Apr 092016
 

Portrait of Cy Twombly by Fielding DawsonPortrait of Cy Twombly, Fielding Dawson

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Fielding Dawson Portrait of Cy Twombly

your chair looks kinda wobbly
cy twombly

I think you’re an anomaly

you’re practically
sliding off the chair
the window’s
broken by lines in a grid
it’s time to stand–
but sit for another minute
give us your specifics
wait — you don’t care
what you get across
or to whom

large, your hands
rest beside each other whitely,
parallel like piano keys

your shirt’s white
the window behind you is kinda’
sketchy in 1951

loose
yet precise
a small face
full of interest
unstingy
and grungy

a black button
on a worn blue jacket

you might jump up
and draw squiggles
your body’s both curvy and angular

a bit of white sock
usual blue pants
a blue jacket  bits of
brown butcher paper
showing through

your collar’s upturned and
your hair’s a bit of tweedledee and tweedledum

the wood floor is what you were
born for

guess that’s a watch on your left wrist
your shoelaces and the
stripes of your collar–
you were about
little things like that
employing house paint
colored pencil and string
among other things

your acrylics are bright
what did you do at night I wonder
you give us just a smidgen of
what’s in that head of yours

fielding dawson
lifelong socialist
socialized with you
no separation between
the art and the doing
the art and the life

remaining unnoticed you were happy

you broke things down to
build them up again
cy means baby in greek
master in english
which is what you speak

the british family twombly
had a coat of arms which
you may have found alarming

a hands-on man
plain so you could
put it all in the work

triangles all around–
your face
your collar
your crotch
your right leg forming an
acute angle with the chair

things one might not notice
at first–your sagging belt
the pocket on your jacket

legs apart
feet turned slightly outward the way
a man’s supposed to sit

eyes closed or just looking down

the lines of the floor drive the painting forward
as if thrusting you towards us
colorful cartoony one

your shoes shaped and colored violins

bits of purple and green
far away barely seen
make the blue less flat
the painting works against the
flat canvas though it’s semi-abstract

it’s an impression and makes an impression
of cy twombly

will you have coffee with me?
no? you want to get back to your studio…
stand up, walk away, the day awaits

dawson chose the colors of nature for you
you’re off in your head to
a greek isle
a sumerian temple
a grouping of flowers

part of progressive art, you said,
is the complete expression of one’s personality–
you drew in the dark to develop your line
a wobbly line     a kid’s kind of line

I saw you as a baseball player before I knew
your father named you after
cy young
and was
himself
a chicago cubs pitcher

you married a baroness and called your son cy
grew up in virginia     hopped over to rome
in between relocated twice a year
your sculptures as talismans to
guard you on your way

edwin parker cy twombly jr  hey
you influenced basquiat, kiefer, clemente and schnabel–
very cool–
keats and mallarmé appear in your work
rilke and virgil as well
space in your huge canvasses
for them all

influenced by giotto
you painted a blue sky
on a ceiling in the louvre
with sun and planets perhaps
painted over with names of greek sculptors

dawson painted you with
2/3 blue wall behind you
1/3 yellow floor
it’s right proportionately

for your blackboard paintings you
‘sat on the shoulders of a friend who shuttled back and forth
along the length of the canvas, thus allowing the artist to create his fluid continuous lines’

work as a cryptographer for the army influenced what–
your scripts and  pictography?
amazingly, charles olson worked in washington, too

cambodian-french artist rindy sam was arrested after kissing one
panel of your triptych phaedrus, which she smudged with red lipstick.
at her trial she defended her gesture:
‘J’ai fait juste un bisou. C’est un geste d’amour, quand je l’ai
embrasse, je n’ai pas reflechi….’
‘It was just a kiss, a loving gesture, I kissed it without thinking; I
thought the artist would understand….It was an artistic act provoked
by the power of Art.’
‘[ms] sam was fined and compelled to take a citizenship class.’

a frenchwoman stripped in front of your
orpheus’ trip to the underworld
saying, that painting makes me want to run naked.
you were delighted, who else? you asked,
could have that effect? I might add,
especially in houston, texas.

—Ruth Lepson

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Ruth_Web

Ruth Lepson has been poet-in-residence at the New England Conservatory of Music for 20 years and has often collaborated with musicians. Frank Carlberg, Noah Preminger, Simon Willson (2 l’s) & she will be making an album this spring of musical settings of her poems. Her new book is ask anyone, from Pressed Wafer, and musical settings of some of the poems will be available on the Pressed Wafer website and on her new website, ruthlepson.com. She’s had poems in Jacket2, Agni, Let the Bucket Down, Big Bridge, spoKe and many other publications.

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Apr 092016
 

dirt
The thing I remember most about arriving in Spokane, Washington, at the end of August in 1991, to begin my MFA in Creative Writing, was the heat and the dust. I remember walking from the apartment in Browne’s Addition (where I was staying until the university residence opened, being put up by a kind soul who did not know me from Adam – like the dust, I drifted into his apartment on the hot currents of air, settled on his couch, and he generously let me stay – thank you Jeff Blaustone) to The Elk for a breakfast burrito the morning after I arrived. The heat and dust weighed down on me. I could feel it in the air, I could smell it deep within my nostrils, I could taste it on my tongue, and I like to believe I could hear it too.

Now all these years later, three good friends from back then are featured here in Numéro Cinq writing not about dust but dirt from the anthology, Dirt: A Love Story – Barbara Richardson (editor), John Keeble and Jeanne Rogers. Barb and Jeanne had already completed their first year in the program by the time I arrived, and John was a professor in the department. My fondest memories of all three of them are related to landscape (well, there was that one night in Jeanne’s caboose out at Loon Lake, but it’s probably best not to go there) and the journeys involved in reaching new landscapes.

On one occasion, Jeanne who had planned some quiet time alone in Cannon Beach on the Oregon coast in a small cabin she had rented by the ocean graciously offered me and my wife a ride there and back. We stayed closer to the town in the Oddball apartment, a last minute rental. During the day we walked the beach, enjoyed the views of the ocean, the mountains and rugged coastal outcroppings, the famous Haystack Rock or hiked the headlands with their panoramic views. Barb drove us to the Thoreau Conference in Missoula, Montana, where we attended workshops with Rick Bass and Simon Ortiz, heard an electrifying reading (his first in 13 years) by the late great Jim Harrison. More readings and panel discussions with environmentally concerned writers such as Richard Nelson, Marilynne Robinson, Terry Tempest Williams, William Kittredge, and Sandra Ciscernos amongst others. And John eventually led us to Alaska. His seminal non-fiction account of the Exxon Valdez oil spill encouraging me to persuade my wife (easily done) to go backpacking there for three months before returning to Ireland.

I owe a deep debt of gratitude to John. The two years I worked with him as my instructor and thesis advisor shaped me more as a writer and as a person than anyone else I can think of (and it needs to be said, he is one of the finest writers North America has produced, his superbly intricate fiction and non-fiction always socially and environmentally prescient.) I also owe so much to Barb and Jeanne too for their kindness and friendship. It was an extraordinary time for me, and those were extraordinary journeys we took. As for the Spokane dust, I can hear it still.

—Gerard Beirne

barb

 

Introduction — The God of Dirt

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F

or thousands of years, humans have looked to the heavens for inspiration and divinity. Looking to the heavens may be the greatest mistake we, as humans, have ever made. We project what we want onto the open skies, the blank distant blue. Whereas looking to the earth sends clear messages—intricacy, impermanence, solidity, interrelation, humility. You can’t fool dirt. Nor can you escape it. You can’t manipulate meaning as you can from the mirror of an empty sky. Dirt anchors us all in reality. And so we need to remember and relearn the ongoing, resonating divinity of dirt. As John Keats wrote, “The poetry of the earth is never dead.”

That poetry is everywhere. It comes in through all our senses. Green, gold, scaled, seeded, sour, shining, sneaky, squeaky, voluminous . . . Mary Oliver writes, “The god of dirt / came up to me many times and said / so many wise and delectable things, I lay / on the grass listening.” The essays in Loving Dirt are that listening. Remember the joyful freedom of splashing in a mud puddle? The thrill of climbing an eroded cliff? The artists, scientists and authors in Loving Dirt drag you outdoors, scuff your knuckles and muddy your feet. They make dirt live and breathe again.

“The first set of essays, “Land Centered,” returns dirt to its rightful place—as the crux of life in the experiences of people who are flagrant dirt fanatics. These writers revel in the fact that dirt is “magnificently humble.” Long may they reign. Then, armed with new appreciation, take a muddy fall into “Kid Stuff,” the second set of essays, which explores our early contact with dirt. Go ahead, these writers say, “major in mud pies.” Because the humbling, hallowed fact is that dirt is our mother. And she doesn’t call us inside at night in order to ignore her gifts.

“Dirt Worship,” the next set of essays, shows just how to get “that motherly feeling” on in adulthood. How to place your feet on the ground and your hands in the soil and claim your ancestry, your grand, mysterious inheritance. This centering in the land leads to curiosity about the good stuff under our feet. And so the fourth set of essays, “Dirt Facts,” offers insights into the masterful and largely ignored scientific processes within dirt, the “interesting secrets” that children and dogs, who may not understand, enjoy with all their hearts.

Lastly, the essays in “Native Soil” embrace the challenge of adoring seemingly unlovable ground—third-growth woods, weedy urban lots, overgrazed prairies—”the sort of land that desperately needs to be loved and protected, and rarely is.” These essays salute and defend our native soils as if they were life itself, which they assuredly are. “Humble” comes from humus, ground, and humilis, lowly. Humble outdistances pride. Humble whispers connective language, and waits when we don’t listen. By book’s end, you will recall the generous, wordless, irresistible divinity of dirt.

“That divinity says get filthy. Grab a shovel. Hike a ravine. Breathe a dust storm. Reek like old goat and sleep like Venus after a dirty long day. Relish dirt’s unbiased receptivity. Worship, if you will, the endless fecundity of soil. Or better yet, fall in love. Dirt makes a resilient astounding lover. Tireless. Generous. Unstoppable. And most often unthanked. Start thanking. Put your belly on the ground and say thank you. Wherever you are. Winter, spring, any season will do. Lie there saying thank you until all of your internal chatter and sophisticated notions and cogitative claptrap stop.

“While you’re down there, imagine every plant that has ever lived. Every seed that has dropped, every band of people, every fish in every stream, every hedgehog, every grasshopper, all the grasses of all the prairies on earth are still here. The trees. The elephants. Every single ant and albatross. You needn’t try to imagine it, it is so. Under your belly. The earth should be groaning under piles of its own dead life forms, but what a spacious, cleanly earth it is. Right beneath you lies a creative silence so vast it makes time stop.

“Walt Whitman, long gone from us, said, “Look for me under your boot-soles.” He meant it literally. This astonishing vanishing act to which we belong deserves consideration. And deep respect. Respect for the arbiter of this vast balanced nuanced productivity. Let God in heaven take care of the stars. We, along with the scientists, artists, and poets, are forever called to loving dirt.

— Barbara Richardson

 

john keeble

Imago Ignota

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M

y earliest memories of dirt come from when I was a young boy of four. We lived on a hill and during springtime I would combine the dirt with small stones and sticks and construct experimental earthworks to guide the water of the snowmelt into little lakes and dams. Sometimes a small stick would double as a boat, enter a rivulet, and careen downwards. I suppose it was mud I played with, dirt mixed with water. There were the mud puddles, too, the bane of mothers and a great source of pleasure for young people in galoshes who were fortunate enough to have dirt around them. I first lived in a small town in Saskatchewan and we had plenty of dirt in those days, all right.

There was the dirt I remember when I was not much older, a patch of it near the steps at the back of our house. I sat on the steps in the sunlight with a stick in my hands and drew in the dirt. I was brought to consider infinity, as I had lately been struck by the meaning of “The End,” and then by the question of what comes next after “The End.” This simple, rudimentary contradiction was a childish insight into the nature of things, and while my phrasing of the question has grown much more ornate, I can’t say that my understanding of its meaning has improved in the least. What strikes me as fascinating is that I was drawing a figure with my stick in the dirt while trying my hardest to unravel this matter. The question seemed to emanate from the dirt, radiating through the squared off head and querulous expression of the figure I had drawn. It said something about what I might see now as the classic fundament of elements . . . earth, water, air, and fire . . . but which then was merely the grounding sense of touch with a solid thing, holding the stick in my two small hands, touching one end of the stick to the dirt, and moving it to outline the rudimentary head while my mind went off toward the empyreal, sparking the imagination. It was an obscurity felt as inchoateness, an “imago ignota,” and it is important to consider the order in which those two things came: first, the grounding, and second, the sparking.

When I was eight, my family moved to Berkeley, California, where my father attended the Pacific School of Religion. There on the lavishly planted and somewhat unkempt grounds of the campus I found myself transfixed by a slope overgrown with dense bushes, surrounding a single, huge fir tree, which I watched during storms from our apartment window. The tree tilted, bent, and whipped in the wind. One spring day, I made my way to the tree by crawling beneath the bushes. Upon reaching it I found a tremendous gnarled root system clutching at the dirt. The brown needles that fell from the tree made a thick duff, eventually to be transformed into more dirt, and there were spider webs that held entrapped flies and a colony of sow bugs, which curled up into balls when touched. Those things were the grounding there. It was a potential, frangible detritus, found in a dark place, and, I thought at the time, safer than any other place I knew of, solitary and secret. I had to creep out the way I came, emerging covered with dirt and with cuts from the thorns and brambles.

My family moved to Southern California where I had a transfigurative experience with dirt. We traveled to Death Valley to camp for several Thanksgivings, a time of year when the desert was cool. We went with friends of my parents, the Sayles, for whom I recall having great affection, though now I know little about them, except that they were artifact collectors, and old enough to be my grandparents. They had no children. We camped in a place with a hot springs, which was near what seemed a vast plain stretching as far as the eye could see, but with very few plants growing on it. Instead, it was littered in places with small stones of agate, jasper, flint, opal, and obsidian which had been chipped by human hands. It was a stone flaking ground and we would walk along, traversing the flat with our heads down as we searched for artifacts, and I remember one I saw . . . a pink-colored piece of opalized agate. I bent to dig it from the dirt. It seemed presentational, an ensconced arrow point, and I can envision it still, the dirt framing the luminous stone. I lifted it to show it to Mr. Sayles, who touched his finger to the fine flaking on the point’s gently curved hafting and pronounced it to be a 2000 year old ceremonial or mortuary point.

Whether he was right or wrong, I have no idea. I do not possess the arrow point and I think now it was possibly ceremonial because of the ornateness of the hefting, but unlikely that it was 2000 years old. At the time, I knew nothing of the value of artifacts, and certainly I did not consider that the original makers, feasibly Panamint Shoshone, might wish to lay claim to them, and thus that what I was engaged in was a form of plunder. Though at age ten or eleven, I was at a time when my consciousness was dividing into what some hold as the signal stage of growing out of childhood, the nagual (familiarity with the non-ordinary) giving ground to the tonal (a fixation on the ordinary, the everyday), the possibility that what we were collecting came from a burial ground did not register, perhaps simply because it was not a part of the conversation among the people there . . . the Sayles, my parents, and myself. It would take Barry Lopez years later to articulate that for me. In his essay, “The Stone Horse,” he describes his encounter with a horse made of an outline of stones, a four hundred year old intaglio laid into sunburnt and sandblasted desert varnish, which is a patina of iron and magnesium oxides. He says, “. . . the few who crowbar rock art off the desert’s walls, who dig up graves, who punish the ground that holds intaglios, are people who devour history. Their self-centered scorn, their disrespect for ideas and images beyond their ken, create the awful atmosphere of loose ends in which totalitarianism thrives, in which the past is merely curious or wrong. . . . [But] I remembered that history, a history like this one, which ran deeper than Mexico, deeper than the Spanish, was a kind of medicine.”

From the experience of finding the arrow point in the dirt, misunderstood as it was, I developed one, sometimes useful habit, that of searching the ground when I walked, of being alert to what the dirt offered up, to the sparking that helped me make my way as an adult. This is how it is in Eastern Washington on the farm where my wife and I have raised our children and lived for forty years: deer carcasses, cow carcasses, a heifer practically disemboweled by her breech-born calf, all manner of carcasses going into the ground, raccoons, porcupines, mice, and gophers, flies and maggots eating the dissolving flesh, dust from taking the care to disk in the residual organic matter left after baling hay. It’s garden dirt made into soil, I suppose, chicken shit and dirt, cow patties and dirt, deer manure, convoluted moose droppings and dirt, snow and dirt, rain and dirt, dirt from dirt roads, dirt in the nostrils, in the cracks of skin, imbedded under fingernails, dirt storms, veritable clouds of dirt, great plumes of dirt blowing across the Pacific from the Far East, for nothing is strictly local. There was the stratospheric column of volcanic ash from Mount Saint Helens that covered our place in 1980 and floated around the world, this and more on ground covered by one of the largest floods known to the history of the world more than twelve thousand years ago. The ice dams broke apart at the end of the last glacial age and the resulting floods inundated hundreds of square miles from Missoula, Montana to the Pacific Ocean, covering portions of Idaho, Oregon, and much of Washington. Where we live there are fields where the once massive eddies slammed into the hills and turned, dropping their loads of dirt. Within sight of such fields there is basalt on the surface, known as scab rock, where the water raged, washing the dirt away.

It is interesting how the word, dirt, has undergone a nearly hundred eighty degree turn in meaning in our culture. The word is thought to emerge originally from Old Norse . . . drit . . . meaning excrement. The Oxford English Dictionary lists this first, “1. Excrement,” but there are other meanings, too, “2. Unclean matter, such as soils and any object adhering to it; filth, especially the wet mud and mire of the ground, consisting of earth and waste matter mixed with water. 3. Mud, soil; earth; mould; brick-earth,” and it adds the more metaphorical meaning, “4. The quality of being dirty or foul; dirtiness; foulness; uncleanness in diction or speech.” I have a copy of Webster’s Dictionary, dated 1911, which defines dirt as: “1. Any foul or filthy substance; excrement; earth; mud; mire; dust; whatever, adhering to anything, renders it foul or unclean.”

The change seems to have happened sometime in the last century. In 1927, Hermann Hesse published his novel, Steppenwolf, in its German edition and near the beginning of the book he has his willfully shabby and unkempt protagonist, Harry Haller, pass by a place “so shiningly clean, so dusted and polished and scoured so inviolably clean that it positively glitters. . . . Don’t you smell it, too, a fragrance given off by the odor of floor polished and a faint whiff of turpentine together with the mahogany and the washed leaves of the plants—the very essence of bourgeois cleanliness, of neatness and meticulousness, of duty and devotion shown in little things? I don’t know who lives here but behind that glazed door there must be a paradise of cleanliness and spotless mediocrity, of ordered ways, a touching and anxious devotion to life’s little habits and tasks.” Haller goes on to claim . . . undoubtedly ironically . . . that he is not being ironic.

The tension Harry Haller foresaw is out in the open now, for the world’s population, and its inventions, have increased exponentially while the earth’s dirt in its frenzied and fecund form has proportionately diminished. We’ve also come to understand very well the new dimension added to dirt. No longer is dirt always a thing that needs to be washed out like Lady MacBeth’s “spot,” made hygienic and sanitized. One does not think solely of one of a number of secretive, contagious killers, cholera, say, looping around a village in the mud and water, or E. coli poisoning from animal waste stirred into fields of salad greens. On the contrary, we’ve come lately to think we’ve grown excessively clean, that our immune systems require more contact with the minerals and myriad of microorganisms, which, if one were to dig one’s hands in the dirt one would come up hefting a load of the visible and invisible . . . earthworms, larvae, tiny insects, tiny snails, nematodes, and bacteria, frangible fossil matter, frangible sticks and leaves, carbon, and radioactive isotopes, some of which might contain the germs of yet unrealized cures. My wife and I have a dog that eats dirt every springtime, and a grandchild who adventures in it just as I once did, searching out his inchoateness and the seemingly random sparking. If only we could cease our plundering habits, the products of human invention which strain to drive the earth into utter exhaustion. We’re playing a fool’s game with our dirt, blindly transforming it “behind that glazed door . . . [into] a paradise of cleanliness and spotless mediocrity” through genetically modified crops and monoculture, herbicides, fertilizers, coal mining, petroleum extraction, and fracking, that dire, unthought out, and “awful atmosphere of loose ends in which totalitarianism thrives.”

