seemingly indebted to some tradition or another, assuming that such work is primarily concerned with furthering that tradition and little else. If, on the other hand, such art is presumed to simulate a tradition and have a conceptual intention, then it is usually viewed as a matter of either pastiche or parody.  The presumption in the first case is that the work is primarily the result of formal concerns, to some extent or another, in the second, that the work is either a matter of critique or gamesmanship, and essentially conceptual.  It appears that much like the apparent opposition between aesthetics and socially engaged art, absolute distinctions between the formal and the conceptual, eye and mind, are overstated if not illusory.

9 Book of Maladies

Book of Maladies
Paul Forte 2013
Sealed book, crystals and mixed media on painted base
16 x 22 x 3 inches

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While visual thinking is commonplace, it is nonetheless a mainstay of creativity.  For artist and audience alike, artwork that engages visual perception and thought on an equal footing can imbue aesthetic experience with clarity, depth, and passion.  Artwork that delivers in this way may even lead to a new attitude toward aesthetics in general.  In my view, such engaging artwork precedes or makes the new attitude possible.  Thus Danto points the way when says that contemporary artists “portray themselves as engaged in conceptual exploration, calling boundaries into question, seeking to bring to consciousness the way we think about many things.”{{3}}[[3]]Arthur C. Danto, op. cit., p. 47.[[3]]  This is all well and good, and yet, it seems that artwork that both results from visual thinking and requires it in order to be properly understood or appreciated will implicitly call into question the limits and efficacy of conceptual exploration.  This is a reasonable assumption supported by a diverse yet coherent body of contemporary art practices, regardless of how those practices might be characterized (i.e., as “conceptual or conceptually oriented”).  It is my contention that the primary factor underlying these practices is not conceptual exploration, but rather, cognitive exploration.

3 Small World

Small World
Paul Forte 2008
Magnetized globe with metal objects on wood stand
20 x 12 ½ x 12 ½ inches

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Many artists, critics, and curators continue to use the terms “conceptual” and “cognitive” interchangeably.  One reason for this indiscriminant usage may be related to the orthodox understanding of cognition as a domain consisting of “logical reasoning, awareness, and judgment, and the rational structuring of sensation and perception.”{{4}}[[4]]Herbert Kohl, From Archetype to Zeitgeist.  Little, Brown and Company, Boston Toronto London, 1992, p. 179.[[4]] This understanding relies on or is in keeping with presumptions concerning mental processing and the formation of ideas. But cognition is essentially a matter of knowing and understanding, which certainly involves thought and ideas, but thought and ideas, in daily experience as well as in the art making process, are never fully independent of sensory input or emotive aspects, at least indirectly.  A fuller understanding of cognitive processes entails apperception and the emergence of new consciousness.  Consciousness of the integration of thought, sensation and feeling merits mentioning because it has bearing on understanding the basic distinction between the cognitive and the conceptual. Consider for a moment the fact that a good many of our ideas and concepts are first expressed metaphorically, expressions that were originally based on some manner of sensory experience. Consider also the deep relationship between thought and emotions. Feeling may be ultimately inseparable from thought, however subtle the thoughts or manifest the feelings.  Think about the feelings that often accompany ideas that give rise to strong religious or political convictions.  The person holding such convictions may not be aware of his or her feelings, but others often are. There is even a question as to whether the “rational structuring of sensation and perception” is possible in any definitive sense because it seems that sensation and perception are never entirely free of unconscious factors.  Briefly put, knowing and understanding are intertwined processes that involve more than just thought and ideas.

