Jul 012015
 

Pierre JorisPierre Joris

.

IN THE BEGINNING WERE THE WORDS. And the words were double from the word go: the cool black on white words in the book, & the loud, fast & hot words on the radio. To begin with the word on the radio let me cold, while the word on the page was what asked me to light up my nights with a flashlight under the covers. This happened, age 5: I remember the room – it was dark & thus I do not remember what was in it except for the bed in which I lay with covers drawn up, trying to read. Later on, in daylight, this room became or had become a living room, & I sat on the daybed & I watched the green eye of Nordmende, the box from which the hot words came. But first the cool ones, black on white, a book grabbed from my parents’ shelves maybe because it also had drawings in it, ink drawings in a multitude of lines that made up faces, scenes, thin, scraggly ink lines, like very square handwriting writing a picture, “modern” in a fifties sense (& this was 1951). The book I took I could read the title of: The Idiot. I am sure I could not read the name of the author: Feodor Dostoiwski. But I wanted to read & read I did or just looked at the first page of print & eventually taught myself the letters with whose help I don’t remember. Parents too busy running a small hospital called St. Pierre’s, my name, my patron saint as I was to inherit it later, be, like father, a surgeon in the capital. But I had already started on the road downhill or elsewhere: lying on the bed reading The Idiot, teaching myself to read. And I did manage a few sentences, a paragraph, half a page, maybe, before my parents discovered me & took this precocity as a good sign & hired a retired school teacher to teach me to read a year before I could officially go to grade school.

I read laboriously no doubt, and in secret to begin with, this book I remember only physically: a white hardcover with black print & black ink drawings. The Idiot. Chapter One, paragraph one – so this are the first sentences I deciphered, the first silent written language that traversed me:

Towards the end of November, during a thaw, at nine oclock in the morning, a train on the Warsaw and Petersburg railway was approaching the latter city at full speed. The morning was so damp and misty that it was only with great difficulty that the day succeeded in breaking; and it was impossible to distinguish anything more than a few yards away from the carriage windows.

Some of the passengers by this particular train were returning from abroad; but the third-class carriages were the best filled, chiefly with insignificant persons of various occupations and degrees, picked up at the different stations nearer town. All of them seemed weary, and most of them had sleepy eyes and a shivering expression, while their complexions generally appeared to have taken on the color of the fog outside.

But these were not the words I read – the book I had with me under the covers was in German, was a translation, i.e. something I would spend the rest of my life getting in & out of.

START OVER:

Is there life before reading? I am not certain — & grow less certain as time passes, as I grow old & memory, like nostalgia, isn’t what it used to be. So if you ask me what it was like to be a child, I will have a hard time answering — and not just because I do not remember it as being the best time of my life. Not that I wouldn’t be interested in finding out for myself. But how to be a historian of one’s own past, if istorin — the Greek word for history — means for the one historian I trust (because I love to read him) to find out for oneself. How can I go there from now? Maybe I can write myself there, i.e. activate dreaming and reading and come back forward?

And thus the earliest state of childhood — supposedly paradisiacal, even if, or maybe exactly because, forgotten — I cannot help but associate with non-reading, so that “prelapsarian” always rhymes with preliterate in my mind. Where was I? Rue Glesener, in the southern quartier de la gare of Luxembourg (the capital city of the eponymous country). When was I? Not yet, not yet. I lack photos of that time, cannot see myself, and the google map doesn’t get me closer than 200 meters for an inch. The street was maybe 300 meters long, that much I can make out; it started from the Avenue de la Liberté and ended in the rue Adolphe Fischer.

We lived — but this I was shown later, it is not my memory, just something I was told — we lived for awhile in the last house on the North side of the street, the one giving onto the large open space used by civil engineering company Karp-Kneip as depot for its construction materials and as parking lot for its caterpillar tractors, steam rollers, and asphalt laying and paving machines. I must have looked down on that machinery from an upstairs window, or tried to get glimpses through slits in the wooden barrier surrounding the site. But I do not remember the specific occasion of doing this, or, better, all I remember is the shared fondness of children and grown men to peek with mouths agape through any available opening into construction sites where big machinery moves about.

The only thing I do remember from that house — because in the next house we lived in I already remembered it and its location in a room I furthermore remember every detail of, especially the daybed in the corner upon which I taught myself to read — the only thing I do remember from that first house is a large Mahogany radio set with built-in record-player on top and box to keep the old shellacked 78s and later the first “long-playing” 33-rpm records at the bottom. A Nordmende, I think, but who knows, it could just as well have been a Phillips, Telefunken, Grundig or Saba. Sleek, elegant, probably taller than I was the year my father bought it. It stayed that size, I kept growing. I like to think that for some time we saw eye to eye — for what has remained with me always was the magic green eye that, cat-like, would widen or narrow its pupil in relation to how good the signal was. I would press my blue eye to its green & with one hand play with the tuning button to make the eye twitch.

But I would have my hand gently slapped for playing with the tuning button because father didn’t like me to un-tune the one station he listened to — long-wave Radio Luxembourg. Not much stays with me beyond the fascination of the green eye, except for two auditory memories, though these must be from the second house. The first of these is the opening soundtrack and half-screamed title of the 12:50 p.m. radio-drama: Ça va bouillir, Zappy Max! Although French was always an available language, I don’t remember anything of the story lines, except for Zappy Max’s breathless voice, and the fact that the weird nasty bad guy was called “le tonneau” — the barrel. What made the show for me were the incredible variety of noises, screams, screeches & other sound-effects that pushed whatever story line there was ahead at breakneck speed.