—John Keeble

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jeanne

Sinking Down Into Heaven

I

am a Midwest farmer’s daughter and as such, no stranger to dirt—four hundred and fifty acres of it to be exact. In addition to growing sweet corn, field corn, alfalfa, oats and wheat, we raised dairy cows, beef cattle, pigs and sheep. The dairy barn took up the western section of land next to the woods. The steer barn, corncrib and hayloft claimed the eastern border near the creek. The sheep grazed on the northern edge close to the swimming hole and the pigs wallowed in the mud to the south. My bike and I were constant travelers on the gravel roads that connected the respective barns and outbuildings, and I’d be lying if I said that navigating those loose gravel roads on my black Schwinn with skinny tires was not a tricky endeavor that required Bandaids and Mercurochrome on a regular basis. I rode my bike from one end of the farm to the other, and when my legs grew tired, I high-tailed it over to the swimming hole. I ask you: what could be better than a hot dusty bike ride followed by a cool swim and a lazy sunbath? Often, as I lay atop my dry clothes, I imagined the earth spinning faster and faster, imagined myself clinging to the warm grasses for dear life so that the centrifugal force would not spin me off into the ethers. Other than my grandma’s house, there was no place I would have rather spent a summer afternoon.

When the sun neared the grove of trees in the west, I headed home to our well-worn, two-story white farmhouse, its wide front porch and spacious yard shaded by oak trees. Our family garden plot, sixty-feet by thirty-feet of fecund soil, ran alongside the fence that separated our side yard from the cow pasture and in it we grew everything imaginable: raspberries, strawberries, cantaloupe, tomatoes, cucumber, yellow squash, zucchini, acorn squash, green beans, sweet peas, lettuce, spinach, broccoli, rhubarb, green onions, white onions, carrots, potatoes, peppers and the best sweet corn known to man. Many afternoons found me on the front porch staring off toward the neighbor’s property on the far side of the creek while I snipped beans, shelled peas and daydreamed about the swimming hole, a permissible destination only after chores were completed. Much like the sunrise, chores began and ended each day.

My duties consisted of tending our garden—weeding, hoeing, thinning, picking and preparing the fruits and vegetables for farm-style, midday meals and evening meals we called supper. As farmers, we didn’t use the word dinner for the evening meal. To us, dinner meant Sunday dinner at noon. I never heard the word used in the context of an evening meal until I went to school, learned to read and discovered that Dick and Jane ate dinner in the evening. That’s also when I discovered that town people were not exactly like us country folk. But I digress. Preparing one noon meal and one supper each day for six hungry people didn’t begin to put a dent in all of the produce, so we spent numerous hot summer days canning, freezing and pickling the abundance.

Hundreds of cucumbers transformed into dill and sweet pickles. We put up row-after-row of canned tomatoes and peaches, the later bought from a peach farmer who lived down the county line road apiece. In the cool, dank cellar on shelves that lined the canning room, we placed clear Mason jars filled with round, peeled red tomatoes and peeled yellow peach halves, their crimson insides prime candidates for a Cezanne still life. We froze green beans, squash, raspberries, strawberries and tender sweet corn kernels that we carefully and laboriously removed from the cob using a metal and wooden device that looked like a medieval torture rack. We froze whole strawberry-rhubarb pies and put up jar after jar of my personal favorites: raspberry and strawberry preserves.

loved every part of the dirt, manure and water that went into creating our prolific garden. I also loved the dirt, manure and water that caked on the soles of my bare feet, which were often so dirty that they looked as if I were wearing short brown boots. I was nine years old the summer those dirty feet helped me rise from picking the low-to-the ground strawberries, stretch my back from having been bent over for so long, place my hands on my hips and wonder: How can town people be happy without loving a piece of land?

That evening at the supper table I posed that question to my father, a man who had more than once shared his regret about not completing college as had his two older brothers, who now wore suits and worked in cities. From time-to-time he had also wondered aloud if he had made the right decision in remaining a farmer instead of finding a more sophisticated occupation. As he pondered my question, his normally steel blue eyes turned a bright blue and his jaw popped as he chewed—sure signs that he was getting riled up.

“You know,” he said, “I was a kid during the Great Depression. Town people lost their jobs. No money. No food. Nothing. Those scrawny town boys pulled up to our farm hungry. And guess what?” He stopped talking. A slow grin spread across his face. “We gave ‘em food. For once they needed something from us. That’s what having land means.”

In the autumn of my sixth grade school year when I was ten years old, my grandma died, and because I adored her more than life itself, everything changed for me that year, including, and especially, my relationship with dirt and the land. True to those times and that place where she lived in southern Illinois, in a small town cradled between the Mississippi River to the west and the Wabash River to the east, there near the Kaskaskin River in Grandma’s small town, my father and his siblings placed her open casket in the parlor beside the piano for a wake that lasted three nights and three days. It was my people’s time-honored manner in which to pay respects and say farewell. It gave us a few days to become accustomed to the idea of her no longer being with us. It gave us time to be with her body a little longer, time to say goodbye. For three days running, every time I passed by the parlor I glimpsed Grandma lying there in her dark blue church dress. A few times I could have sworn I heard her playing the piano and singing one of her favorite hymns. One time I even thought I heard her familiar chuckle followed by her dentures clacking as she said, Oh Jeanne—you do beat all.

On the fourth day they moved Grandma’s casket to the church, but it wasn’t until after the memorial service when the pallbearers closed the casket that the realization hit me: I would never see her again. We followed the hearse to the cemetery and as we stood beside the open grave, the thought of Grandma being trapped underneath six feet of dirt made me feel crazy with rage. I became hysterical. I screamed, cried, kicked and carried-on something fierce, all to no avail. Nothing could change the ordering of that day. Despite my protests, Grandma’s coffin was lowered down into the earth and covered with shovelfuls of dirt, which to my ten-year-old way of thinking, had completely and utterly betrayed me. I crossed my arms over my chest and declared my relationship with dirt and the land finished, forever.

*

Fifteen years later as I watched my two preschoolers play in the back yard, John Prine’s newly released “Please Don’t Bury Me” came on the radio. The lyrics made me feel as though he shared my aversion to the practice of burial. On that afternoon, I adopted Prine’s contagious melody and goofball lyrics as my theme song regarding the thought of being six feet under for eternity.

For Mother’s Day my daughters’ preschool teacher sent home a yellow rose plant and when its blossoms began to fall onto the kitchen countertop, I planted it haphazardly in a sunny spot in the front yard. To my surprise it flourished. By summer’s end, after several enthusiastic days of planting other young rose starts, we had a burgeoning rose garden—reds, apricots, yellows, pinks and whites. For the first time in many years I felt great pleasure as I pushed the shovel down into the earth and inhaled the smell of moist, lush soil.

I took off my gloves, rested one knee on the ground and lingered, my bare hands carefully arranging the soil around the base of each plant, tending to their needs much like I cared for my young children.

The years passed, my daughters left for college, and as I moved from one state to another and from one house to the next, I became obsessed with annuals and perennials. Without consciously planning to do so, in the yards of the new houses, I recreated my grandmother’s flower garden: pink climbing roses, purple butterfly bushes, catmint, lime green hydrangeas, lavender, yellow day lilies, red carpet roses, white snap dragons and multicolored hollyhocks. Ushered in by the beauty of the roses, my passion for dirt and its works had returned. However, Prine’s catchy tune remained my theme song regarding burial; I doubted that would ever change.

Coming face-to-face with death as an adult gave me the unexpected gift of freedom. Life handed me a three-year crash course during which I lost two close family members and discovered a cancerous lump in my breast. Surgery, followed by seven weeks of radiation that turned my breast an angry, painful red, gave me ample time to ponder my mortality and last wishes. Oddly enough, after living in close proximity with death for three years, I no longer feared it. Death and I had taken time to get to know one another. I felt at peace knowing that I, like my two family members, would one day return, in some capacity, to the earth. My loved ones chose cremation. My uncle’s ashes were sprinkled from the deck of a boat into the San Francisco Bay. My favorite cousin’s ashes were sprinkled in a meadow off a California back road near Lake Tahoe. For my own going-away party, I decided I wanted “Please Don’t Bury Me” played, and even though I’ve always imagined my ashes being sprinkled into the Pacific Ocean from a beach on the Oregon Coast, a different possibility came to me not long ago.

On a hike near my home a vast field of blue camas lilies stretched out before me. Have you ever seen their blue tips swaying in a morning breeze? The sea of periwinkle was divided only by a narrow dirt path. It wasn’t a tall mountain that I traveled to. No need for hiking boots or rappelling ropes. The blue field did not appear on a postcard you would mail home from your hotel saying, This is where we visited today. No one sold jewelry, photos, hot dogs or candy—not even—as you will probably be surprised to hear, expensive bottled water. I did not need a guide, so safe was my passing there. From the main road traveled by cars, I simply walked down the narrow dirt path through the blue lilies, every now and again feeling the moisture of the marshland rise up around my feet. How I loved that oozing up and over the sides of my shoes. How I loved that feeling of sinking down—not dangerously down, mind you—but sinking down just far enough to know that I too was planted, or could be, if I stayed long enough, in that patch of marshland dirt. How I loved that sinking down on the flat dirt path into blue heaven.

—Jeanne Rogers

You can listen to a radio interview here with Barbara Richardson and Jeanne Rogers after a reading with John Keeble in Ashland, Oregon.

 

Barbara Richardson‘s two novels, Guest House and Tributary, reflect her ardor for life in the West. Tributary won the Utah Arts 15 Bytes Award and the 2013 Utah Book Award in fiction. Her 2015 anthologies, I Am with You: Love Letters to Cancer Patients and Dirt: A Love Story
rely on the power of collaborative storytelling to open hearts and minds. She has worked as a landscape designer in Oregon, Utah and Colorado. She now writes and edits in Kamas, Utah.

John Keeble is the author of five novels, including Yellowfish and Broken Ground, and 2013 saw the publication of The Shadows of Owls. He is also the author of a collection of stories, Nocturnal America, and of a work of nonfiction, Out of the Channel: The Exxon Valdez Oil Spill in Prince William Sound. He is a professor emeritus of Creative Writing and English at Eastern Washington University. keeblefiction.com

Jeanne Rogers’ memoir, Changing Course, chronicles her leap from land to sea while working as a steward assistant on an oil tanker. Her 2013 poetry collection, Through the Cattails, celebrates the fragile interconnectedness of human lives. Her short story, “Instructions for a Bed Sheet Parachute,” was awarded best of collection in the 2013 anthology Detour. Her work has also appeared in Willow Springs, The Bellingham Review, Calapooya Collage, The Raven Chronicles and Poets West, among others.

Apr 082016
 

Masande

With The Reactive, Ntshanga seems less interested in writing a novel with a straight, linear plot than he is in writing one about overarching themes of family, denial, and disparity. — Benjamin Woodard

Reactive

The Reactive
Masande Ntshanga
Two Dollar Radio
174 pages ($15.99)
ISBN 978-1-937512-43-9

 

Topping 6 million infections, South Africa is home to the largest number of HIV cases in the world, and it’s an understatement to say that the country’s government has paved a rocky road in its reluctant battle against the lentivirus. Though educational programs flourish today, as does a substantial antiretroviral (ARV) drug treatment program, ramifications from past decades linger. Without proper identification and care, infection numbers rose throughout the 1980s and 1990s, and the early 2000s saw high-ranking officials, particularly then president Thabo Mbeki, actively engaged in AIDS denialism, claiming tenuous links between HIV and AIDS and chastising aggressive medicinal assistance. During this time, ARVs were scarce, despite offers from international manufacturers to supply patients with inexpensive medication, and those who received such treatments were few and far between.

Masande Ntshanga’s engrossing debut novel, The Reactive, unfolds during the Mbeki presidency. It’s 2003, and Lindanathi, a young HIV infected man in Cape Town, spends his days huffing industrial glue with his friends Cecelia and Ruan. When they’re not slumming in an apartment, the trio work together to illegally sell Lindanathi’s extra ARV supply—Cecelia and Ruan are not infected, and Lindanathi is a lucky ARV recipient—to local reactives for quick cash. In lieu of chapters, the novel is broken into five parts, and the first dedicates itself to establishing the relationship between Lindanathi, or Nathi, and his friends, who casually float in and out of day jobs, HI Virus group meetings, parties, and cloudy conversations. Nathi tells his story in first-person POV, and the reader is swiftly immersed into the daily ennui of the gang. Two Dollar Radio, the novel’s American publisher, sells Ntshanga’s narrative on its website as “James Baldwin + Transpotting + Harmony Korine,” and the comparison is apt. More than once, I was reminded of the closing line of “Sonny’s Blues”—“For me, then, as they began to play again, it glowed and shook above my brother’s head like the very cup of trembling”—while reading. Like the Biblical cup of suffering tenuously hovering over Baldwin’s character, waiting to be acknowledged or shunned, in many ways, Nathi’s life is one of limbo, of both life and death, and death’s inevitability frequently crops up, whether Nathi claims, “It’s still a long stretch of time before I die,” or plays games like Last Life, which “is the name we’ve come up with for what happens to me during my last year on the planet.”

The novel’s main antagonist arrives early in part two, when word arrives that a potential new client desires to purchase Nathi’s entire drug stash. The mystery man floods the group’s bank account with a life-changing amount of money and, to show his power and seriousness, he emails information to the three that proves he knows their identities. Though the idea of selling to only one client appeals to the trio, an underlying sense of menace from the man—and the possibility that he’s police—leaves the dealers on edge. With Nathi, Cecelia, and Ruan metaphorically pinned under the client’s thumb, it would be easy at this point for Ntshanga’s novel to devolve into a generic narrative of cat-and-mouse, yet such objectives never surface in The Reactive. Instead, this new assignment subverts expectations, leading to an unexpected, subdued climax, and it allows Nathi to reflect on his own past and come to terms with the death of his brother, Luthando, who expired at the hands of initiation school workers years earlier. As Nathi begins his engagement with his new client, he receives text messages from an estranged uncle, Bhut’ Vuyo, that urge him to return home. These notes, combined with the futility of his current lifestyle, open Nathi to ruminations on those he left behind. A short prologue reveals that Nathi blames himself for Luthando’s death: as teens, the two had planned on stowing away together at an initiation school (a multi-week excursion where each would be circumcised and achieved manhood), but Nathi stayed behind at the last minute, leaving his brother to go it alone. Luthando’s cutting, like many others, was botched, and his death inspired Nathi’s relocation to Cape Town, where he eventually shut his family from his life.

With The Reactive, Ntshanga seems less interested in writing a novel with a straight, linear plot than he is in writing one about overarching themes of family, denial, and disparity. By setting his narrative in the early 2000s, before the widespread availability of ARVs, Ntshanga entrenches his characters in a realm of political denial, which in turn results in physical denial, yet much of Nathi’s own narrative finds root in emotional renouncement: he refuses to consider a return to his family, shuns his uncle’s messages, and despite his own decent upbringing, he sabotages himself in order to reject a potential life of happiness. Early, Nathi admits that he, Cecelia, and Ruan are not stereotypical stoners, but that “each wrote matric in the country’s first batch of Model C” private schools. Ruan is a computer programmer; Cecelia works at a daycare center. Nathi went to university, worked in a lab testing strands of HIV, and was infected while on the job. The life he leads after becoming HIV-positive is chosen precisely because it allows him to deny himself happiness and upward progress. His guilty conscience prevents him from wanting success and promotes his limbo state. Without revealing too much, this same kind of denial eventually surfaces in The Reactive’s mysterious drug client subplot, as well.

Beyond thematic bonds, Ntshanga’s novel succeeds thanks to the author’s gift for language. Characters come to life via precise descriptions. For example, here’s how we meet  Bhut’ Vuyo:

“Pushed forward by the locomotive of a lucrative Toyota scholarship, he’d gone to the city of Kyoto at the age of twenty-four, before coming back and accepting too many drinks on the house in a tavern called Silver’s.”

The economy on display here is enviable, for the reader is able to fully engage and understand Bhut’ Vuyo with only one sentence. And the sentence itself flows with a lyrical quality that continues throughout the novel. As Nathi tries to come down from a glue high, he notes, “The atmosphere feels warm and slippery on my skin, and my mind instructs me to glide, so I push my arms out and try to do that.” When speaking to prostitutes, Nathi mentions “how shattered their faces looked, as if they were the survivors of a protracted battle,” and as the group firsts encounters their severely burned and scarred mystery client, Ntshanga speaks volumes of the man’s physical appearance with Nathi’s unpretentious line, “If he’s smiling, then none of us can tell.”

It’s worth mentioning that this client also occasionally wears a tin mask to hide his true visage, and this literal idea of a man having two faces echoes metaphorically in Nathi’s life. Beyond the fact that he feels as if he’s missing part of himself without his brother, and beyond the multiple lives he has led, the protagonist is named after a girl, and the moniker, the reader is told, means “wait with us.” This definition inserts plurality directly into Lindanathi from birth, and as he struggles with the decision to return to visit his family, his multiple faces emerge.

Writing this review as a thirty-seven year old white male in the United States, I wonder why Nathi’s story strikes so close to my own emotions. And then I realize that, as a child of the 1980s, I grew up under the cowering fear of HIV, convinced in my youth that the infection was inevitable. That any shot or finger prick could spell disaster. I remember Ryan White and Ronald Reagan’s own denial. I was shaken when Freddie Mercury died, dumbfounded by Magic Johnson’s abrupt retirement announcement in 1991 and, come 1994, I rocked my No Alternative CD at top volume. In essence, I, like so many of my generation, have matured to the threatening rattle of HIV and AIDS, have seen the way it has been confused and unfairly stigmatized over four decades, and so, despite never having stepped foot on South African soil, there is an immediate recognition of, if not kinship, then memory that comes from engaging a novel like Masande Ntshanga’s The Reactive. This is a powerful, compassionate story that refuses to rest or shuffle off into the murk of the mind. It exists so that we never forget.

— Benjamin Woodard

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Woodard

Benjamin Woodard lives in Connecticut. His recent fiction has appeared in, or is forthcoming from, StorychordCorium Magazine, and Maudlin House. In addition to Numéro Cinq, his nonfiction has been featured in, or is forthcoming from The Kenyon Review OnlineGeorgia Review, 5×5, and other fine publications. He also helps run Atlas and Alice Literary Magazine. You can find him at benjaminjwoodard.com and on Twitter.

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Apr 082016
 

Reactive

The following excerpt comes from The Reactive‘s brief prologue. In it, Ntshanga introduces the reader to the voice of Nathi, the novel’s protagonist, and sets into motion the background pieces that thrum throughout the novel: the death of Luthando, the commitment to Bhut’ Vuyo, and Nathi’s unforgiving conscious. Overall, it’s a gripping opening to a powerful book. — Benjamin Woodard

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Ten years ago, I helped a handful of men take my little brother’s life. I wasn’t there when it happened, but I told Luthando where to find them. Earlier that year, my brother and I had made a pact to combine our initiation ceremonies.

This was back in 1993.

LT was only seventeen then. He was broad of shoulder, but known as a wimp at Ngangelizwe High. My brother was good-looking in a funny way that never helped him any, and, like me, he was often called ibhari, or useless, by the older guys in the neighborhood. LT was bad with girls, too; most of them had decided against us pretty early. I don’t know; maybe it’s strange that I remember that about him most of all. I suppose my brother was handed the lousy luck of every guy in our family except our dad, who’d thrown us into different wombs one year after the other. We had cousins like that, too, all of them dealt a similar hand. In the end, it was winter when Luthando went to the hills to set things straight for himself. He went up thinking I would follow behind him.