4 Artist's breath

Artist’s Breath
Paul Forte 2008
Sealed bottle on brass stand
13 x 4 ½ inches

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The late philosopher, Nelson Goodman, made a lasting contribution to our understanding by clarifying the distinction between the cognitive and the conceptual, as well as prodding us to reconsider the nature of aesthetic experience.  “In contending that aesthetic experience is cognitive, I am emphatically not identifying it with the conceptual, the discursive, the linguistic.  Under ‘cognitive’ I include all aspects of knowing and understanding, from perceptual discrimination through pattern recognition and emotive insight to logical inference.”{{5}}[[5]]Nelson Goodman, Of Mind and Other Matters.  Cambridge, MA: Harvard University Press, 1984, p. 84.[[5]] Thus it seems clear that the cognitive encompasses the conceptual, not the other way around.  That memory, knowledge, and imagination, as mental capacities, to some extent all determine what and how we see is beyond dispute.  But the point is to see anew.  Cognitively effective art can have an impact on our lives because it enables us to, in Goodman’s words, “See what we did not see before, and see in a new way.”{{6}}[[6]]Nelson Goodman, ibid., p. 85.[[6]] I think that Goodman’s main point here is that such art can be instrumental in developing visual acuity, thus enriching our daily experience.  I believe that some of this artwork can do even more.  Cognitive discoveries, finding new ways of seeing things, are, ultimately, discoveries about cognition itself. The new experiences that art can provide lay the groundwork for how we come to understand ourselves and the world and how we eventually conceptualize that understanding.

6 Nest egg

Nest Egg
Paul Forte 2010
Bird’s nest, glass globe, photo and map in found box
10 ½ x 13 x 7 inches

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“In metaphor, symbols moonlight.” {{7}}[[7]]Nelson Goodman, Ibid., p. 77.[[7]]—Nelson Goodman

There is a mode of reference that has bearing on the notion of visual thinking.  This is metaphor; something that occurs primarily in verbal form, but is not limited to the realm of letters.{{8}}[[8]]Whether or not verbal metaphor is related to visual thinking is an open question, one involving an understanding of how mental images are the bases of associations underlying most verbal metaphors.  If most verbal metaphors are the result of making associations based upon mental imagery, does that make such metaphors inherently a matter of visual thinking?  It seems self-evident that visual metaphor is a matter or form of visual thinking.[[8]] I accept the supposition that metaphor is an essential component of language, in both its literary and everyday usage.  Metaphor animates language in complex and subtle ways.  It makes words breath, adds color and interest, and generally makes reading pleasurable.  But it is more than an ornamental or humanizing gesture.  In instances where, for example, denotative language falls short or is nonexistent as a means of describing a particular phenomenon, metaphor serves an invaluable function. Thus, in science, for example, metaphor has an indispensable role in the advancement of knowledge.  Catherine Elgin comments on the value of metaphor in this regard.  She maintains that while it is true that scientists, unlike artists, “strive for literal, univocal, determinant symbols,”{{9}}[[9]]Catherine Elgin, “Reorienting Aesthetics, Reconceiving Cognition.” The Journal of Aesthetics and Art Criticism, Vol. 58, No. 3 2000, p. 223.[[9]] it is wrong to assume that metaphor and other indirect forms of reference are alien to science.  Elgin states her case eloquently: “Inasmuch as metaphor is a device for drawing new lines and for redeploying conceptual resources that have proven effective elsewhere, it is an immensely valuable tool at the cutting edge of inquiry.  Where there is no literal vocabulary that marks the divisions that scientists want to recognize, they resort to speaking metaphorically of strings or black holes or central processing units.  But as inquiry progresses, the talk becomes increasingly less metaphorical.”{{10}}[[10]]Catherine Elgin, Ibid., p. 223.[[10]] I think that visual metaphor has an equivalent value for the visual arts.  The practice of appropriating images and or objects from everyday life for metaphorical ends could be considered analogous to a redeployment of conceptual resources as it occurs in the theoretical language of science.  Just as it is wrong to assume that metaphor plays no essential role in the advancement of knowledge through science, it is equally wrong to assume that visual metaphor in art is not essential to our understanding of aesthetic experience. Indeed, it may be essential to our even having an aesthetic experience.  If aesthetic experience is cognitive, as Nelson Goodman contends, then visual metaphor in art is also a very valuable tool at the cutting edge of inquiry.  That metaphor in general connects disciplines or domains, at least in principle, indicates more than versatility.  Given its reach, it may be an instrument that combines thought, imagination, sensation, and feeling in ways that lead to new knowledge.