What has stayed with me more essentially was something else: a sequence of sound I couldn’t make sense of but were the most seductive, the most wondrous and mysterious language-sounds I had ever heard. And that inscribed itself immediately and forever in my brain. This sound sequence would come over the radio in the program my father listened to after Zappy Max, the one o’clock news. Later on I translated the music the vocables made into semantic meaning: it turned out to be a name, much in the news at that time: Krim Bel Kacem. I can still hear it in the singing French inflections of the news announcer – returning, repeated, over and over: Krim Bel Kacem Krim Bel Kacem Krim Bel Kacem.

With no semantic referent to attach to the sound sequence, I was utterly seduced by its sheer musicality, from the repetition of which I drew an immense pleasure I recall to this day: first, the initial hard, nearly explosive consonantal rub of “r” after “k” followed by the elongated high vowel sound of the “i” and down into the calm “m” — a peaceful “om” after the crime-evoking sounds of the first three letters. Then the high bell-sound of “bel” a clear peel, short but echoing loudly and in its very clarity hiding or making me forget the reference to the obvious (but misplaced) French semantic meaning. This was followed by the alliteration of the “k” sound, though this time with the variation of the “a” vowel replacing the “are” of krim, a descent in pitch from the “e” of “bel,” but a widening of the scope of sound, a deepening into that initial and initiating sound of human language, the long “a” that can carry pain, pleasure, surprise, exhilaration and so on. After the “c” planes down and alleviates the harshness of the two initial “k”s, the sequence finishes on a second alliteration, that of the final “m,” easily drawn out to bring it even closer to the calmness of the seed syllable “om.”

Maybe father did tell me that it was a name, no matter, I don’t remember if he did, and if he did do so, I must have forgotten instantly, or else willfully worked on forgetting, as I do remember that “Krim Bel Kacem” was my favorite word sequence for that marvelous childhood play consisting in repeating a sequence of words without pause or interruption until any semantic meaning is rubbed out and all that’s left is the pure jouissance of a sound that now arises from the very chora of language.

Now you may say that the foregoing answers my initial question: clearly, there is life before reading, and it is the life of sound….But how do I know? Much of the time listening to Radio Luxembourg in that room with the green eye gleaming were spent on the daybed at the other end of the room with … a book in my hand. The first such book was a tome grabbed from my parents’ shelves maybe because it also had drawings. I could read the title: The Idiot. I am sure I could not read the name of the author: Fyodor Dostoyevsky. But I wanted to read & I read or looked at the first page of print & taught myself the letters, with whose help I don’t remember. A year later I was put immediately into second grade, given that I could read — & just as immediately proceeded to exchange the Dostoyevsky for the first fifteen issues of “Akim,” the Tarzan wanna-be character created in 1950 by the script-writer Roberto Renzi, with artwork by Augusto Pedrazza in the handy Piccolo strip-series. They were the perfect size to read in school under the desk, or on the daybed out of the parents’ sight and under the protection of the cool, unphased green eye of the Nordmende, while “Krim Bel Kacem Krim Bel Kacem Krim Bel Kacem” would eventually echo through the other words, “Akim, Akim, Akim” and I would make up new names for new heroes I dreamed I would later write about or draw strips for or put on the radio and I could already here the announcer in Zappy’s voice breathlessly screaming: “Ça va bouillir, Kim Akrim Bel Kacem.”

 

—Pierre Joris

.

Pierre Joris has published some 50 books of poems, essays & translations, most recently Barzakh: Poems 2000-2012 (Black Widow Press 2014), Breathturn into Timestead: The Collected Later Poetry of Paul Celan (FSG 2014) & A Voice Full of Cities: The Collected Essays of Robert Kelly (coedited with Peter Cockelbergh, Contra Mundum Press 2014). Previous books include Meditations on the Stations of Mansur al-Hallaj (poems) from Chax Press and The University of California Book of North African Literature (volume 4 in the Poems for the Millennium series), coedited with Habib Tengour. Exile is My Trade: A Habib Tengour Reader edited, introduced and translated by Joris (Black Widow Press), & Cartographies of the In-between: The Poetry & Poetics of Pierre Joris, edited by Peter Cockelbergh came out in 2012. When not nomadizing, he lives in Sorrentinostan, a.k.a. Bay Ridge, Brooklyn, with his wife, multimedia performance artist and writer Nicole Peyrafitte.

 

  4 Responses to “Late Prose of First Years: Autobiography — Pierre Joris”

  1. I love the child’s blue eye pressing up against the green eye of the mahogany radio set. Wonderful image.

  2. The sense out of sound action in the paragraph analyzing the syllables of “Krim Bel Kacem” polishes the gem-like memory of sound into gleams of sense. Does sound engender oblivion with respect to sense, push towards the forgetting & (re-)-turn to the “pure jouissance of a sound”? It is interesting that memory seeks out this oblivion & reconstructs it towards a semantic register; memory works as a reversal of the childhood game of repetition & arrives a folded community of sense & sound, all the while operating as the very repetition that brought about forgetting! They belong together. And the writing back towards an originary moment of reading and of its pre-history–a reversal bound to its obverse. Eye-to-eye, the living eye shines into the shine of the machinic eye, the living auditor un-tunes for the light it brings, the father legislates the clarity of tune as speech-as-instrumental of meaning. Is this a poetics investigating the native (child-bound, child-born, ‘insurgent’) resistance to the father’s law, the code of instrumental language & the discourse of disembodied & ‘static’–though tuned, clear, precise–meaning?

  3. So lovely. Thank you, merci, danke…

  4. to peek with mouths agape ; much my reaction while reading; greatly appreciated, lovely piece. more please

Leave a Reply