It was raining when the bakkie took him on its back and drove him up the dirt trail. Inside the camp, they put him in line with a set of boys he shared a classroom with. Then they took out their blades. Afterwards, they nursed him for a week, and he kicked and swore at them for another two. They called him The Screamer, they told us later, when we gathered to put him inside the earth. Maybe it was meant with tenderness, I thought, the kind of tenderness men could keep between themselves in the hills.

One morning, they said, my brother had failed to make the sounds they’d come to know him for. Luthando wasn’t due out for another two days. The sky had been an empty blue expanse, easy on their duties around eziko, and they’d missed his peculiar fussiness. When they walked into his hut, one after the other, they found a memory instead of the man they were out to make. That was my little brother, LT, dead at seventeen, and I’ve never forgotten it was me who put him there.

I never went back home after we buried him. This isn’t a story about me and my brother from the Transkei, about the Mda boys from eMthatha or the village of Qokolweni, where my grandmother’s bones lie polished and buried next to her Ma’s. Instead, I want to tell you about what happened to me in Cape Town after Luthando had taken his death. It’s where I went to school and tried to make something of myself. It’s also where I began to reconsider what my hands had made, and my telling of how it broke won’t take us very long.

I went to college two times in my life. I might as well begin with how things went for me there. I first attended the university in Rondebosch, just up the road from the main strip, and when I’d dropped out of my journalism degree I enrolled at the technikon in town, where I got my science diploma and my sickness. I had an equity scholarship—there had been plenty of those to go around for whoever looked the way I did, back then. I got through on mostly average grades, too, like most of the guys in my class. When the year came to an end, there was a bunch of us who’d file into the Fees Office again to fill out all the forms required of boys who shared my skin tone. It didn’t take much to go to school for free, in those days, or rather to trade on the pigment we were given to carry. I think I did alright, if you consider everything else, and I graduated with an upper-second-class pass in the end. I still have that diploma sitting somewhere in my at in Observatory.

Now what else? In between university and Tech, I spent close to half a year at Bhut’ Vuyo’s place. Two weeks after dropping out of the university, I tried to go home, but I couldn’t set foot inside my mother’s house. The home I’d known since I was a child was barred to me. There could’ve been a tapestry of fire that owed over each of our walls that day. In fact, thinking about it now, even that feels like an understatement.

My mother felt disgraced by my decision to leave the university and my bachelor’s degree behind me in Rondebosch. It was too soon, she complained, first over the phone and then again in person. For a few moments, she even refused to turn her face up towards me. Instead, Ma arranged for me to enter the home of a relative.

Bhut’ Vuyo was known as a great mechanic, a recovering alcoholic, and someone who’d been a doting stepfather to the little brother I’d helped to kill. He’d met my aunt, Sis’ Funeka, when Luthando was only ten years old, and before then, sticking his hands into rusting bonnets had taken Bhut’ Vuyo to Okinawa as a man of barely twenty. Pushed forward by the locomotive of a lucrative Toyota scholarship, he’d gone to the city of Kyoto at the age of twenty-four, before coming back and accepting too many drinks on the house in a tavern called Silver’s. That was in Bisho, during the decline of the homeland years, and they’d served him on a cloth-covered tray every morning after he’d taken his table. It was no more than a month, people said, before my uncle was undone. There were decades that would nearly fell him after that: Bhut’ Vuyo barely standing on his two feet around the neighborhood, and Bhut’ Vuyo tottering on street corners next to the highway in Mdantsane. He was often seen with his toes busting out through the smiles on his black-and-blue gumboots, his head lolling as wispy as an old hornet’s nest over his shoulders.

Now, my mother told me, having wrung himself dry, and maybe for good this time, Bhut’ Vuyo lived with his second wife in Du Noon. They had two small children and her older son from a previous marriage, all of them born with bright eyes and strong teeth and each glowing with the promise of long-lasting health. For her part, my aunt had passed away shortly after we’d buried her son. Sis’ Funeka had had a cancer eating away at her throat, and I suppose it had grown too impatient with the rigorous hold of her grief.

In the end, it had been a punishment for me to be sent to Du Noon, I had known that even then, but thinking of my little brother, of Luthando, I’d made myself accept the idea. And so I went to Du Noon like my mother wanted me to and ended up staying there for six months. I suppose some things happened when I was out there, too, and I drew close to those folks who’d taken me in. The subject of Luthando came up, as I thought it would, and in my gratitude to them, I made a promise to Bhut’ Vuyo and his household.

Now, close to eight years later, I receive a text message from my uncle that reminds me of the words we shared back then, and of the promise I made, on a night so long ago I can hardly put it together from memory.

— Masande Ntshanga

Excerpted with permission of Two Dollar Radio. (c) 2016 by Masande Ntshanga

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Masande

Masande Ntshanga is the winner of the 2013 PEN International New Voices Award, as well as a Finalist for the 2015 Caine Prize for African Writing. He was born in East London in 1986 and graduated with a degree in Film and Media and an Honours degree in English Studies from UCT, where he became a creative writing fellow, completing his Masters in Creative Writing under the Mellon Mays Foundation. He received a Fulbright Award and an NRF Freestanding Masters scholarship. His stories have appeared in Laugh It OffitchImago and Habitat. He has also written for Rolling Stone magazine.

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Apr 072016
 

IMG-20160223-WA0005Photo by Sonia Quiñones

I first came across Óscar Oliva’s work a couple of years ago when Keith Payne came to visit me at my house in Cholula. He spoke of Óscar’s poetry with such enthusiasm that, as soon as he and his partner (the wonderful singer, Su Garrido Pombo—listen to her perform one of the poems below) left, I pulled out the massive anthology of Mexican 20th century poetry that sat guiltily on my shelf and went directly to the entry on Oliva. The first two poems intrigued me—El artista (The Artist) and El sufrimiento armado  (The Armed Suffering). El artista takes its cue from the famous Velazquez painting Las meninas, in which the artist chooses to place himself within the painting. The speaker of the poem states that his intention is similar to that of the Spanish painter, to become one with his art: ‘How to make myself and this book indivisible?/How to make this poem break free from the yoke of paper?’ In El sufrimiento armado Oliva visits the tomb of Marco Antonio Yon Sosa, a Guatemalan guerrillero killed by Mexican armed forces near the border with Chiapas. In the second half of the poem the speaker returns to his home in Mexico City to read about the event in the local papers. He notes how the minister for defense claims that the Guatemalan guerrilleros had fired first and that: ‘In these conditions…our soldiers will not reply with flowers and embraces.’ Oliva would reply with poetry, with music. From these two initial encounters it was clear to me this was a poet who gave equal importance to social matters as he did to ars poetica, singing for the sake of music. It was also clear that I would read more.

Chiapas, one of the poorest states in Mexico and also one of the states with the highest portion of indigenous groups, is an important element of Oliva’s poetry, his love for his native land is palpable. In Keith’s excellent article for the Irish Times (Rebel Hearts Beat with the ‘Poetry of Vitality’) he charts the circumstances that brought Oliva back to Chiapas in the mid nineties: “In 1994 The Zapatista Army of National Liberation had asked Oliva and (Juan) Bañuelos to join its delegation for peace talks with the Mexican government …Hearing the declaration, Oliva returned to his native Chiapas.” But Chiapas, with its stunning natural beauty, armed struggles and social injustices, though a recurring presence, is not the sole location of Oliva’s work. As likely to reference Q’uq’umatz as Juvenal, his wide range of references weave a vast and varied tapestry. Oliva is a troubadour who travels far and wide, crossing spatial and temporal boundaries with ease, though always carrying with him the stones and soil of Chiapas. These four poems are testament to the variety, vitality and integrity of his work. Long may he continue.
— Dylan Brennan
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Óscar Oliva comments on “Behind the wheel of an automobile on the Pan-American Highway from Tuxtla to the City of Mexico”

Writing poetry always constitutes a journey that starts upon the arrival of the first line, which contains within itself the impulse to keep going. Sometimes we travel down these roads in the dark, like St. John of the Cross, and sometimes at great speed like Rimbaud, all in order to remember or imagine we are remembering, different aspects of situations. We were taught all this by the classic Chinese and Japanese poets. Also by Fernando Pessoa and the Provençal troubadours. I have never stopped making that journey, a journey into knowledge, an initiatory journey, one that is never the same—the landscapes change, the towns and cities also change. I and everyone else continue along this wheel that also changes.

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Behind the wheel of an automobile on the Pan-American Highway from Tuxtla to the City of Mexico

for Enrique González Rojo

From Tuxtla to the city of Mexico
is more than a thousand kilometres
more than a million metres
more than a hundred million centimetres

and so many more stones,
so many more trees that

I can neither measure nor count
what I’ve done so many times,
at so many kilometres an hour,
with the hot breath of wind blowing down the Isthmus,
torrential rains barrelling down the Veracruz stretch
that threaten to jack the car and drop it in a ditch,
I’ve picked up the names of all the bridges,
of all the throttled villages
buried in the curves and straights of the road
that I’ve driven down all the days and all the months of the year,
first light, late at night, and at that moment
when the evening is a cicada turning back
into its primitive shell, spinning back to larva,
the exhaustion hooks the mouth,
twists the shoulder and down
into the back of the foot,
and burrows with a spoon
deep into the head;
I still feel when I’m on the go
from one place to another
in this dread between life and death,
when language and anger pushes you on,
and I’m making my way with a pick and a trowel
or when I’m sat in a chair
or laid between the legs of the one I love,
this gearshift, the pulse of the engine
pulling up the mountain, heading up into
the knotty heart of it all
the gentle giddiness on the way back down
and the speed that makes us swallow the landscape
and our words;
the first time I came to Mexico city
I didn’t know which way to turn
which corner to round,
it was like beginning to write,
sat to the white sheet elbows on the table
alone, shoulders hunched forward
waiting for the pistol and the engine rev,
the race to be won
but you’re the only driver,
the page that burned in my hands
like the rubbish tips that burned in Santa Cruz Meyehualco,
and the trucks and trams that burned in the risings,
that screamed hunger,
I came down from the attic to campus,
books under my arm
rolling up spit balls and firing them
out of the bus window
polluting the city with Kant and Antonio Caso,
I dumped my books on the bus and jumped
into one of the greasy spoons on Academía St.
………….or a pub
then dancing all night in La Perla,
later on I’d feel the heat of the woman
who had brought me home,
a moisture spreading like an expanding universe
in a few square metres,
in a few cubic metres of air;
and I wrote across the city roofs,
I spread my reach, my turf
I wandered the hideous streets
where the people crawled
out of work with nothing to eat
gougers or thieves
who raised their eyes to my shirt
and it was like stepping back into the movies
back into Buñuel’s The Forgotten,
and on those ulcerated streets I saw for the first time
carfulls of police, mounted police
pick-ups of riot police
who closed the streets;
the power of the State
who charged full tilt
swinging batons
booting the rubbish bins,
shaking up the neighbourhood
shooting point blank
a blitzkrieg down on our heads,
then the silence of Chaplin’s Easy Street
and I wake up on the path
my eye cut, babbling
like a groggy boxer and they’ve stopped the fight in the third on a technical
and the howls of the crowd not there,
I gathered what was left of my books
without a cent in my pockets,
and back to my room
whistling the tune from The Graduate,
to write the poem I lost
like so many things you lose;
I.D. and women
strikes and chewing gum
faith and socks;
It gets cold in the mountains around Puebla
you have to roll the windows up,
turn on the heat and slow right down
to a regular speed, and later on the sunlight
through my bedroom window,
she’s coming in to wake me
taking off her school uniform
lying down on top of me sliding over me
kissing each other like something out of the movies,
caresses straight out the The tower of lust
Gone with the Wind’s big house,
it’s late, it’s late the sunlight tells us,
they’ve turned up the lights in the cinema,
It was time for a sup and head out across the Zócalo,
kiss her goodbye at the door
then up Guatemala St.,
two blocks take a right,
back into the new poem
back into the dream jaunt,
grab some stuff for the street again
to listen to the jangle and bounce of the trucks
…………loading and unloading,
the travelling salesmen’s banter,
the binmen,
the schoolkids,
hop up on a bus
in with the workers
the driver has the radio full blast,
it’s hard to get to the door, I ring the bell,
a red light flashes on the dash,
I take a wander up by San Lazaro station,
watch a train pass
as it pulls itself across the face of the earth
a letter on each of the six cars
that form the word STRIKE,
I measure these things in my pocket
against what’s on the street,
at the stand I grab an orange juice, the passing
railwaymen lift a finger in salute,
I salute them too, it’s as if we’re saying
reality is in those fingers
this train,
the orange juice lights up my whole body,
I arrive
and the five poets are sat around a table
someone reads a poem, I watch them:
they’re the same age I was when I first met them,
………….I think;
they haven’t moved, still as a photograph
hands in mid air,
pen in the hand,
a glass at their elbows,
they’re as old as our children are now,
it has all passed so fast
just like coming down out of the mountains in Oaxaca,
where it seems that the road breeds another road
where the slightest slip could send me over the edge,
where the brakes don’t seem to work,
where I’ve lost control of the car,
I come back to the photograph and hang it
…………on one of the walls at home,
I arrive for the first time in Mexico City,
I am just one more shoulder in the crowd marching through,
teargas fumes me,
derailed trains burnt out at the terminal
ripped up tracks and the attack
of the police, of the army, of the riot squad
all in battle formation,
the Zócalo is a rifle butt in the face,
there’ll be more battles
José Revueltas tells us,
the railway workers pass by and lift their fists
…………in salute
they walk out of one cell straight into another,
back down to the underworld, into their nooks,
take note, write all this down,
I’m nothing more than a chronicler
who has seen his friends fall,
who has buried his dead,
who has washed in the wind,
full of ghosts and contradictions,
demands and manifestos,
who has patched his back so many times
falling in love again and again, watching the future
so it’s hard to keep an eye on the telescope lens,
denying the future, hating it again,
starting over again, in the end
starting the journey, setting out from the same place,
going the same way,
coming down the highway, braking,
tooting the horn, the lights change,
gearshift, watch the tyres,
flick on the wipers,
and keep an eye on the gas,
barrelling down again till finally I pull in
and here I am writing this
at the end of the journey,
hopeful,
hitting the brakes
so I don’t run over everything I’ve written
or myself.
So I can keep on rising and falling.

Translation by Keith Payne/Audio reading by Ophelia Ellen McCabe

 

Al volante de un automóvil por la carretera panamericana de Tuxtla a la ciudad de México

A Enrique González Rojo

De Tuxtla a la ciudad de México
hay más de mil kilómetros de distancia
más de un millón de metros
más de cien millones de centímetros

mas las piedras,
mas los árboles,

que no se pueden medir, ni contar,
que he recorrido tantas veces,
a tantos kilómetros por hora,
con mucho calor y viento por el Istmo,
con lluvias torrenciales por el tramo de Veracruz
que tratan de detener el carro, derribarlo en un barranco,
que he aprendido los nombres de los puentes,
de los pueblos asfixiados, hundidos
en las curvas y rectas de la carretera;
que he recorrido por distintos días y meses del año,
en la madrugada, en la noche, en el momento
en que la tarde es una cigarra volviendo a su funda
primitiva, saltando al revés, a su condición de ninfa,
sintiendo ese cansancio que nos prende de la boca
………con un anzuelo,
que continúa en un hombro,
baja hasta el calcañar de los pies,
y escarba con una cuchara
el cráneo;
todavía siento, cuando voy caminando
de un lugar a otro, en esa trepidación de vida y muerte
a la que nos empuja la gramática o la cólera,
de regreso a casa, abriéndome paso
con un pico y una pala, o cuando
estoy sentado en una silla
o cuando acostado entre las piernas de la que amo,
ese cambio de velocidades, el esfuerzo del automóvil
al subir una montaña, entrar a ese nudo de raíces,
el leve mareo al descender
y la velocidad que nos hace tragar el paisaje
o nuestras palabras;
la primera vez que llegué a la ciudad de México
no sabía a dónde dirigirme,
qué esquina cruzar,
era como comenzar un escrito,
estar acodado en una mesa frente a un hoja en blanco,
solo, con los hombros colgados hacia adelante
esperando el disparo que inicia el arranque,
la carrera que hay que ganar
y donde se es el único competidor,
una hoja que ardía en mis manos
como a veces arden los tiraderos de basura de Santa Cruz
………Meyehualco,
o como los camiones y tranvías en tiempos de rebelión,
que aullaba, que tenía hambre,
iba de un cuarto de azotea a la ciudad universitaria,
con libros bajo el brazo,
haciéndolos pedacitos y tirándolos

por la ventanilla del camión,
contaminando más la ciudad con Kant y Antonio Caso,
y ya sin ellos me bajaba a la mitad del camino,
entraba en una cocina económica de las calles de Academia,
o a una cervecería
y en la noche a bailar a La Perla,
más tarde sentía la humedad de la muchacha
que se había acostado conmigo,
una humedad que iba creciendo
como un universo en expansión
en unos cuantos metros cuadrados,
en unos cuantos metros cúbicos de aire;

y yo escribía en las bardas de la ciudad,
ampliaba mi territorio, mi radio de acción,
entraba a calles espantosas
donde la gente se arrastraba,
desempleados que no tenías para comer,
rateros, tal vez criminales
que alargaban sus ojos hasta mi camisa,
y era como entrar de nuevo al cine
a ver Los Olvidados de Luis Buñuel,
y en esas calles ulcerosas vi por primera vez
carros llenos de policías, y también policías a caballo,
granaderos en camiones
que cerraban esas calles,
parte del poder del Estado,
que entraban empujando,
golpeando,
entraban a paso de carga
y arremetían contra todos,
tirando los botes de basura,
despertando al vecindario,
disparando a quemarropa,
acometiendo como en un juego de futbol americano
y después era el silencio de La Calle de la Paz de Chaplin
y yo despertaba tirado en la banqueta,
macaneado, con las cejas cortadas,
como un boxeador groggy que le han parado la pelea
por knock out técnico en el tercer asalto,
con la rechifla de un público que no existe,
levantaba los pedazos de libros que me habían quedado,
sin un quinto en los bolsillos,
y regresaba a mi cuarto
silbando el mambo de El Estudiante
a escribir el poema
que se perdió
como se pierden tantas cosas,
credenciales y mujeres,
huelgas y chicles,
buena fe y calcetines;
con mucho frío por la sierra de Puebla,
hay que subir los cristales de las ventanillas,
poner la calefacción, descender a una velocidad regular,
y luego la claridad entrando por la ventada de mi cuarto,
entrando ella a despertarme,
quitándose su uniforme de colegiala,
echándoseme encima, moviéndose,
besándonos como se besan el actor y la actriz en los filmes,
acariciándonos en La Torre de Nesle,
en la mansión de Lo que el Viento se llevó,
ya es tarde, ya es tarde, nos decía la claridad,
se hacía la luz en la sala de cine,
había que ir a cenar y atravesar de nuevo el zócalo,
despedir a la amiga en la puerta de su casa,
después subir a la calle de Guatemala,
a dos cuadras dar vuelta a la derecha,
llegar de nuevo al poema recién comenzando,
entrar de nuevo a la expedición del sueño,
ir recogiendo muestras de distintos materiales,
para bajar de nuevo a la calle
al escuchar el ruido de los camiones
de carga y descarga, las voces de los vendedores ambulantes,
de los recogedores de basura,
de los niños que van a la escuela,
subir a un camión de pasajeros
junto a obreros y obreras,
el chofer lleva el radio encendido a todo volumen,
es difícil llegar hasta la puerta de bajada del camión,
se toca el timbre, se prende un foco rojo al lado del volante,
caminar sin rumbo fijo por la estación San Lázaro,
ver pasar un tren
que a la tierra arrancara su estructura
en seis de sus vagones una letra
que conforman la palabra H U E L G A
esos materiales que llevo en el bolsillo
los comparo con los que voy viendo en la calle,
llego hasta un puesto de jugos y pido uno de naranja,
los ferrocarrileros al pasar levantan el puño y saludan,
yo los saludo,
parecen decirnos
la realidad son estos puños,
este tren,
el jugo de naranja ilumina todo mi cuerpo,
llego al sitio de reunión,
los cinco poetas están sentados alrededor de una mesa
alguien lee un poema, yo los observo:
“tienen la edad que yo tenía cuando los conocí”, pienso;
se han quedado inmóviles fijos como en una fotografía
en actitud de golpear la mesa,
con el lápiz en las manos,
con una copa al lado de cada uno,
tienen la edad de nuestros hijos,
edad que ha pasado vertiginosamente,
tal como el descenso por las montañas de Oaxaca,
donde parece que la carretera engendra otra carretera,
donde el menor descuido puede llevarme al precipicio,
donde parece que los frenos no responden,
se ha perdido el control del auto,
llego hasta la fotografía y la cuelgo en una de las paredes
………de mi casa,
llego por primera vez a la ciudad de México,
soy un hombro más de la multitud al dar un paso,
gases lacrimógenos me hacen rabiar,
trenes descarrilados o incendiados en las terminales,
las vías levantadas, y el ataque
del ejército, policías y granaderos
en formación a paso de batalla,
el zócalo reducido a un culatazo en la frente,
vendrán otras batallas, nos decía José Revueltas,
los ferrocarrileros pasan frente a mí levantan el puño y saludan,
salen de una cárcel para entrar en otra,
pasan a la ilegalidad, a sus escondrijos,
tomo nota, apunto todo esto,
no soy más que un cronista
que ha visto caer a sus amigos,
que ha enterrado a sus muertos,
que se ha bañado de viento,
lleno de contradicciones y fantasmas,
de asperezas y afirmaciones,
con la espalda remendada tantas veces,
de nuevo amando, avizorando el futuro
que es tan difícil retener en el lente del telescopio,
negando ese futuro, de nuevo odiando,
de nuevo comenzando, en fin
iniciando el viaje, partiendo del mismo lugar,
dirigiéndome al mismo lugar,
descendiendo por la carretera, frenando
tocando el claxon, haciendo cambio de luces,
cambiando de velocidades, atento
al deslizamiento de las llantas, poniendo
en acción los limpiadores del parabrisas,
vigilando la aguja que marca el contenido del tanque de gasolina,
bajando a gran velocidad, en fin
hasta llegar al lugar donde estoy sentado escribiendo,
al final de todo,
esperanzado,
frenando bruscamente
para no atropellar todo lo que llevo escrito
y a mí mismo.