5 History lesson

History Lesson
Paul Forte 2009
Collage and mixed media on board
32 x 40 inches

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10 Beckett's Notes

Beckett’s Notes
Book covers, postcard, map and compass on board in artist’s frame
26 ½ x 30 ½ x 1½ inches

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Of course not everyone agrees that art is a form of inquiry.  Those who balk at the idea that art can teach us something fall into two general categories: those who cannot take it seriously, and those who resist its seriousness.  Art is as serious as science, and just as the results of scientific inquiry need not threaten our well being, understanding and accepting the seriousness of art need not undermine the spirit of art.  Some people maintain that they love art and that it is possible to enjoy it for no other reason than the pleasure that it affords.  Some people take it seriously for the moral instruction or social message that it conveys.  Whether we treasure art as a way of refining our sensibilities or as a tool for consciousness raising, in either case we gain immeasurably when we can better understand why we consider a particular work of art pleasurable, important, or both.  The point is that understanding the artwork from a cognitive perspective can both deepen our pleasure in the work and or our respect for its moral or social message.  Moreover, artwork with the primary purpose of exploring cognition through visual metaphor can be both pleasurable and socially relevant.  Just as the metaphorical language of science can broaden our understanding of the world, the metaphorical images and objects of art can deepen our understanding of ourselves.  As understanding grows, the metaphorical language used to express the theoretical advances of science gives way to more literal or denotative forms of expression.  Something similar may be happening as the investigation of cognition through art progresses, although it is the nature of the visual metaphor that is changing, not the underlying metaphorical orientation through which the exploration advances.

— Paul Forte

Author’s note: Arthur Danto was a wonderful philosopher and critic as well as accomplished print maker. I am very fortunate to have known Arthur, a mentor of sorts, and someone who genuinely cared about art and never shrank from offering his support and encouragement to those artists that he deemed worthy of attention. He gave a talk at the Yale University Art Gallery on my “Headstone” in 2005. It was a great evening and Arthur was in fine form. He will be greatly missed.

Arthur & Paul

Arthur & Paul

——————————-

Paul Forte’s career as an artist began in the San Francisco Bay Area in the early 1970’s.  The Bay Area in those days was a crucible for social, political and cultural change, and Forte managed to play a small but vital part.  Like many artists at the time, he was interested in the experimental possibilities of art and, like many others, believed that the changing nature of art still had the capacity to enable new visions, new voices.  Art and politics were always an uneasy combination for the artist, although he understood perfectly well that how art is received, or enabled is largely contingent upon politics and economics, perhaps especially in a capitalist society, which tends to marginalize those artists who cannot or will not meet the demands of the market.  This realization led to an interest in Conceptual art, and to one of its principle mediums: the “artist’s book,” of which he self-published a number of works in small editions.  Throughout the 1970’s Forte’s work explored the subjective and aesthetic dimensions of conceptual approaches to art making through a variety of media that would later become the basis for what the artist calls a cognitive approach to art making.

A resident of Rhode Island since 1987, Paul Forte has exhibited at the San Francisco Art Institute, San Francisco, California  (1975,1983); A Space Gallery, Toronto, Canada (1978); 80 Langton Street Gallery, San Francisco, California (1981); The Center for the Visual Arts, Oakland, California (1986); The Wadsworth Athenaeum, Hartford, Connecticut (1991); the Kim Foster Gallery, New York City (1998); and Francis Naumann Fine Art, New York City (2007 & 2008).  Forte’s work is included in the Sol Lewitt Collection, Chester, Connecticut; the Museum of Modern Art, New York City (artist’s books); and the Yale University Art Gallery, New Haven, Connecticut, among others. Forte has lectured on his work at Hera Gallery in Wakefield, Rhode Island; The University of Rhode Island; The Rhode Island School of Design; Brown University (Honors Program); Pratt Institute in Brooklyn, New York; The California College of the Arts in Oakland, California; and the University of California at Berkeley.  Paul Forte is a past recipient of a National Endowment for the Arts, Artist Fellowship (1978), and a Pollack-Krasner Foundation Fellowship (1990).