Para continuar ascendiendo y descendiendo.

 

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Su Garrido Pombo Sings the Poem

Capture

Su Garrido Pombo via sugarridopombo.com

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Óscar Oliva comments on “For Pope John Paul II on his arrival in Tuxtla Gutiérrez”   

It is a poem of circumstance, one in which I once again proclaim my love for Tuxtla, my hometown. I like to walk around Tuxtla because for walls it has mountains that have hardly moved since I was born. It is also a poem in which I speak of the evil machinations of the State and the Church, how they transform religious faith, with the 30 golden coins from the spotlights of mercenary publicity.

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For Pope John Paul II on his arrival in Tuxtla Gutiérrez

In the water’s flow lies its fall
voices, faces beloved for having
survived rivers upon rivers:
………………………………..Tuxtla
is like amber under pooled waters;
so now, you’ll make it to my hometown,
Pontifex Maximus, and I would have
liked to have seen you with my 1947 eyes.

You will see that sky of almost solid light that there begins,
that continues in Guatemala like a wild boar’s head,
…………………………………carried on a shoulder,
that can be weighed by hands in all of Central America,
so battered by North American imperialism
………………………………..(that’s what we called it),
and on resting your workman’s hands upon my hometown,
you’ll hear the fluttering thoughts of Q’uq’umatz.

I don’t really know what your visit will bring,
under a sky with no eyelids; it will be astonishing,
tongues will mingle, you will stumble,
heads will bash against each other,
and your word will disseminate, your soul torn to shreds,
thousands will photograph you, shoot you in video and film,
and I will watch you so far away so close on the telly.

I would have liked to have been there in my doorway
……………………………….to have seen you pass by,
but, since many years ago,
a child that came running from the backyard,
not yet having received the Eucharist,
upon opening the door to the street, fell down in a faint.
My grandparents, parents, siblings, and I myself, all dead,
buried; all together, all shouting
……………………..Goodbye Holy Father! God Bless You!

Now then, I am writing these words down before
……………………..you arrive in Mexico, from where
news of your visit breaks
……………………………………………from the TV stations,
which we watch between adverts, which dirty
…………your robes upon which they play dice,
between political slogans from George Bush to the world
………………………………from the White House;
before you leave Rome, Sir John, Sir Paul,
before you open one of the gates of the Vatican Palace;
before I can establish that Rome really exists, the Vatican
Palace, Tuxtla,
because you know very well that all that I’m saying
………………………………………………………………..is possible,
especially between two poets who will not see each other, not now, not ever.

Upon arrival, you will see the trees, that cannot grow
………………………………………………………………..any longer.
You will not see the idols—nobody has seen them—that the Indians
…………hide behind the Catholic images.
You will see, just beside the arroyo, Brother Bartolomé de las Casas,
and you will kneel before him; the bishop of Chiapas
……………………………….will not know who you are.

I beg you not to lift the stone that trips you up
………………………………..on your way to Tuxtla,
………………………………..I do not want the wound to open.
In the place from which you’ll speak,
you will be able to see the Cañon del Sumidero
and the Río Grijalva which carries another river in its depths,
and you will feel there are more leaves under the breeze,
more amber under the light.

What word will be gathered by those poor
who will listen to you, who have survived so many stonings
…………………………………………and prisons?

I don’t know. What I do know is that Christ has not died with them,
that he’ll listen to their words, and when you are through,
He will return with them to where they live, and upon opening
……………………………….the door of one of those houses, will fall down in a faint.

……………………………………………………Safe journey home.

—Translation by Dylan Brennan

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Al Papa Juan Pablo II para cuando llegue a Tuxtla Gutiérrez

En el manar del agua está la caída,
algunas voces, rostros amados porque
han sobrevivido ríos sobre ríos:
…………………………………………………..Tuxtla
es como el ámbar bajo el agua empozada;
en fin, llegará usted a mi pueblo,
Sumo Pontífice, y me hubiera
gustado verlo con mis ojos de 1947.

Verá el cielo de luz casi sólida que ahí comienza,
que continúa en Guatemala como una cabeza de jabalí
………………………………….colgada al hombro,
que es una sola pisada de tapir en El Salvador,
que puede sopesarse con las manos en toda Centroamérica
ahora tan golpeada por el imperialismo norteamericano
………………………………….(así se decía antes),
y al posar sus manos de obrero en mi pueblo,
escuchará el aleteo y el pensamiento de Gucumatz.

No sé bien cómo será su visita,
bajo el sol sin párpados; será impresionante,
las lenguas se confundirán, se trastabillará,
las cabezas chocarán unas con otras,
y su voz será propagada, y su espíritu hecho girones.
Miles lo fotografiarán, le tomarán videos y películas.
Yo lo veré tan lejos, tan cerca, desde la TV.

Me hubiera gustado estar en la puerta de mi casa
………………………………..para verlo pasar,
pero desde muchos años atrás,
un niño que llega corriendo desde el traspatio,
que no ha recibido la eucaristía,
y al abrir la puerta de la calle, cae desmayado.
Mis abuelos, padres y hermanos, yo mismo, todos muertos,
enterrados; todos juntos, gritando:
…………………………“¡adiós, Santo Padre!” “¡Dios lo bendiga!”

Ahora bien, estas palabras las estoy escribiendo antes
………………..de que llegue usted a México, de que se desate
………………………………………….por los canales de televisión
………………..información sobre su visita,
de que lo veamos entre anuncios comerciales, de que ensucien
………su túnica y de que jueguen sobre ella a los dados,
entre consignas políticas de George Bush al mundo
……………….desde la Casa Blanca;
antes de que parta de Roma, don Juan, don Pablo,
de que abra una de las puertas del Palacio del Vaticano;
antes de que yo pueda constatar que existe Roma, el Palacio
del Vaticano, Tuxtla,
porque bien sabe usted que así como lo estoy diciendo
……………………………………………………………………es posible,
más entre dos poetas que no se verán ahora, ni nunca.

Al llegar, verá usted los árboles que ya no podrán
………………………..crecer más.
No verá los ídolos —nadie los ha visto— que los indios
………..esconden detrás de las imágenes católicas.
Verá, junto al arroyo, a Fray Bartolomé de Las Casas,
y se arrodillará ante él; el obispo de Chiapas
…………………………………no sabrá quién es usted.

Le ruego no levante la piedra con la que tropezará
……………………….en su camino a Tuxtla,
……………………….no quiero que se le abra la herida.
Desde el lugar donde va a hablar,
podrá ver el Cañón del Sumidero
y al río Grijalva que lleva en sus profundidades a otro río,
y sentirá que hay más hojas bajo el aire,
más ámbar debajo de la luz.

¿Qué palabra será recogida por esos pobres
que lo escucharán, que han sobrevivido a tantas pedradas
…………………………………y cárceles?
No sé. Lo que sé es que Cristo no ha muerto con ellos,
que estará atento a sus palabras, y cuando usted termine,
Él regresará con ellos por donde vinieron, y al abrir
……………………la puerta de cualquier casa, caerá desmayado.
…………………………………………Buen viaje de regreso.

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Óscar Oliva comments on “Ballad for the Ayotzinapa Boys”

No, I cannot explain what this is about. A warning cry is nothing more than an open throat. Everyone knows about this atrocious crime, I am nothing more than a troubadour in a land where crime reigns supreme. Nobody is obliged to respond with poetry to these nameless occurrences. Poetry must fly with a freedom that is absolute and when it sounds must do so with a beauty with which, and, for which, we breathe. I do not like so-called political poetry, it too has been corrupted by ideologies. I do believe in rage in poetry. Poetry changes nothing, nor is change its function. It is only to be written and, from time to time, sung. For this reason I like for my poems to be sung, in other languages, other intonations, by popular artists.

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Ballad for the Ayotzinapa Boys

There are no limits for this country of crime.
There is no name for this country of crime.
There is no country with names for this crime.
There are no crimes for this country of crime.

Tell me, in what faraway land will they be found?

To Juvenal I’ll add François Villon
to compose this ballad, I’ll ask other troubadours

to lend an interrogative refrain: where, in which
crimeless country are those boys who only just
………….stripped naked for love?

Help me run along a river
that runs with so much strength.

Where are they? Encapsulated in which black house?

You won’t find them in the white house, nobody lives there anymore.
The time of new Sirens will come, of new sorcery,
and the lily whiteness will become a yellow shine

or a black lily at the whims of a new owner, a new Circe
of deceit, amongst lions and wolves of the same woods.

…………Our Lady of the Sorrows, where are they?

Where are the 43 tears of yesterday afternoon?

We won’t find out tomorrow where they are,
nor in the coming mornings or afternoons where they are,
nor in a whole year, in which we cannot but return
………………………………………….right back to this refrain:
Where again are the Ayotzinapa boys!?

There are no limits.
There are no names.
There is no country.
There are no crimes.

They run with so much strength.

………………………………Tuxtla, November, 2014.

Translation by Dylan Brennan

 

Balada por los muchachos de Ayotzinapa

No hay límites para el país del crimen.
No hay nombre para el país del crimen.
No hay país con nombres del crimen.
No hay crímenes para el país del crimen.

¿Díganme, en qué país lejano hallarlos?

A Décimo Junio Juvenal agrego a François Villon
para componer esta balada, y pido a otros cantores
añadan otro estribillo interrogativo: ¿dónde, en qué
país sin crímenes están los muchachos que apenas
……….se habían desnudado al amor?

Ayúdenme a correr junto a un río
que corre con demasiada fuerza.

¿En dónde están, en qué casa negra, encapsulados?

En la casa blanca no están, ahí ya no habita nadie.
Llegará el tiempo de otras sirenas, de otros sortilegios,
y la blancura como lirio será un resplandor amarillo
o un lirio negro al capricho de otra dueña, otra Circe
de engaño, entre leones y lobos del mismo bosque.

………¿Dónde están, Madre Dolorosa?

¿Dónde están las 43 lágrimas de ayer por la tarde?

No vamos a averiguar en esta mañana dónde están,
ni en las siguientes mañanas y tardes dónde están,
ni en todo el año, que a este estribillo no nos lleve:
¡Mas dónde están los muchachos de Ayotzinapa!

No hay límites.
No hay nombres.
No hay país.
No hay crímenes.

Corren con demasiada fuerza.
…………………………………..Noviembre/ 2014

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Óscar Oliva comments on “A Ballad for François Hollande”

I did send this poem to Hollande. However, the carrier pigeon never made it to his window. Either that or it was devoured by the waters over which it crossed. Certainly Hollande forgot about Boris Vian’s song, one that he would have listened to with excitement in his youth. That was my reason for paraphrasing him, to remember the poet and his long trek along the paths of the Provençal troubadours.

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A Ballad for François Hollande

Monsieur le président
take this ballad
as I awaken ‘The Deserter’
………….by Boris Vian

don’t be surprised if a messenger
pigeon arrives at your window
– there’s all sorts falling from the Cloud

I see you’re busy making war
was I born to the world
for no more than this?

as down the French avenues sings Boris Vian
don’t go to war, we didn’t come here to kill

my mother suffered when I left
when they strafed the bus I was on
I was reading Guillaume de Poitiers’ poem
……………………..about I don’t know what about nothing

you and the terrorists you and the terror
………………………………………….let us
dream the three dreams of Decartes

………………………………………….let us
go into the cafes
the arenas
the football stadiums
I’m no member of either
sleeping or active cell

I’m better off in Agnes’ dream
like Guillaume who dreams
as he sleeps
………….on his horse

don’t make war
abroad
don’t make war
at home

I’m a deserter
sings Boris Vian
………….don’t obey them
don’t go to war
tell your police
Mr. President
that I am unarmed
on the road to peace
I’ve slipped off
my electronic tag
Boris Vian recorded ‘The Deserter’
the same day as his country’s
defeat at Diem-Bien-Phu

all down the Aquitaine roads
about I don’t know what about nothing
but early and almost unseen

I slip this ballad through your window.

–Translation by Keith Payne

 

Balada para François Hollande

Monsieur le président
le mando esta balada
paráfrasis de “El desertor”
………….de Boris Vian

no tendría nada de extraño que
una paloma mensajera llegara a su ventana
la nube cibernética da sorpresas

lo veo tan ocupado
en hacer la guerra
¿vino a este mundo
nada más para eso?

por los caminos de Francia Boris Vian canta
no vayan a la guerra no venimos a la vida para matar

mi madre sufrió tanto cuando me fui a otro país
cuando ametrallaron el autobús donde viajaba
leía el poema de Guillermo de Poitiers sobre no
…………………………sé qué sobre nada

usted y los terroristas usted y el terror
…………………………………….déjennos
tener los tres sueños de Descartes

…………………………………….dejénnos
entrar a las cafeterías
a las salas de conciertos
a los estadios de futbol
no pertenezco a ninguna
célula dormida o activa

mejor entro al sueño de Agnes
como Guillermo que la
sueña porque duerme
………sobre su caballo

no haga la guerra
en casa ajena ni
en su propia casa

soy un desertor
Boris Vian canta
……….no obedezcan
no vayan a la guerra
dígale a sus policías
señor presidente
que no llevo armas
camino desarmado
me quito el dispositivo
electrónico el brazalete
de geolocalización
Boris Vian grabó “El desertor”
el mismo día de la derrota
de su país en Diem-Bien-Phu

por los caminos de Aquitania
sobre no sé qué sobre nada
muy temprano casi invisible

dejo esta balada en su ventana

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Óscar Oliva: Final words

I have not stopped writing. I no longer can stop. I have finished a new book, LASCAS, which is the continuation of this long race in which we all take part. It is also a journey through the mountains of Chiapas, alongside my grandparents and great-grandparents, alongside Li-Po, Rubén Darío, Juan de la Encina and others who have gazed upon the changing skies. Sturdy horsemen under torrential rains.

— Óscar Oliva, Dylan Brennan, & Keith Payne

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Óscar Oliva was born in Tuxtla Gutiérrez, Chiapas, on 5 January 1937. He belonged to the group of poets known as La Espiga Amotinada, encouraged by the Catalan poet Agustí Bartra. He has published extensively since the appearance of La Voz Desbocada in 1960 and has been widely recognized for his work as a cultural promoter. He has been honoured repeatedly for his work, winning an array of prizes including the Premio Nacional de Poesía Aguascalientes (1971), Premio de Poesía Ciudad de México (1981), Medalla Rosario Castellanos (1990) and the Premio Internacional de Poesía Ramón López Velarde (2013). In addition to his literary work, Óscar was also a member of the Comisión Nacional de Intermediación (CONAI), between the Ejercito Zapatista de la Liberación Nacional (EZLN) and the Mexican government, eventually leading to the establishment of autonomous, indigenous communities in his home state of Chiapas.

Keith Payne is the Ireland Chair of Poety Bursary Award winner 2015-2016. His collection Broken Hill (Lapwing Publications, 2015) will be followed by Six Galician Poets (Arc Publications) in 2016.

Brennan

Dylan Brennan is an Irish writer currently based in Mexico. His poetry, essays and memoirs have been published in a range of international journals, in English and Spanish. His debut poetry collection, Blood Oranges, for which he received the runner-up prize in the Patrick Kavanagh Award, is available now from The Dreadful Press. Twitter: @DylanJBrennan

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Apr 062016
 

Cynthia photo Shawnigan lakePhoto by Dean Sinnett

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S trong feet stepped into the boy’s dream, came nearer down the hall, and he sat up, but the sounds went past, outside.

Quick, to the window.

Down the dark quiet street came four horses, two by two, with police on top. Streetlights shone on the animals’ rumps, the riders’ yellow vests. Clop clop. Harness glinted, tails waved, manes lifted and subsided. The horses too wore reflective yellow, in bands round their ankles. No heavy traffic here, though, not like the last time he’d seen them, at rush-hour, walking calmly single-file between a moving bus and a line of parked cars.

Hesitation. Bad. His bruises still hurt.

I have to know where you are, she’d said, you cant just wander alone. You dont know this big city. And stay out of the Park! Who knows what’s hiding there?

Also, they’d taken his keys.

He found clothes. As he felt in the “secret” pocket of her rain jacket, from the other bedroom came sounds he disliked. Good, they’d sleep soon. He left the building via the rusty fire escape off the third-floor hall. At the bottom he must swallow, then jump down to damp earth — better than taking the dim stairs to the basement door.

He hurried then. Clop clop, and the horses headed west past shabby low-rises like his, past the corner store with posters stuck on its outer wall. One said Resist! What? Then past the school, the one he went to, with a map of all Canada on the classroom wall. Vancouver, a dot. The town where he’d lived before, not even that. On the bewildering drive to the city, she’d kept saying Look at the map, see where youre going! He didn’t. Hadn’t asked, ever, to make this move. Back there, the cops only had motorcycles.

The boy kept half a block between himself and the clop-clop, scuttling from hedge to street-tree to shrub. Where did they live? He’d seen them often, on busy West End streets or near the big beach. Sometimes the police halted them, so people could ask questions or even pat those enormous heads. He saw the cops’ holsters close up, and the animals’ big nostrils, and their strange eyes, bluish-brown. Soon the horses moved on. Their steady gait — lots of videos showed that, how the animals just kept on coming, calm amidst furious crowds. Did riots happen here?

As the quartet neared the big street he stayed even further back, waiting while the traffic light changed and changed again. On the restaurant at the corner, someone had half-scraped off a Resist! poster. Near this intersection, he did know his way. Homeless men slept in store entrances, their hidden faces probably familiar to him from the network of local alleys, of bins behind cafes and groceries. Once he’d taken home a cold burger, untouched in its box. They’d found it. Bad.

When green shone a third time he sauntered across, then hastened after the lifting hooves. Along these blocks, richer landscaping fronted condos recently built. To hide and move and hide: easy. Ahead waited greater darkness, though moonlight came and went as the clouds moved.

By day he’d wandered this terrain south of Lost Lagoon, grasping at its geography. Some lampposts in the Park and at its edges displayed a map, for tourists, so he’d learned some main routes. In the middle of the map’s big green stood a tiny surprising coyote. He hadn’t known they could live in cities. Mum said You never see whats right under your nose, but that wasn’t true. On his own he’d spotted a real raccoon snoozing in a tree, and a dead bird with a huge long beak, and sleeping bags inside bushes alongside piled bottles and cans.

Once he’d even circled the Lagoon, peering up at the forest north of it, but hadn’t ever entered the Park after sunset. In the small town, he with other kids spent hours nightly in the local park, only vacating when the teenagers took over — but no map was needed. You could see right across. Now he followed the horses into the dark.

Near-silence, but for the stepping animals. One lifted its tail. Plop plop, and that warm smell mixed with the night’s leafy earthiness.

He’d thought they might turn south, past the tennis courts to the Bay. No. A right turn. Where to? At first following the horses, the boy then dared to move sideways into the damp understory of salal, laurel, giant rhodo — and ahead, to crouch and peek as the nodding heads approached. Even when a rare midnight car drove past, the animals didn’t change pace. The videos showed that too, horses proceeding while police trainers waved flags and noisemakers in their faces, fired blanks, came unseen from behind to beat garbage-can lids. Calm.

Next they turned west. On one side of that road, he knew, lay open lawn, on the other just patchy shrubs, quite low. All the way, streetlights. Now what? Could he scrabble downhill, unseen, unheard, to the underpass, and so move roughly northwest? His insides heaved. No, not that tunnel in the dark — nor by day. It curved, so the exit wasn’t visible from the entrance. Im not a little boy any more. Im not! They’d laughed till they cried, though later Mum said Sorry, and then they smoked. Also, the meadow beyond the underpass gave no cover.

He slowed, guessing. Turned away from the horses, south and then west in a long watchful arc through open and wooded areas. Breathed leaves, a trace of skunk, someone’s cigarette. Uphill then, on to the high bank overlooking the ocean. Here he squatted under a shore-pine distorted by wind and weather, smelled algae, watched the incoming tide’s long frills of white collapse on the beach. Soaked runners, cold sock-less feet — he didn’t care, looked north. I was right. Only a hundred metres away the quartet walked towards a concrete ramp that sloped to the sand. Touching it, the lead animals snorted, and the riders spoke gently, stroking.

When hooves met beach the four horses trotted south, almost as far as the point, almost gone from view — then back again, under the boy’s high perch, to and fro, to and fro. The animals’ muscles created light-patterns on their coats while the waves gleamed under the moon, fell into silver marbled froth, and made their hssshing sound.

When the riders headed straight at the water, the boy gasped. He couldn’t swim. Nodding, the horses waded in. They stepped freely, splashed, came back to shore, reversed and went forward again into the waves, whinnying. Theyre happy! The riders got them to turn tightly, splashing through the shallows, as if in an enclosure rather than the Pacific Ocean. Turn, turn — and out of the water they came, dripping, tossing their manes, to shoulder sideways, back and forth, steady pairs dancing while the sand bounced up by their hooves.

Then they stopped.

Within a minute, the horses walked two by two up the ramp and disappeared eastward into treed darkness, trotting. Where?

Clop clop, clop clop, fading. At last the boy felt cold.

Once he slipped on wet leaves, falling, and without the horses ahead in the darkness he got muddled.

Emerging from the Park, he found the street wasn’t his but took it anyway, for traffic lights winked ahead. Resist! was stapled to four street-trees. At the corner he checked a tourist map. Im just two blocks over. By day he’d go in again, figure out the lay of the land. As the signal changed, he noticed at the map’s left side a legend that matched images to numbers dotting the Park’s green expanse. Seven: a tiny horse. Police Stables.

At home, somehow the key’s noise woke them. Bad. His wet dirty clothes enraged his mother. The man never needed a reason, but used that one too.

In bed at last, he did think a bit about how one day he’d shove them off, shove as if they were an enormous ball, six feet in diameter, rolling about a training ring to impede his progress. As horses do when skilled in crowd control, he’d shoulder them. Lean up against them, step sideways, step and step and another patient leaning step, till like him right now they’d have no choice. Steady he’d be, calm.

Mostly he imagined stables. He’d stand close, look up. Touch? Feed? Once he’d seen a girl hold out an apple. Big teeth showed as the hairy lips lifted back, and the horse bit the fruit. The boy raised his hand, held his palm flat.

—Cynthia Flood

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Cynthia Flood’s fifth collection of short stories, What Can You Do, will appear from Biblioasis in 2017. Her most recent book, Red Girl Rat Boy (Biblioasis 2013) was short-listed for the Ethel Wilson prize and long-listed for the Frank O’Connor award. Cynthia lives in Vancouver.

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Apr 052016
 

latino authorsJonathan Marcantoni (center); Clockwise from top left: I. C. Rivera, Ricardo Félix Rodríguez, Nelson Denis, Rich Villar, David Caleb Acevedo, Charlie Vázquez, Chris Campanioni, and Corina Martinez Chaudhry.

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Recently, I assembled seven authors—Charlie Vázquez, author and COO of Editorial Trance; Chris Campanioni, author of Tourist Trap; Isandra Collazo Rivera, author of Across the Border: Interview with a Refugee; David Caleb, author of Cielos Negros; Ricardo Félix Rodriguez; Rich Villar, author of Comprehending Forever; Nelson Denis, author of War Against All Puerto Ricans—and Latino Lit advocate and founder of The Latino Author, Corina Martinez Chaudhry, to discuss the state of Latino lit in the United States, Mexico, and Puerto Rico. We covered issues as far ranging as the exclusion of Latino authors from the greater American literary canon, to identity politics and social limitations inside and outside of the US, to style and approaches to writing, to social media and, finally, the future of Latino literature. While these artists come from a wide variety of backgrounds and disciplines, the commonality of their struggles demonstrates the universality of art and the collective need for our communities to expand our definition of what we can accomplish through unity and ingenuity. The conversation has been edited for clarity and fluidity.

Jonathan Marcantoni: What are the biggest challenges you face not only as a Latino author, but in regards to the way you write? What kinds of support systems are there for Latino writers where you live?

Charlie Vazquez: The biggest challenge I faced as a Latino writer who began writing daily in the mid-1990s was writing about queer protagonists and writing about them honestly.

David Caleb: I must say that many people have tried to label me as a queer author, regardless of everything else I’ve written and done. It has taken me almost a decade to be recognized as a bona fide fantasy, scifi and horror writer, and not just a queer author.

Charlie Vazquez: I would say that nowadays there seems to be a lot of obstacles in breaking in to better book deals, such as less interested agents than for other folks and genres such as white folks and mystery writers. I think that this is improving, however.

Chris Campanioni: Charlie brings up a good point here: as cultural norms have shifted, it’s gotten easier for me to write about subsets of culture that were not really mainstream or literary, even as recent as 2012. I recall when I began sending out query letters to agents for Going Down, which is a novel about Latino identity but also fashion and commodities and pop culture from the perspective of a male model, probably seventy-five percent of the responses read “Chris” as “Christina” and championed the story about a strong Latina character in the world of modeling or, conversely, loved the idea of re-making The Devil Wears Prada for Latino audiences. No one heard or cared very much about male models, especially Latino ones, especially in the literary world. So the publishing world was reflecting the singular gaze of the fashion world I was responding to. Fast forward to 2015 and I think Latino representation in the fashion industry is much more widespread; literary fiction about the fashion industry seems much more well-received and easier to market today too.

David Caleb: In Puerto Rico, we have quite a predominant literary scene, perhaps stronger than the reading scene. Perhaps. The first decade of the 21st Century saw grand literary efforts in rescuing readers: we have a multidisciplinary BA in Creative Writing from the University of Puerto Rico in Río Piedras, and a Master’s in Literary Creation from the University of the Sacred Heart. Likewise, we have many literary guilds, such as Cofradía de Escritores, the Liga de Poetas del Sur, the group A Voces (a group of queer writers, direct heirs from the former HomoerÓtica collective) and so many others. We are producing a lot of literary work and of the highest quality. We also have many writers of renown who are taking the teaching mantle to show the literary ropes to the new generation of upcoming writers, such as Mayra Santos-Febres, Yolanda Arroyo-Pizarro and Max Chárriez. We even have graduates from the Literary Creation Master’s teaching creative writing in Ireland, such as our own Iva Yates. Finally, we have been getting up to date in literary genres such as detective fiction, fantasy, scifi and horror.

Charlie Vazquez: Latino Rebels founder Julio Ricardo Varela and I discussed this years ago when we first launched Latino Rebels as a blog and Facebook page and coined the #LatinoLit hashtag to group tweets together on Twitter for readers, writers, poets, academics and publishing professionals to locate writers and their works, and it has taken a life of its own. And there’s more coming for that!

Chris Campanioni: I think New York City probably has greater support systems in general, for all sorts of writers, but especially Latino writers and other artists producing art on the fringes. At the same time, it’s kind of a big irony, since New York City is also one of the biggest obstacles for artists who live here, in terms of rent and the cost of living. I think that situation sort of creates a desperation that is actually helpful, or at least that I’ve found helpful, in my work, both as a process and in the content itself. There are a number of Latino-centric bookstores throughout New York City, and Latino reading groups that travel well across the boroughs. Many of the student and faculty-run Latino and literary organizations within the City University of New York’s colleges (Baruch College and John Jay, especially), and Pace University, have been really supportive of my work and of one another’s creative output. If I didn’t teach at these colleges, I would probably feel less inclined to say that support systems for Latino writers are thriving in New York City; but as we all can recognize, “Latino lit” is becoming a thing, even as this thing is hard to define, and I think there will be more humanitarian organizations like PEN America in place, in New York City and elsewhere, by next year or 2017, if only so larger corporate interests can co-opt our literary culture and reap the profits.

Charlie Vazquez: I think that Latinos, like other minority and immigrant groups, have been colonized and taught not to support one another, and this is something that I consciously reject and do the opposite of. If we start sharing resources and introduce the folks who read our work to other writers in our communities, everyone wins! More books read, more books sold, more book deals signed, etc. Period. Publishing is a business. And until we begin increasing awareness of writers and book sales we will all remain right where we’ve been: behind the mainstream.

Corina Martinez Chaudhry: Let me respond as the CEO of the Latino Author and from the perspective of many Latino Authors and their experiences within the writing and publishing industry. There are two huge challenges that many Latino writers face. The first challenge comes from the publishing industry and the second comes from a marketing angle. It appears that the publishing industry overlooks Latino writers because publishing houses are all about the bottom line and they don’t feel that these type of books will sell. There is a myth that Latinos don’t buy books (or enough books to help their bottom line) and the publishing houses tend to lean towards the fact that the overall white American market won’t buy these books. The other challenge in this area is that main publishing houses tend to feel that Latino Authors only write about immigrant stories, which is far from the truth. Sure, many Latino writers do write about this topic; however, there are many Latino writers that write Science Fiction, Murder, Suspense, Romance, etc. This mindset will remain as long as publishing houses continue to mostly publish books from the “white” sector. There are very few Latino writers who have been able to break this myth such as Junot Diaz, Sandra Cisneros, Reyna Grande, etc.

Rich Villar: I’m a poet. In the United States, poetry already fights for space on the shelves of every bookstore from the independent shops to the used bookstores to the giant box stores. So, I suppose that’s a challenge. But there is another sort of conversation and meta-conversation among poets (and writers generally) that bubbles beneath the surface, almost at all times: equity in the literary world. By equity, I mean the notion that a national literature should reflect everyone in that nation, and that means Latin@s should enter the conversation as well. I write about equity. It occupies my thoughts. I’m told all the time it shouldn’t occupy my thoughts. That I should just write, right? Well, of course I should write. But I’m also an activist and an educator. And I am oppositional by nature. So, I think about this stuff anyway.

Nelson Denis: To me, it seems that you write the way you live. In order to write about different topics, just become interested and involved in them. Make them a part of your life.  Make them a part of you. Then start writing about them. I think that writing is like sitting in a storm.  I just sit and sit, and get soaked to the bone, and get sick, but I keep sitting because that’s all I know how to do, and then one day, if I’m fucking lucky, I get hit by lightning. At this point, I just write the thing that makes me sit in this chair, which is getting harder to do.  If I thought about the general public I’d go crazy, which I already am anyway.

Chris Campanioni: I write very fast and like Nelson acknowledges, it is an omnipresent, time-consuming endeavor. I wouldn’t have it any other way and I am often able to write in transit, which frees up my schedule immensely. At the same time, it can feel overwhelming when I find myself in a situation where I have three manuscripts ready to ship off to an agent and I’m already off to the next project. Most writers don’t enjoy the business aspects of writing, what comes after the writing. And I think it’s hard to negotiate the writing schedule around very time-sensitive concerns like agency communications, submissions, and pitch letters. As a rule, at least for literary magazines, I try to set aside one day a week where I take care of submissions for an hour, either before work or after work. That’s the bare minimum: one hour a week. Often, I spend much more time with submissions. These things are important because they build readership and make your work more widely available, but at the same time, they necessarily require so much time, much more time than the actual writing process.

Nelson Denis:  I think it’s important to have as broad a life experience, and as broad a reading experience, as possible. Reading is absolutely critical! I believe five years of directed reading will beat the Iowa Writers Conference any day.  But it must be conscious, cumulative, retentive, and specifically engineered for the type of writing that you are interested in.

Isandra Collazo : I believe there is indeed a strong literary scene on the Island, as well as different study programs and workshops to help aspiring authors shape their work in the best way possible. Our people in Puerto Rico have a drive to write, and not just within the hidden pages of a personal journal. For instance, they witness different social issues unfolding around them and they have an urge to put their thoughts down on paper; as poetry, short stories, and even song lyrics. A few months ago, I received a gift from a friend who is a poet. It was a collection of poems and short stories, written by several authors and students from a creative writing program offered by the Institute of Puerto Rican Culture, at Museo Casa  Jesús T. Piñero in the town of Canovanas.

I mention this because it shows that our writers are supported and encouraged to carry on with the art, even get their works published and presented to the public. A chance like that might seem minuscule for authors with international representation, but for a young writer it is huge. Still, I find that it is hard for new Latino writers to find representation, especially if you write in English, about subjects that don’t exactly cover Latino issues, and God forbid if your main character is a Hispanic female. Of course, this is very subjective.

 J.M.: What kind of books do you see as essential or as being what is popular today?

Nelson Denis: On reading… this is a completely subjective list.  Also, how do you cut it off… we could all write down 100 books.  Probably tomorrow, I would write a different list!  That’s how subjective it is. I’ll break it up into 22 ”Latino” and 22 “General” books, in no particular order:

Latino

100 Years of Solitude
Don Quijote
Down These Mean Streets
Mendoza’s Dreams
Platero y yo
Open Veins of Latin America
Los de abajo
La guaracha de Macho Camacho
In the Time of the Butterflies
Pedro Albizu Campos. Las llamas de la Aurora
Before Night Falls
Dreaming in Cuban
Our House in the Last World
Pedro Páramo
Don Segundo Sombra
La vida es sueño
La c
asa de Bernarda Alba
Marianela
La charca
Niebla
San Manuel Bueno, Martír
El lazarillo
de Tormes

General

The Bible
Hunger (Knut Hamsun)
Aesop’s Fables
Grimm’s Fairy Tales
The Upanishads
Aristotle’s Poetics
Magister Ludi
Invisible Man
The Great Gatsby
Old Man and The Sea
The Sun Also Rises
Germinal
Grapes of Wrath
Tortilla Flat
Collected Stories of Kafka
Collected Stories of Edgar Allan Poe
Crime and Punishment
Chekhov’s Short Stories
Interpretation of Dreams
Archetypes and the Collective Unconscious>
The Art of Dramatic Writing
How to Win Friends and Influence People

Isandra Collazo: So there’s a big community of writers, huge perhaps, as well as readers. But the question is; what do Puerto Rican people like to read about these days? This is taken from Metro PR and IndicePR, last year’s best sellers in the Island:

Bajo la misma estrella, John Green
Four, Verónica Roth
Will Grayson, John Green
Dork Diaries 7, Rachel Renee Russell
An Abundance of Katherines, John Green
Divergent, Verónica Roth
The Death Cure, James Dashner
Yo soy Malala, Malala Yousafzai
Pensar rápido, pensar despacio, Daniel Kahneman.
(And I’m not going to disappoint you,) 50 Shades of Gray, E.L. James

I mean, what is Puerto Rican literature? Books exploring our history, our colonial status, our political circus, and our national identity crisis? Poems about tragic love stories and childhood traumas? What do people want? Or better yet, who’s/what is our target market?

And why are big bookstores closing down? (Bye bye Borders, bye bye Beta Books Cafe).

Personally, I’d love to get to read more Nuyorican literature, and books from Latin authors living abroad, where they share those new experiences and have another perspective. Although there is some support, authors in the Island need to feel free to write about other subjects, for they are afraid. I was afraid. I am still afraid.

J.M.: Isandra, could you elaborate more on the challenges faced by female Puerto Rican authors? And how does everyone feel about being constrained by subject matter that may be “expected” by a Mexican, Puerto Rican, or Brazilian author?

Isandra Collazo: Definitely. I don’t mean to sound like a butthurt female, but it is often expected of me to write of the following genres:

Fiction: YA/Coming of age; Romance (all categories)

Non fiction: How to’s/DIY; Fashion and beauty (mostly articles); Memoirs; Spirituality

And since I am Christian, leader of two ministries, guess what; I am expected to write only about Christian topics, and will be attacked and judged for anything out of the “ordinary.” (Can’t wait for what will happen when they read my novel. *Sigh* bring it… )  In other words, I’m supposed to hold back in many aspects. That said, let’s bring in the fact that I am Latina and my fiction novel (concerning the struggles of expats and refugees) has a Latina main character running around the Netherlands and not the barrio. Sounds a little odd, perhaps?

What’s more common:

In a bold search for new life experiences, the beautiful and ever-independent Isabel Alvarez leaves her cozy American Dream to…

In a bold search for new life experiences, the beautiful and adventurous Katie Smith leaves her American lifestyle to…

See, I felt obligated to say that Isabel was an independent woman who left her American Dream, or basically a woman who left her immigrant success story. Whereas a girl named Katie Smith already gives you the idea that she doesn’t need such adjectives. Am I falling off the point? I feel that my challenge is not because I am Latina, but because of the subject I write about and how I portray my characters. I kind of leave whites in a shadow, except perhaps for one character, throwing all the stereotypes on them while I attempt to bring forth many other cultures and ethnicities.

Chris Campanioni: But you know, as Nelson sort of suggests, this kind of stuff happens all the time and the best thing to do is put your nose in your notebook (or laptop) and keep writing. Writers have egos and they like those egos stroked, even and especially if it’s the other writers doing the stroking. The literary world can often feel like a big dick-swinging contest (and the metaphor is not without its gendered implications: by and large, women are ignored but that, too, is improving) where writers would rather antagonize one another than coordinate, collaborate, and create a meaningful dialogue. The basis of this, I think, is some manufactured idea of “fame” in the world of letters, whereas several others are writing because we have to survive. Write or die.

J.M.: Would you all say the literary world is eating alive it’s most promising writers?

Chris Campanioni: I think the literary world is filled with sociopaths—like any other industry—except in the literary world, it seems somehow worse because this is art that is at stake, not making a profit for some stranger you’ll probably never meet. Anyway, I agree with Charlie’s point here, and Latinos, perhaps more so than other minority groups, tend to polarize one another through various lenses (whether linguistic, thematic, or even appearance: “They don’t look Latino enough to me.”). I mean, in the end it can sound quite funny but of course it is anything but. The issue with “Latino lit” is only that Latino lit as a genre is so sprawling; Latin America is comprised of 21 countries, each with very distinct traditions, interests, histories, slangs and dialects. But readers and writers and editors and agents—some of whom are Latino, too—expect a formula, and very often, ignore or criticize the work if it doesn’t meet these expectations.

Rich Villar: Consider this: every year, institutions purporting to speak as national cultural arbiters spend their time doing things like reviewing books, or having conferences, or doing book clubs. And every year, somehow, they manage to miss Latin@ authors. The New York Times managed to produce an all-Anglo reading list this past summer. So, as writers of color, of course we must push back against it. The internet is good for that. It’s a democratizing space: Charlie brings up Julio Ricardo Varela, the #LatinoLit hashtag, and Latino Rebels. I have been fortunate to be able to champion my causes on high-visibility online spaces like Latino Rebels, George Torres and Sofrito For Your Soul, and Denise Soler Cox and Project Enye. I’ve also worked with Tony Diaz and Librotraficante, in an effort to reverse book bans (yes, we still do that here), as well as the trend against ethnic studies in the United States.

J.M.: What about the content itself? How do we stand out?

Rich Villar: Scott McCloud in Understanding Comics lays out a useful graph documenting the possibilities for visual iconography, from pure text to pure representation to pure abstraction. I read this book in high school, reread it in college, and it changed a lot of how I view my own work as a poet. I started looking to the visual, how lines are shaped, how breath is represented on the page. Which then led me to explore certain poetic theories: William Carlos Williams and the variable foot, E.E. Cummings and Papoleto Melendez and concrete poetry, the idea of poetry being a visual art. Which, in turn, led me into Sekou Sundiata and Tracie Morris and Edwin Torres and the possibilities for spoken sound as poetic line.

In poetry, there is music, there is silence and sound juxtaposed into lines, and of course this translates most easily as theater. There is Shakespeare, of course, but there is also Ntozake Shange and Reg E. Gaines and Lemon Andersen and Rock Wilk and so many theatrical poets doing what they do. And what of prose? Look—if you read Junot Diaz or Ana Castillo or Luis Urrea or Sandra Cisneros, you can literally read color, texture, movement. So it’s no surprise when these books become movies, and poems become plays—the text so naturally lends itself to the visual. (And Shange invented the form to describe it—choreopoem.) And of course, none of this is an accident. We live in a cinematic culture, an eyes-first culture, a culture of instant information, and French New Wave style jump cuts and extended camera shots, and fast pacing and editing. Of course our literature will reflect that. Let’s hope we’re producing a generation of writers who are self-reflective enough to recognize the commonalities in the critical vocabulary among these genres. What to show and what to conceal in service of the narrative. Let’s encourage writers to be brave enough to cross into the visual arts entirely, and visual artists onto the page. It would be a return to the root. Is the Latino community equipped to lead it? Of course they are. But the thing to realize is that text and visuals and sound have always been interrelated. We’re only now reawakening to their existence on the same iconographic plane. And incidentally, Pablo Neruda read to 100,000 people on more than one occasion. Is it too much to ask for a Latino poet to fill a soccer stadium?

J.M.: There are structural challenges as well as internal ones, then? And it sometimes falls into place along tribal lines, no?

Nelson Denis: Latino Lit in the US is in a state of atherosclerosis.  Nothing is moving.  The “icons and shibboleths” are all in place:

Down These Mean Streets

Our House in the Last World 

House on Mango Street 

In the Time of the Butterflies

Dreaming in Cuban

Brief Wondrous Life of Oscar Wao

Bless Me, Ultima

I see a pattern here. If you break down our Latino rainbow (Mexican, Puerto Rican, Cuban, Salvadoran, Dominican, Guatemalan, Colombian, etc.) you’ll note that one and maybe two from each country (only 4 countries) make it into the above group.  The publishing industry is so myopic, they think so categorically, that if a new Latino-American writer offers a story that is deeply-rooted and narratively circumscribed by their country of origin, the junior acquisitions editor says “oh, we already have one of those” and finds an excuse to pass.

Meanwhile the senior acquisitions editors are throwing the big money at Isabel Allende, Carlos Ruiz Zafón, Raul Alarcón (U.S. hybrid, but “writing Peru”)—all Latino authors from outside the US, which shows a blatant snobbery and racism: European and South American authors are “high brow,” but US Latino authors are ghetto underlings, and couldn’t possibly have anything to offer.

The same thing is happening with Latino film directors: practically all Mexican, born & bred over there, not here.

Rich Villar: I think this is a destructive mindset that is born from a marginalized, colonized perspective. The Oppression Olympics. The Authenticity Maze. The relative slice of the literary representation pie is not large enough for Latinos to start fighting over. I don’t know which Latino group “dominates” who. (The question makes us sound like we’re all battling for literary supremacy in the octagon.) But, here’s what I do know: Magdalena Gómez and Raúl R. Salinas were friends. Miguel Algarín and Jimmy Santiago Baca as well. Throughout his career, Martín Espada has been allied with and championed by Chican@ writers from Luis Urrea to Gary Soto to Luis Rodríguez to Sandra Cisneros. And Pietri and Papoleto and the Nuyorican poets were honorary members of Jose Montoya’s and Esteban Villa’s Royal Chicano Air Force in California. In other words, we have always been our most successful as a literary movement when we make an inclusive Latinidad, when we seek out comrades and commonalities and write ourselves into a soulful and (yes!) legendary existence. This is why the Acentos Review literary journal does well, not to mention poetry workshop spaces like CantoMundo and La Sopa NYC.

Chris Campanioni: Good writing will always be the writing that has been lived in. Another way of putting this is to admit the obvious: write what you know, but many writers, young and old, forego life experience for an MFA program and crippling loans. In this way, our topics are inevitably Latino because Latino represents multitudes, sort of like my man Martí said:  “Yo vengo de todas partes, y hacia todas partes voy.” Do we follow orders and the rules of academia or the broader literary culture while forgetting our own personal stories? Or do we use the specific pressures and expectations Jonathan suggests are in place for Latino writers as an opportunity to circumvent or re-evaluate them?

Corina Martinez Chaudhry: Unfortunately, Latinos in this country are seen as being at “the bottom of the rung” due to the prejudice and ignorance of decades of stereotyping this group. We are seen mostly as people who clean houses and are only good for gardening, which although it is a hard-working core group, the majority of people look at this as demeaning work. In addition, you see the statistics of Latinos not graduating from high schools and many gangs being associated with Mexicans or Latino groups. Americans, especially white Americans, paint us all with the same brush stroke.

How do we change this? It comes from us continuing to ensure that we as well as our offspring become educated, and we continue to fight to get into the mainstream. This comes from all Latinos working together to make this change because no matter how much infighting there is between our Latino groups because we are from different countries or from different Latino Sectors, the mainstream lumps us all into one. We haven’t yet gotten to the cohesiveness that the blacks have been able to achieve in this country.

J.M. Ricardo, so many of us are Caribeños here, give us the Mexican perspective.

Ricardo Félix Rodriguez: It is characterized by hierarchies, bureaucracy, institutions. Mexico remains a centralized country, therefore resources are concentrated in the capital city. Writers from Mexico City act like if they were the only source of literature. Publishers bet on big names so it is very common for northern writers to seek to write in english. It is also very competitive; there is a belief that only foreign (mainly European) literature has quality and you as a Mexican should not try to be original. I guess you can say it is the culture of “crab” when a crab tries to get out of the bucket and another one pulls him in until it falls.

 J.M.: Is there any government support?

Ricardo Félix Rodriguez: There is support but there are several points against. You have to adapt your writing to a particular literature whether local or regional. Universal themes are rarely allowed. Groups of artists are usually privileged when they have a relation with coordinators. The same writers are competing for the same grants and awards but not able to make a living by selling their books. If Mexico is a country with “poor reading” in the north the crisis deepens. There is a perception that art is an obligation of the government to provide.

J.M.: How is the community of writers though?

Ricardo Félix Rodriguez: There is a community of writers trying to do things differently but writers tend to be competitive here. I would say that the writer here is individualistic, jealous of his work. I think the best talents are not yet known in independent publishing, underground literature, drowning their poetry in a glass of beer.

J.M.: David and Ricardo, what can individuals or local groups do to increase opportunities for up-and-coming authors?

Ricardo Félix Rodriguez: I see it as some kind of reading crisis. People are not used to reading; we need to find the way to promote reading. Through education, raise the cultural background of the average citizen.

David Caleb: In Puerto Rico, in order to increase opportunities for up-and-coming authors, there needs to be an educational revolution starting from the way up and the way down at the same time. First and foremost, the Department of Education must be depolitized. It needs to be flattened and entirely professionalized. There simply is no other way. Teachers need to be sent to reading seminars and there should be a reading course in all grades.

We see close to no state aid whatsoever in our endeavour. Most of our boom has been subsidized by ourselves. Most of the people publishing books are self-managing themselves. It’s a pity, in a way, that such an amazing body of work cannot be entirely supported by the government. However, we have grown used to it. Puerto Rican writers are used to being disenfranchised and orphaned.

That’s as far as the government goes. Now there is a small grassroots movement (everything in PR is small and grassroots) of theatre producers using material from Puerto Rican narrators and poets to make theatre, but this effort needs to be exploited much more. Also the literary scene is too concentrated in San Juan.

J.M. It seems like the problems both inside and outside the US are as much social as they are financial. There is the problem of a lack of interest in reading alongside the problem of marginalization in the media and/or geographically. What solutions might there be?

Corina Martinez Chaudhry: The second biggest challenge that many Latino writers face is marketing their books once they are published. I find that many authors don’t even have webpages or understand much about the internet and how to market their books through this venue which is the greatest tool in this day and age. Many do not understand Search Engine Optimization (SEO), or Google Analytics and how to make these particular tools work for them. By accurately understanding these tools, the way an author writes would not necessarily be a challenge once a writer figures out his or her niche.

Rich Villar: What is it Dead Prez said? “When you bringing it real you don’t get rotation/unless you take over the station.” What’d Jay-Z say? “I’m the new Jean Michel/surrounded by Warhols.” Opportunities exist for writers all over, if you search for them. Grants. Fellowships. Speaking gigs. Freelance writing and editing. That sort of stuff. Here, in the States, that kind of support is not always present, certainly not the same way it’s present in other countries. Here, it’s not an easy life. You have to hold down a 9-to-5 most of the time. At the same time though, I also try to be wary of those places of support that require you to be content inside a particular box, or to be beholden to a particular power structure. That’s why I identify with the hustlers among us poets; yes, we create good textual work, but we also find new ways to express it—on stage, in movement, in visual art, in music, in multiple genres. That’s where my work is taking me. And the freelance life is not easy, but I don’t answer to anybody but my mirror.

I’ve noticed a tendency among younger writers to put the marketing cart before the writing horse. I think the biggest mistake any writer can make is to start thinking about a platform for themselves, or where they’re going to tour, or how much product they’re going to move, before they’ve ever set pen to paper or finished a full poetry manuscript or fleshed out their novel or their memoir. There are so many directions to take within the world of social media, but none of it matters unless you actually have something to say.

These are questions about finding audience, not finding voice. I would tell writers who come into my circle to read and listen and absorb and learn for as long as humanly possible. And then, they should write voraciously and mess things up and take chances. And then, once they have a style they feel their strongest selves in, once they have built a genuine vision for the world, they should write the kinds of prose and poems that scare the shit out of the powerful and thrill the everyday reader. And then they should open up Twitter accounts. It’s needed. This is an age in which Latinos are being banned and deported and threatened and killed off. We need the kind of visibility that changes hearts, not one that simply turns heads. Good literature, followed by good marketing of that literature, will provide that.

 J.M.: In this age of such rampant exposure, where on the one hand, access to millions is at anyone’s finger tips, and on the other, the most important access, the access that helps you make a living are still shut off for the vast majority of people, how do we achieve equity, not just amongst Latinos, but other groups as well?

Rich Villar: The structural battle for cultural equity also leads to some specific artistic battles. Following in the tradition of Sterling Brown and Piri Thomas, I insist upon the truth of vernacular speech and Spanglish in my writing. I follow the transformative prose tradition of James Baldwin, the philosophical underpinnings of Nuyoricanism and the Black Arts Movement, and the truthtelling poetic traditions of Whitman, Neruda, Lorde, and Espada. I believe art is a vehicle for change, and I believe poetry humanizes. I also believe that poetry rooted in those liberatory urges, when taught to teens and young adults as part of a liberational pedagogy, helps form students’ notions of citizenship and citizen action. The cynics will tell you that poetry makes nothing happen. I am telling you, poetry creates possibility out of impossibility. It makes the invisible visible. And it turns cynical people —teens, especially—into leaders. I am eyewitness to that fact.

I’d like to think we’ve gotten better, but we squabble like any other family. My pet peeve among Latino authors is the silencing of others, the shutting down of debate. I think more gets done in any group dynamic when we’re honest about our feelings, no matter how detrimental it may seem at the time. I hate scenes generally. I hate people who think they’re better than others. And I hate grudges. If I have to sit and worry who I might be offending by saying something, or if I have to studiously avoid someone because he or she’s got some beef with me or someone close to me, it just complicates my life unnecessarily. And worse—it has nothing to do with writing. I can name these things honestly because I have also fallen prey to them.

Corina Martinez Chaudhry:  Unfortunately, the main publishing houses are based in New York, so for those authors that live in Mid America or in the West Coast, there are some challenges in getting to know who is who in the industry. The best way of course is to network and make connections within the publishing industry and that can be done by understanding the web and marketing yourself effectively. This is also a way to market yourself in other countries and locations. There are a few support systems that can be used for Latino Authors such as my site, The Latino Author, La bloga, Azul Bookstore in New York, Martinez Book Store at Chapman University in CA, Las Comadres, or the Latino Literacy which assists in giving out awards to Latino Authors in various genres. Connecting with these organizations can provide great support.

Chris Campanioni: Social media is one way in which writers can make these distinctions outside of their work but also adapt their work for new forms. The YouNiversity was originally conceived as a year-long digital mentorship for new era writers, a reaction to the recycled curriculum and check-listed objectives of many MFA programs in the United States and Europe. We’ve been really conscious about devoting a great deal of instruction to the powers—and pitfalls—of curating your digital presence as an author, as well as the work you produce, and finding interesting and exciting ways to present this material in new mediums by really taking advantage of capabilities that certain mediums afford us. The emphasis on several different forms of accessibility, audience contribution, and increased agency is the foundation for the kind of art that will become the eventual norm in the twenty-first century, so it’s not surprising that we urge our students to think about questions of reader inclusion and interaction from the opening weeks of each YouNiversity program. But to really turn social media into a tool for creativity instead of just regurgitation and masturbation, the cultural norms for social media have to change. That kind of work begins with authors like us, who need to start thinking about social media as another mode for creativity, not just for marketing.

J.M.: I have enjoyed this conversation immensely everyone, and to close things out, I want to know what you think is the future of Latino Lit, starting with Nelson.

Nelson Denis: So I see the “future of Latino lit” as one that is highly eclectic: still forcefully Latino, but in surprising, mercurial, even devious ways. We can’t lead with just one punch anymore… We need narrative surprises from multiple tropes, from all directions, and all at once. Latino Kurt Vonneguts and Henry Millers and Hunter Thompsons that defy easy categorization. I’ll offer one example: The Miniature Wife, by Manuel Gonzales. There is a Latino soul in those stories, and it adds to a sense of dread and paranoia… But he uses it like a blackjack. By the time you realize what’s hit you, Gonzalez has made off with your wallet and your pants. That motherfucker can write.

Between the snobbery of the latest Isabel Allende doorstop of a novel, and the mummified ruins of Mango Street, there’s no room left… Unless you make room for yourself, with a punch they never saw coming.

A new genre/sub-genre/hybrid genre or mash-up… A strange dystopian anti-hero… A shocking re-configuration of ancient Latino folk tales… Anything that knocks them off balance.  Anything that makes them suspect, if only subliminally, that they’re abysmally stupid (which they are), and you know something that they don’t—which you do, because you are Latino.

Corina Martinez Chaudhry: The future of Latino Literature, as I see it, is not only in the hands of Latino writers ensuring that good “stuff” is written, but also in being able to work together to change the status quo in this country about how we are perceived. Not to bring politics into the mix, but just look at the temperament of Trump followers and how he has risen in the polls because he began his campaign on bashing immigrants (who we all know means mostly Mexican or those coming from Latin American countries). He was not targeting the Canadians or those coming from “white” nations.

That is why publishers in the industry still have this narrow-minded view that Latinos don’t read or buy books. They think the majority of us aren’t interested in reading or education. Partly, the publishers don’t want to change what has been working for them to make their business successful. It’s not that we don’t buy books, but there are not true statistics of who really buys books. Someone writes about Latinos not buying books and unfortunately people see it as being true. Also, with so many mixed marriages in this country, you don’t even know who has Latino DNA so how would they really know? I was reading an article on PEW Hispanics about how Latinos perceive themselves in this whole mix of nationality and it was very interesting. Some don’t even claim to be Latinos because of how they were brought up although they are very much Latino. So where do these persons fit in those statistics?

There isn’t just one answer to where Latino Literature goes in the future, but I have a feeling that it’s going to be a long climb for most of us. It is a grassroots effort that is needed—beginning with writers such ourselves—to get the masses to change their thinking. How do we do this? First we write good literature, then we support each other to get to the next step whatever that may be, then we become great at spreading the message, and then we put pressure on the main publishing houses to begin promoting some of our great writers or we help other Latinos to start our own publishing houses and support each other. With so many millions of us in this world, we still continue to let “white” Americana tell us who we are.

I am optimistic though. I think that today we have so many Latinos who are successful, and hopefully with that it will cause some “reverse thinking” about who we are as a people overall. It is about not only loving our culture and our language and all that good stuff, but being smart enough to use it to our advantage and work together to get to the mainstream. If we don’t do this, then the future of Latino Lit will remain in the shadows as it does today.

Rich Villar: I would love for Latino Literature not to need to exist. I would love for the United States to begin implementing a pluralistic, multicultural vision of citizenship and for the stories of Latinos to simply take their natural place in the nation’s cultural conversation. Our numbers are, after all, expanding. But realistically, we live in a time when politicians are openly calling for our expulsion and exclusion from the nation. And people are actually taking them seriously. And so, a literature of resistance must emerge. A literature so undeniably good, and human, and innovative, and united, that it would serve as a collective shout and bulwark against our disappearances. If we receive “institutional” support for those efforts, if the mass media chooses to see us and feature us, I think we should welcome it. But if they don’t, or if they compromise us for simple visions of marketing dollars, I think it’s our responsibility to use as many new media and alternative models to support ourselves and demand our places, without permission or translation.

Chris Campanioni: I believe Latino lit—or at least Latino writers—will begin to get more representation, not only in the form of the year-end “best books of …” list, but also on the daily publication level. More editors of more magazines will be looking to publish Latino voices because they don’t have a choice. The quality of our writing, the diversity of our writing, and the sheer amount of Latino writers actively writing today will make the issue of lack of representation seem antiquated in five years. I think we might all agree, Latino writers have much bigger issues to tackle.

David Caleb: I want the literature of my country to head towards uncharted horizons. As a personal project, I am training students in non-fiction queer writing, in order to rescue the history of our island’s queer community, its struggles, its literature, art, music, political activism, and general history and culture. I am also training pansexual and lesbian female writers who will bear the torch in that particular niche. I want a future where every single genre is represented in the island. But more importantly, I want an island of readers. We will rescue and create readership.

Isandra Collazo: This may be a risky answer. But just like Puerto Ricans have been able to stand out worldwide in music, sports, art, cuisine, I guess would also like to see best-selling Puerto Rican authors on the New York Times best-seller list, in genres like fantasy and SciFi, romance, erotica, and fiction in general but perhaps less on the political subject, less colonial status discussion, and less of the past. I want to jump out of la carreta and get on a space ship, looking to the future. I’m not saying those subjects don’t matter, they are our daily bread. But I suppose I want Puerto Rican writers to be known for their creativity and incredible, explosive imagination, fantastic worlds and unforgettable characters, not just deep research.

A friend of mine who is an Assyrian artist told me that cultural or historical pride was meaningless if one didn’t create something. In other words, what’s the point of shouting, “Yo soy boricua, pa’ que tu lo sepas” (I am Puerto Rican, just so you know!) if I can’t add anything else to it? I understand we are on an eternal search for identity (I am, always!) but as a Puerto Rican writer, I want to put my Puerto Ricanness on diverse scenarios and worlds, not leave it in the comfort zone or where it feels at home.

—by Jonathan Marcantoni

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Jonathan Marcantoni

Jonathan Marcantoni is a Puerto Rican novelist and former Editor in Chief of Aignos Publishing. His books Traveler’s Rest, The Feast of San Sebastian, and Kings of 7th Avenue deal with issues of identity and corruption in both the Puerto Rican diaspora and on the island. Along with his solo novels, he also co-wrote, with Jean Blasiar, the WWII-fantasy Communion. He is co-founder (with Chris Campanioni) of the YouNiversity Project, which mentors new writers. His work has been featured in the magazines Warscapes, Across the Margin, Minor Literature[s], and the news outlet Latino Rebels.  He has been featured in articles in the Huffington Post, El Nuevo Día (Puerto Rico), El Post Antillano, and the Los Angeles Times. He has also appeared in several radio programs, including NPR’s Fronteras series, Show Biz Weekly with Taylor Kelsaw, Nuestra Palabra: Latino Writers Have Their Say, The Jordan Journal, Boricuas of the World Social Club, and Wordier than Thou. He holds a BA in Spanish Studies from the University of Tampa and an MH in Creative Writing from Tiffin University. He lives in Colorado Springs.


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David Caleb Acevedo
(San Juan, 1980). Writer, painter and translator. His books include Desongberd, Cielos negros, Diario de una puta humilde, and Hustler Rave XXX: Poetry of the Eternal Survivor. He is pansexual and lives with his husband and three adorable cats.

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chrisChris Campanioni‘s “Billboards” poem that responded to Latino stereotypes and mutable—and often muted—identity in the fashion world was awarded the 2013 Academy of American Poets Prize, and his novel Going Down was selected as Best First Book at the 2014 International Latino Book Awards. He edits PANK and lives in Brooklyn. Embrace the Death of Art.

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corina-chaudhryCorina Martinez Chaudhry was born in New Mexico but has lived in California most of her life. She grew up in the San Joaquin Valley throughout her high school years, but then made the transition to Southern California where she now resides. Her maternal grandparents were from Chihuahua, Mexico; however, her grandmother was half Basque (Spanish/French). Her paternal grandparents were of Mexican and Native American descent. She graduated from Vanguard University Magna Cum Laude with a bachelor’s degree in business and a minor in English. In addition, she has completed a Water program through the California State University of Sacramento, alongside a Management Certification Program through Pepperdine University, and currently manages The Latino Author Website.

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Nelson DenisNelson Denis is the author of War Against All Puerto Ricans (Nation Books, 2015). He served as a New York State Assemblyman, and was the editorial director of El Diario/La Prensa in New York City.  His screenplays have won NYFA and NYSCA awards, and his editorials received the “Best Editorial Writing” Award from the National Association of Hispanic Journalists.

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isandraI.C. Rivera is an enthusiast of travel, international cuisine and everything exotic. She’s passionate about humanitarian work, and often volunteers at shelters and facilities for asylum seekers. Through her literary work, she aims to raise awareness on different social issues, by writing intriguing and exciting novels with a multicultural flavor.

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ricardoRicardo Félix Rodríguez  (Sonora, México 1975). Writer and psychologyst. His books include The surreal adventures of Dr. Mingus, Asgard: a Saga dos nove reinos, There is No Cholera in Zimbabwe, and The Other Side of the Screen (contemporary writers of Poland).

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charlieCharlie Vázquez is an author and the director of the Bronx Writers Center. He served as New York City coordinator for Puerto Rico’s Festival de la Palabra for three years and has just completed his third novel.

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richRich Villar is a writer, performer, editor, activist, and educator originally from Paterson, New Jersey. His first collection of poems, Comprehending Forever (Willow Books), was a finalist for the 2015 International Latino Book Award. He maintains his personal blog at literatiboricua.com and is a contributor to Latino Rebels and Sofrito For Your Soul.

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Apr 042016
 

Donald Trump collage

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The Second Coming

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

— W. B. Yeats

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CONTENTS

INTRODUCTION
The Perennial Relevance of “The Second Coming”

PART ONE
The Poem as Response and Anticipation

I. Vexed to Nightmare: The Financial Crisis; the Iraq War; the Rise of ISIS
II. A Vast Image: From Political Genesis to Archetypal Symbolism

PART TWO
Things Fall Apart, Contemporary Crises, 2003-2016

III. Mere Anarchy: Polarization at Home; the Challenges of ISIS and Syrian Immigration
IV. Things Fall Apart: The American and European Political Center Threatened
V. What Rough Beast?: Can (Should) the American Center Hold?

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INTRODUCTION

In his 2016 foreword to the 20th anniversary edition of Infinite Jest, novelist Tom Bissell asks how it is that, two decades after its publication and almost eight years after its author’s suicide, David Foster Wallace’s complex and groundbreaking fiction, though “very much a novel of its time,…still feels so transcendentally, electrically alive?” Wallace himself, as Bissell notes, “understood the paradox of attempting to write fiction that spoke to posterity and a contemporary audience with equal force.” In a critical essay written while he was at work on Infinite Jest, Wallace referred to the “oracular foresight” of writers such as Don DeLillo, whose best novels address their contemporary audience like “a shouting desert prophet while laying out for posterity the coldly amused analysis of some long-dead professor emeritus.” But in the case of those lacking DeLillo’s observational powers, Wallace continued, the “deployment” of, say, contemporary pop-culture “compromises fiction’s seriousness by dating it out of the Platonic Always where it ought to reside.” This observation demonstrates the usual disconnect between Wallace’s lucid critical prose and the enigmatic, multi-layered, funhouse of his fiction. For ought is not is. As Bissell observes, Infinite Jest “rarely seems as though it resides within this Platonic Always, which Wallace rejected in any event.”

Infinite Jest, as its Shakespearean title confirms, is the work of a modern Yorick, a man acutely aware of the contemporary world, especially of the play-element in culture. And yet it is “infinite,” a novel transcendent both in its linguistic exuberance (language being Wallace’s only religion) and in terms of its ambition to express “everything about everything,” even if we are left, 20 years later, still unable to “agree [as] to what this novel means, or what exactly it was trying to say.”

Unlike Wallace, W. B. Yeats did believe in the “Platonic Always”: in that “Translunar Paradise” to which he had been initiated by his studies in the occult and by his later immersion in the Enneads of the Neoplatonist philosopher Plotinus. And yet Yeats could, in the same poem (“The Tower,” III) in which he evokes Translunar Paradise, “mock Plotinus’ thought/ And cry in Plato’s teeth.” For the antithetical tension that generated the power of Yeats’s poetry required allegiance as well to the things of this world. Even as he yearned for his heart to be consumed in spiritual fire and gathered “into the artifice of eternity,” he remained “caught in that sensual music,” the very fuel that fed the transcendent flame. These antitheses (cited here from “Sailing to Byzantium”) play out in all those dialectical poems leading up to and away from the central “A Dialogue of Self and Soul” (1927).

In the case of Yeats’s apocalyptic poem “The Second Coming,” written eight years earlier, the “Platonic Always” is present in the poem’s archetypal symbolism: that of a bestial image rising up in the desert. The vision is at once concrete and sublimely vague: timeless, universal, transcendent. Its genesis, however, was thick with particulars. In the process of revision, Yeats deleted (aside from “Bethlehem”) all specific references; but examination of the poem’s drafts reveals that Yeats’s symbolism and apocalyptic prophecy were rooted in his response to contemporary events. In registering details of the moment in time in which he was writing, the immediate aftermath of the First World War, the drafts reveal a poet looking back, into earlier history, and ahead, to our own time, with what David Foster Wallace called “oracular foresight,” and birthing a beast that, a century later,  “still feels…transcendently, electrically alive.”

Written almost a century ago, “The Second Coming” has emerged as the prophetic text of our time, uncannily and permanently “relevant.” The best-known poem by the major poet of the twentieth century, it has become something of a requiem for that century, now carried over into the first decades of the twenty-first. That “The Second Coming” is the most frequently-quoted of all modern poems testifies to its remarkable applicability to any and all crises—not only to the Communist Revolution to which Yeats was initially responding when he wrote the poem in 1919, and to the rise of Nazism, which, almost twenty years later, prompted Yeats to quote his own poem; but to the domestic and international crises we ourselves face in 2016, a crucial election year.

A decade ago, “The Second Coming” was often cited in connection with the Iraq War. The 2007 Brookings Institute report on Iraq was titled “Things Fall Apart”; the following year, Representative Jim McDermott called his House speech demanding a strategic plan for Iraq “The Center Cannot Hold.” These days, the disintegrating “center” evokes the polarization of American politics, or the European economic and migration crises, while Yeats’s slouching “beast,” its “hour come round at last,” portends current eruptions in the Middle East, especially the specter of ISIS rising up in the desert and its exportation of terror within and beyond the region. In addition to substantial ISIS-claimed or ISIS-inspired attacks in Egypt, Yemen, Libya, Turkey, Tunisia, Afghanistan, Saudi Arabia, Kuwait, and Lebanon, European jihadists inspired by ISIS have launched large-scale attacks in France and Belgium. At the moment I am writing, March 28, 2016, there are threats of further, and imminent, attacks on European targets. As noted at the end of Chapter I, ISIS jihadists have announced that Paris and Brussels are “just the beginning of your nightmare,” and that networks already positioned in Europe are ready to unleash “a wave of bloodshed.”  Are “Mere anarchy” and Yeats’s “blood-dimmed tide” about to be “loosed”?  And the fearful prospect of radioactive materials in the hands of radical jihadists is now no longer a nightmare but an approaching certainty.

At home, as the survivors of an increasingly sordid and embarrassing primary campaign, the two remaining principal contenders for the Republican presidential nomination out-bellow each other, each boasting, based on zero experience in foreign or military affairs, that he and he alone is the man needed to utterly defeat and destroy ISIS. Listening to simplistic Donald Trump and Ted Cruz, one is reminded of Pauline Kael’s devastating synopsis of John Wayne’s 1955 anti-Communist propaganda movie Blood Alley: “Duke takes on Red China—no contest.” One way or the other, a rough beast is slouching to the Republican convention in Cleveland.

Such Yeatsian allusions have, of course, become commonplace. In accounting for the extraordinary power and perennial relevance of “The Second Coming,” I will illustrate its near-ubiquity and show how Yeats’s revisions of his original (historically-specific) manuscripts universalized the final poem, making it, oracle-like, applicable to all crises, our own included.

 ↑ return to Contents

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PART ONE: THE POEM AS RESPONSE AND ANTICIPATION

I. Vexed to Nightmare: The Financial Crisis; the Iraq War; the Rise of ISIS

The genesis of “The Second Coming” is to be located in Yeats’s troubled response to contemporary history, specifically, the European political and economic crises attending the immediate aftermath of the First World War. As I noted in an essay published four years ago in Numéro Cinq, the genesis of my own thoughts on the poem’s timelessness, as an ode for all seasons, was my observation—nearing the tenth anniversary of 9/11—of the remarkable frequency with which “The Second Coming” was being applied—in magazines, newspapers, and blogs—to almost every contemporary crisis or division, foreign and domestic.  Centers weren’t holding, conviction was lacking, passionate intensity defined the worst, and rough beasts seemed to be slouching in every direction. It was an old story.

Yeats’s poem in general, and its ominous yet expectant final line in particular, provided, back in 1968, the title for Joan Didion’s “Slouching Towards Bethlehem,” and the iconic collection of the same title. The essay describes an outer and inner de-centering: the ’60s druggy counterculture and the author’s own disintegration as a result of her immersion in the ethos initiated by Haight-Ashbury. The collection as a whole dramatizes the breakdown of order and civility when rough beasts slouch to Los Angeles and New York City. That line continues to inspire allusions. While some found comic relief in Slouching Towards Kalamazoo (the ’60s novel by Peter and Derek de Vries), that judgmental judge, conservative legal scholar Robert H. Bork, titled his grim 2003 projection of an America in cultural and moral decline Slouching Towards Gomorrah. The great Nigerian novelist Chinua Achebe, echoing Yeats’s poem (its first four lines appear as the epigraph), titled his 1958 elegy over the breakdown of Igbo culture Things Fall Apart. In our own contemporary Culture Wars, things continue to fall apart, with communal decency ruptured, on both sides, by political ideology.

Surveying the decline in the quality and civility of specifically conservative discourse, New York Times columnist Ross Douthat, himself a conservative, alluded to Yeats’s poem in observing: “It’s a climate in which the best often seem to lack a platform commensurate to their gifts, while the passionate intensity of the worst finds a wide and growing audience.” Rush Limbaugh, who repeatedly moralizes, though with none of Judge Bork’s civility, comes to mind. Notable among Limbaugh’s many pontificating violations of taste and decency was his public branding of a Georgetown law student (an advocate for women’s health issues seeking inclusion of contraception in her college’s insurance coverage) as a “slut” and “prostitute.” That was in 2012, three years before Donald Trump, out-Rushing Limbaugh, found his wide and growing audience.

That famous line made even more famous by Achebe—“Things fall apart; the centre cannot hold”—has also been aptly applied to the European debt crisis, and its threat to the world economy. In 1919, when he wrote the poem, Yeats was looking out at a postwar Europe torn apart by crippled economies and various national revolutions. Though today we have a “European Union,” it is, economically and demographically, gravely imperiled. Complete financial collapse has been averted by cheap loans from the European Central Bank, and the actions of German Chancellor Angela Merkel (Time Magazine’s 2015 “Person of the Year”). But failure to resolve the underlying problem of the inefficient economic policies of the most indebted nations (Greece, Italy, Spain, and Portugal) means that we may still face the prospect of what some prominent economists were envisaging—to cite the blood-red cover and banner headline of the August 22, 2011 issue of Time—as nothing less than “THE DECLINE AND FALL OF EUROPE (AND MAYBE THE WEST).”

The cover article itself, titled “The End of Europe,” following in the line of Kenneth Rogoff and Carmen Reinhart’s 2009 history of sovereign debt, This Time is Different, noted that Europe was not experiencing a typical, correctable recession or even facing “a double-dip Great Recession.” Rather, wrote Rana Foroohar, “the West is going through something more profound: a second [post-1929] Great Contraction of growth,” with investors “suddenly wary that the European center is not going to hold.”  Doubling down on that allusion to Yeats, Foroohar began her lead article in Time’s October 10 “special issue” on the economy: “If there is a poem for this moment, it is surely W. B. Yeats’s dark classic ‘The Second Coming’.” She compared what the poet faced in 1919—“the darkness and uncertainty of Europe in the aftermath of a horrific war”—with the current situation. After quoting the poem’s opening movement, and connecting the “centre cannot  hold” with the “shrinking” of “the middle class,” Forohoor observed of the poem as a whole,  “It’s hard to imagine a more eloquent description of our own bearish age.” Christine Lagarde, head of the IMF, saw, even after emergency help, “dark storm clouds looming on the horizon.” The resistance to the austerity pushed by Merkel and the stubborn lack of growth had led to violence in the streets and to the emergence of extremist, fringe parties. Coupled with Muslim immigration and the rise of Islamic extremism, that trend has since continued and intensified: in France, Poland, even in Germany, with the emergence of revanchist and authoritarian parties. Politically as well as economically, it would seem, “the center cannot hold.”

 §

Shifting from Europe to the Greater Middle East and beyond, the crises have also intensified, with responses to them participating, rhetorically, in the same pattern: the compulsion to return in times of turmoil to the resonant images of “The Second Coming.” Over the past three years, the poem has been repeatedly quoted in regard to the increasing instability of the international order. Though not the first to consider Yeats’s lines uniquely relevant to their own time, we have a better claim than most. The poem’s opening movement, posted on the website Sapere Aude!, was singled out as the “best description” we have of “the dismal state the world is in right now.” Stephen M. Walt, Professor of International Relations at Harvard, responded to the dangerous “crumbling” of the old “international order” by quoting the whole of “The Second Coming,” a poem that “seems uncannily relevant whenever we enter a turbulent period of global politics.” He concluded “A Little Doom and Gloom” (his sweeping survey of crises in Europe, the Middle East, Iran, and Asia) on a note of foreboding: “I hope I’m wrong, but I think I hear Yeats’s ‘rough beast’ slouching our way.”

Walt’s concerns resonate, and Rogoff and Reinhart may have been right; perhaps “this time” (for, as of March 2016, the European economic crisis is hardly resolved) is “different.” Or it may be that such projections as those sensationalized by that blood-dimmed Time cover were alarmist hyperbole—as charged by one sanguine respondent to the Time issue, who thought “our shifting economies” more likely to be “birth pangs of a new day.” Perhaps; indeed, Yeats’s eternal gyre can be read optimistically, though the birth pangs of his annunciatory rough beast suggest otherwise. When we consider the rise of ISIS and the metastasizing international threat presented by jihadist terrorism, along with Europe’s current immigration crisis, we may conclude that there may be even more terrifying doomsday scenarios in the future. Either way, Yeats’s “The Second Coming” will remain in attendance, ready to supply apt metaphors embodying our sense of an ending: the dying of one age, with another, yet unknown, “to be born.”

This talismanic poem’s projection of cyclical and violent rebirth in the form of a sphinx-like beast rising in the desert eerily foreshadows today’s Middle East, most dramatically, the rise of ISIS out of the wreckage of Syria and Iraq. The once hopeful Arab Spring has long since turned autumnal. Caught up in the region’s cross-current of sectarian, ethnic, and tribal tensions, overwhelmed by military elites and by long-suppressed but well-organized Islamists, the young rebels who actually initiated the Arab Awakening quickly became yesterday’s news. Revolutions devour their own children. History “Whirls out new right and wrong,/ Whirls in the old instead,” to quote Yeats’s “Nineteen Hundred and Nineteen,” a poem originally titled “The Things That Come Again.” As two Middle-East experts, Hussein Agha and Robert Malley, accurately predicted as early as September 2011: whatever the outcome of this struggle, “victory by the original protesters is almost certainly foreclosed.” And so it has turned out. Optimistic anticipations of beneficial change were shattered by what Agha and Malley called, perhaps echoing the Yeatsian widening gyre, “centrifugal forces” (“The Arab Counterrevolution”). Many in the chaotic Middle East are now, as various Islamic sects vie for power, and ISIS galvanizes jihadists, wondering what comes next—or, in Yeats’s stark image of expectation-reversal, what rough beast is slouching their way.

The long-sustained hostility has also intensified between Israel and the Palestinians, with the elusive two-state solution further away than it was when the UN partitioned Palestine 2/3rds of a century ago. That embittered stalemate is epitomized in the title of a recent book, Side by Side: Parallel Narratives of Israel-Palestine. In lieu of advancing any proposals to resolve the issue, the book offers, on facing pages, differing perspectives on the same events. The “sheer reciprocal incomprehension” in these parallel narratives, with “two sides locked in…a dialogue of the deaf,” reminded British journalist Geoffrey Wheatcroft of a famous phrase of Yeats (for once, not from “The Second Coming,” but from “Remorse for Intemperate Speech,” a poem written a dozen years later): “Great hatred, little room.”

Like many lines from “The Second Coming,” this phrase, too, applies throughout much of the Greater Middle East. In Syria, Bashar al-Assad, militarily propped up by Vladimir Putin, continues to barrel-bomb his own people, while we puzzle over how, now that one plan to arm the Syrian “moderate” opposition has ignominiously failed, we might prevent further carnage. In Afghanistan, what began as a justified attack on the Taliban sponsoring al Qaeda now seems a futile counter-insurgency: a struggle hampered by our putative “ally” in the region. Playing both sides in its own self-interest, Pakistan covertly supports the resurgent Taliban it originally created and funds extremist madrassas (now over 1,300) intended to displace Afghan state schools, where secular subjects are taught as well as religion. And Pakistan is itself an unstable nation, its nuclear arsenal partially dispersed and therefore vulnerable to seizure by its own Islamist radicals.

And then there is the nuclear game-playing of a truly paranoid regime. North Korea is already in possession of several nuclear weapons, and its erratic dictator, 33-year-old Kim Jong-un, has become increasingly provocative. North Korea’s nuclear bomb test in January was quickly followed by a rocket-launch, part of a project whose goal is to eventually mount a nuclear warhead on an intercontinental missile. The rocket was launched not only in violation of several UN Security Council resolutions, but even in defiance of the Hermit Kingdom’s powerful neighbor, China, the only nation thought to have the leverage to restrain its unpredictable ally. Apparently not; Kim Jong-un is spinning out of control, threatening, in March 2016, to aim nuclear missiles at Seoul and Washington. A propaganda video released the same month depicted a submarine-launched ballistic missile visiting nuclear devastation on the US capital.

There is a double threat involving Iran: the danger of that theocracy violating the recent accord by surreptitiously working to develop a nuclear weapon, and of the predictable and unpredictable ramifications of an Israeli and/or US preemptive strike. Should our policy be to prevent, to contain, or to attempt to destroy? This issue, politicized in this election year, has become as polarized as the Israeli-Palestinian conflict. And yet, unless the nuclear agreement works, unless reason on both sides prevails and the center holds, we may be careening into yet another, and potentially even more profoundly destabilizing, war in the Middle East.

In Iraq, we have ended our large-scale military presence after a war we should never have started. But in toppling Saddam Hussein, we rid Iraq of a brutal and megalomaniacal dictator whose tyrannical reign had at least one positive aspect: his repression of militant Islamists. As a result we have left behind not only an economically ravished country (35% of those fortunate enough to have survived Operation Iraqi Freedom live in abject poverty), but one divided along predictably sectarian lines. The discrimination against the ousted Sunnis, not yet redressed by Haider al-Abadi, who succeeded Nouri al-Maliki as Prime Minister in 2014, not only affects every aspect of life, but alienates (since they have little incentive to protect the Shiite government in Baghdad) the very Sunni fighters needed to resist ISIS.

The negative consequences of our misguided disbanding of Saddam’s Sunni army after its defeat in 2003 were compounded by our decision to back Maliki over secular Shiite Ayad Allawi, whose party won the March 2010 parliamentary elections, but fell two seats short of a majority. Maliki, pressured by Shiite Iran, broke his pledge to integrate the government and instead institutionalized the repression of the Sunnis. Obama was urged to cease supporting Maliki by, among others, Ali Khedery, who served as special assistant to five US ambassadors to Iraq and as a senior advisor to three CentCom commanders. Khedery concluded a 2014 opinion piece:

By looking the other way and unconditionally supporting and arming Maliki, President Obama has only lengthened and expanded the conflict that President Bush unwisely initiated. Iraq is now a failed state, and as countries across the Middle East fracture along ethno-sectarian lines, America is likely to emerge as one of the biggest losers of the new Sunni-Shiite war, with allies collapsing and radicals plotting another 9/11. (Washington Post, 3 July 2014)

Shortly after we initiated the Iraq War, a Syrian businessman, Raja Sidawi, a friend of Washington columnist and writer David Ignatius, offered a prescient observation. Ignatius cited it, somewhat skeptically, in his July 1, 2003 Washington Post column, “The Toll on American Innocence.” A dozen years later, in October, 2015, he reprised it; and its second coming—in a cover-piece in The Atlantic, “How ISIS Spread in the Middle East”—was far more somber. What Raja Sidawi told his American friend in June 2003 was this: “You are stuck. You have become a country of the Middle East. America will never change Iraq, but Iraq will change America.” Given his cultural and practical knowledge of the region, Sidawi’s remark may not quite match the oracular clairvoyance so many of us have found in Yeats’s “The Second Coming.” But it will do. We stormed into Iraq with “shock and awe”; and with hubris, a mixture of political duplicity and the American confidence of Innocents Abroad—“innocence” indistinguishable from ignorance. We changed; the region didn’t. The result: a variation on the old Sunni-Shiite war, “with allies collapsing and radicals plotting another 9/11.”

§

Principal among those plotting radicals, their brutal implementation of an apocalyptic theology flourishing in the implosion of Syria and Iraq, is of course the Islamic State: ISIL, or Da’esh, best known as ISIS. Confronted by the spectacle of ISIS, commentators from Left and Right, including experts on Islamist terrorism, turned in 2015 to Yeats’s “The Second Coming.”  In a Huffington Post piece titled “ISIL: The Second Coming,” composer Mohammed Fairouz, whose setting of Yeats’s poem premiered in New York City on March 10, applied his epigraph, “The best lack all conviction, while the worst/ Are full of passionate intensity,” to President Obama’s failure to confront barbarous ISIS early on. A June 2015 posting on a West Coast socialist website, titled “Iraq: ‘Things Fall Apart’,” cited the opening three lines of the poem, noting that Yeats “might have written today, and nowhere is this more true than in Iraq.” In a blog posted in August, a former liberal turned Neo-conservative announced, “Read this, and think of ISIS.” The “this” was the full text of “The Second Coming.” The poem had been haunting her, she reported, since 9/11, and “these days it seems more than ever that the rough beast is on the march.”

Between these two, in a July Wall Street Journal essay, “A Poet’s Apocalyptic Vision,” David Lehman, himself a poet, described “The Second Coming,” extrapolating from the moral anarchy of 1919, as a fearful pre-vision of our present anarchy. “If our age is apocalyptic in mood—and rife with doomsday scenarios, nuclear nightmares, religious fanatics, and suicidal terrorists—there may be no more chilling statement of our condition than” this poem, in which Yeats envisages no Christian “second coming,” but “a monstrosity, a ‘rough beast’ threatening violence commensurate with the human capacity for bloodletting.” The accompanying color illustration— a slouching leonine creature with light beaming from mouth and eyes—attempts to visually capture that “gaze blank and pitiless as the sun.” But the image, in this case, is a counter-example to the cliché that a picture is worth a thousand words, or even (if they are Yeats’s) seven words.

Lehman WSJ essay photo by Yao XiaoPhoto by Yao Xiao

After sketching its historical, psychological, and occult contexts, Lehman focuses on the text, celebrating the poem’s “metrical music,” “unexpected adjectives,” and such “oddly gripping” verbs as “slouches,” as well as Yeats’s “epigrammatic ability,” best exemplified in the last two lines of the opening stanza: “The best lack all conviction, while the worst/ Are full of passionate intensity.” The aphorism, says Lehman, retains its authority as both “observation” and “warning.” We may, he suggests (yielding to the irresistible impulse to specify politically), “think of the absence of backbone with which certain right-minded individuals met the threats of National Socialism in the 1930s and of Islamist terrorism in the new century.”  He concludes by recommending that we read the poem aloud to appreciate its “power as oratory,” and then ask ourselves which most “unsettles” us: “the monster slouching towards Bethlehem or the sad truth that the best of us don’t want to get involved, while the worst know no restraint in their pursuit of power?”

Lehman’s question is valid, despite his being unaware that Yeats, interpreting Marxism-Leninism as a second coming of the Jacobin Terror of the French Revolution, initially identified the “worst” with the Bolsheviks, perpetrators of such revolutionary crimes as the slaughter of the Russian royal family; while the putative “best” were vacillating European moderates and liberals who had failed to respond to, much less resist, revolutionary brutality. In its initial drafts, “The Second Coming” reflected Yeats’s response to the violence in Russia in light of the violence in France a dozen decades earlier. But in its final version, the poem also looks, almost clairvoyantly, ahead to the future. And even French and Russian revolutionary brutality can seem tame in comparison with the theologically inspired and politically intimidating barbarism of ISIS, with its mass rape and enslavement, beheadings and crucifixions, and its growing capacity to inspire and ignite terror attacks well beyond the borders of its Caliphate in Syria and Iraq. ISIS is also seeking radioactive materials. As in the past, “The Second Coming” is at hand to supply metaphors. In the final pages of  ISIS: The State of Terror, two noted experts on Islamist jihadism, Jessica Stern and J. M. Berger, quote “The Second Coming,” and then conclude:

It is hard to imagine a terrible avatar of passionate intensity more purified than ISIS. More than even al Qaeda, the first terror of the twenty-first century, ISIS exists as an outlet for the worst—the most base and horrific impulses of humanity, dressed in fanatic pretexts of religiosity that have been gutted of all nuance and complexity. And yet, if we lay claim to the role of “best,” then Yeats condemns us as well, and rightly so. It is difficult to detect a trace of conviction in the world’s attitude toward the Syrian civil war and the events that followed in Iraq….

The double point made by Stern and Berger epitomizes their theme as well as the current crisis, marked by the bloodlust and passionate intensity of the “worst,” and the lack of conviction the civilized world, the “best,” has thus far displayed in fully engaging this religiously inspired death cult. Reviewing this book, and two others on ISIS, Iraq specialist Steve Negus remarks that “only one quotes Yeats’s ‘The Second Coming,’ but the others must have been tempted” (New York Times Book Review, April 1, 2015). Negus was writing before the publication of the latest book-length study, counterterrorist expert Malcolm Nance’s Defeating ISIS: Who They Are, How They Fight, What They Believe (2016). He was also writing five months prior to the publication of perhaps the best of the bunch: The ISIS Apocalypse: The History, Strategy, and Doomsday Vision of the Islamic State, by William McCants. His deep knowledge of ISIS’s political strategy and apocalyptic theology reflects McCants’s immersion in primary Arabic sources. His good-news, bad-news conclusion is that ISIS will be defeated, but that its example will inspire future jihadists. McCants does not cite “The Second Coming.” However, given his richly informed apocalyptic emphasis, it seems safe to imagine that he, too, “must have been tempted.”

In the month I am writing, March 2016, US commandos killed the Finance Minister of ISIS, and, as a result of coalition bombing and Iraqi army advances, ISIS is losing some ground in Syria and Iraq. But even as its Caliphate contracts, ISIS is expanding—geographically into Libya and elsewhere, and exporting terror throughout the Middle East and Africa, and into the heart of an under-prepared Europe. Last November’s coordinated attacks in Paris, which took 130 lives, were replicated by members of the same Molenbeek-based Belgian cell in Brussels on March 22, when two brothers and a third suicide bomber slaughtered 31 and wounded almost 300. Hundreds of alienated European Muslims, radicalized and militarily trained by ISIS in Syria, are now back in Europe, organized in operational cadres. In a video released on March 25, two Belgian ISIS fighters warn that “This is just the beginning of your nightmare.” Promising more “dark days” ahead for all who would oppose them, the terrorists in command of ISIS have threatened that jihadists already positioned in Europe are prepared to unleash a “wave of bloodshed.” Once again, “Mere anarchy is loosed upon the world,/ The blood-dimmed tide is loosed.…”

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II. A Vast Image: From Political Genesis to Archetypal Symbolism

In accord with the mystery of the Sublime, Yeats’s sphinx-like beast slouching blank-eyed toward Bethlehem is a horror capable of many interpretations but limited to none, and, therefore, all the more terrifying. For that very reason, as I’ve just illustrated, “The Second Coming” is perennially relevant. Almost a century after the poem first appeared, pundits in books and essays, newspapers and magazines, routinely draw upon Yeats’s evocation of cultural disintegration and imminent violence, and lines from the poem (the whole poem, in Joni Mitchell’s 1991 riff) riddle popular culture, as we can see by consulting Nick Tabor’s recent compendium of dozens of pop-culture allusions, itself titled “No Slouch.”[1] More gravely, as part of our common crisis-vocabulary, we intone that “things fall apart”; that “the centre cannot hold”; that “the best lack all conviction, while the worst are full of passionate intensity”; that “the ceremony of innocence is drowned”; that we confront forces “blank and pitiless as the sun”; that one era, symbolized by a “widening gyre,” is ending and another imminent, signaled by the loosing of a “blood-dimmed tide” of “mere anarchy,” dreadfully attended by a  “rough beast” slouching towards Bethlehem to be born. How has the poem achieved this Bartlett’s-Familiar status?

sci fi collage

An Endless Source
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In addition to those already mentioned in the text, there are many titular allusions to “The Second Coming.” Canadian poet Linda Stitt considered calling her 2003 collection Lacking All Conviction, but chose instead another phrase for her title: Passionate Intensity, from the line of “The Second Coming” that immediately follows. Describing a very different kind of disintegration than that presented by Judge Bork in Slouching Towards Gomorrah, another law professor, Elyn R. Saks, called her 2007 account of a lifelong struggle with schizophrenia The Center Cannot Hold.
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Detective novels, crime fiction, and pop culture in general have drawn liberally on the language of “The Second Coming.” The second of Ronnie Airth’s Inspector John Madden novels is The Blood-Dimmed Tide (2007). H. R. Knight has Harry Houdini and Arthur Conan Doyle tracking down a demonic monster in Victorian London in his 2005 horror novel, What Rough Beast. Robert B. Parker called the tenth volume in his popular Spenser series The Widening Gyre. I refer in the first endnote to Kevin Smith’s Batman series appearing under that general title.
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Science fiction writers seem particularly addicted to language from “The Second Coming.” Among the episodes of Andromeda, the 2000-2005 Canadian-American sci-fi TV series, were two titled “The Widening Gyre” and “Its Hour Come Round at Last.” But the prize for multiple allusions goes to a project that originally appeared as a six-part e-book in 2006 (marking the 40th anniversary of the original Star Trek series). An omnibus edition, Star Trek: Mere Anarchy, was published in 2009. This “Complete Six-Part Saga” takes from Yeats more than its main title (also borrowed by Woody Allen for his 2007 collection of comedy pieces). All six of the individual novellas in Mere Anarchy (each by a different author) derive their titles from “The Second Coming”: Things Fall Apart, The Center Cannot Hold, Shadow of the Indignant, The Darkness Drops Again, The Blood-Dimmed Tide, and Its Hour Come Round.

A friend, Bill Nack, biographer of the great racehorse Secretariat and an informed reader of Yeats’s poetry, remarked of “The Second Coming” in a letter: “So many lines and images are written indelibly, chipped in stone on that wailing-wall we call the 20th, now the 21st century.” The poem is a mine of incisive and quotable phrases, from the opening movement’s bullet-point declarations (fusing metaphor and abstraction, chaos and order) to that final momentous question. The presentation is cinematic, with the “vast image” looming gradually, and dramatically, into focus:  a mere “shape,” then “lion body,” then “head of a man,” then a zooming in on the creature’s “gaze,” followed by a panning movement back out, since that gaze is “blank and pitiless as the sun.” In addition to the tensile strength of its unforgettable verbs (loosed, troubles, reel, vexed, slouches), the poem’s extraordinary power is attributable to its sources in the occult and the unconscious, its Egyptian and mythological reverberations, and, above all, its alteration of the Bible (Daniel, the gospels, Revelation), culminating in the shock value of the subversion of the Christian interpretation of the “second coming.” “The Second Coming! Hardly are those words out” than the poet envisages, not the return of Christ, but the advent of a sinister rough beast. Apparently moribund for two millennia, it is now, ominously and sexually, “moving its slow thighs,” while “all about it/ Reel shadows of the indignant desert birds.” Indignant because those circling scavengers had mistakenly thought the immobile creature mere carrion; but the beast, imperceptibly stirred into antithetical life by the rocking of Jesus’ cradle two thousand years earlier, is alive. Now, initiating a new cycle, it slouches, provocatively and precociously, towards that infant’s birthplace in order itself “to be born.”

But the poem’s universal relevance, its adaptability, is, above all, testimony to the success of Yeats’s method in revising the original manuscripts. Written in January 1919, first printed in The Dial in 1920, and collected the following year in Michael Robartes and the Dancer, “The Second Coming” had its sociopolitical roots, as the poet’s widow confirmed in the 1960s, in Yeats’s troubled response to the political situation in Europe in 1917-19. And the drafts of the poem, some of the pages preserved by his wife, reveal that Yeats’s apprehensions about the socialist revolutions in Germany, Italy, and, above all, Russia, during and immediately after World War I, were associated, as we’ve seen, with his reading of the Romantic poets and of Edmund Burke, and their responses to the French Revolution: what Shelley called “the master theme of the epoch in which we live.”

As earlier noted, Yeats initially identified the “worst” with the Bolsheviks, perpetrators of such revolutionary crimes as the slaughter of the Russian royal family; while the putative “best” were those who had failed to resist, eventually epitomized, for Yeats, by the British King, George V. As it happens, Kerensky’s Russian Provisional Government had initiated an offer of asylum, promising to send the Tsar and Tsarina and their children to England for safety: an offer rejected by the King (fearful of reaction from the British Labor Party), even though he was Nicholas’s cousin. This cowardice and violation of the family bond, not known to Yeats at the time he wrote “The Second Coming,” surfaced two decades later in “Crazy Jane on the Mountain,” where Yeats’s most famous and least inhibited female persona is revived to bitterly decry the fact that

A King had some beautiful cousins
But where are they gone?
Battered to death in a cellar,
And he stuck to his throne.

Family_Nicholas_II_of_Russia_ca._1914Tsar Nicholas II and family, ca. 1914 (via Wikimedia Commons)

But “The Second Coming” resonates far beyond that old atrocity. It looks back from the Bolshevik to the French Revolution, as filtered through Yeats’s reading of Edmund Burke and the Romantic poets.[2]

Yeats’s natural affinities were with his major poetic precursors, those permanent revolutionaries Blake and Shelley. But in his own political response to revolution, Yeats found himself closer to the great Anglo-Irish conservative statesman Burke, the chief intellectual opponent of the French Revolution and chivalric champion of the assaulted Marie Antoinette. He also found himself aligned with a former supporter of the Revolution (“Bliss was it in that dawn to be alive,/ But to be young was very heaven”): the largely if not completely disenchanted William Wordsworth. At this time, Yeats was reading the French Revolutionary books of Wordsworth’s Prelude as well as Burke’s Reflections on the Revolution in France. His own ambivalent response to catastrophe (horrified and yet strangely exultant), as projected in “The Second Coming,” registers the differing perspectives of Burke and the Romantics on the French Revolution, now refracted through the prism of what Yeats took to be its rebirth in Bolshevism.

An idiosyncratic yet often complex and even profound visionary, Yeats was as much a disciple of Nietzsche as of Blake and Shelley, and an occultist to boot. All of these influences, along with his conservative reverence of Swift, Burke, and of an idealized Anglo-Irish aristocracy, as well as his response to Wordsworth’s Prelude, converge in “The Second Coming,” as in its close relatives, “A Prayer for My Daughter” and the sequence “Nineteen Hundred and Nineteen.” All three reflect, along with the Great War and the Bolshevik Revolution, the beginning of the War of Independence in Ireland. And they all recapture Burke’s elegy over the fall of Marie Antoinette, and his premonition of “the glory of Europe…extinguished forever,” of “all…to be changed.” The sequence’s recurrent “nightmares” and the drowning of “the ceremony of  innocence” in “The Second Coming” echo Burke’s “massacre of innocents” (with the palace at Versailles “left swimming in blood”) and Wordsworth’s “ghastly visions” of “tyranny, and implements of death,/ And innocent victims,” in passages of The Prelude dramatizing his reaction to revolutionary massacre. Such echoes confirm Yeats’s juxtaposition of the excesses of the French Revolution with the postwar turmoil in which he was writing in 1919.

Deciphering Yeats’s handwriting and interpreting his associative connections, we can trace in the drafts of “The Second Coming” his linking of Burke’s lamentation over the assaulted Marie Antoinette with the spectacle of the Russian royal family, including the Tsarina Alexandra, “battered to death in a cellar” (as he would have Crazy Jane later put it). Yeats connects Bolshevik brutality with such French atrocities as the September Massacres and the Jacobin Terror—what, annotating Wordsworth, he characterized as “revolutionary crimes.” In the face of “unjust tribunals,” with admitted royalist “tyranny” replaced by “mob-bred anarchy,” Yeats laments that there’s “no Burke to cry aloud, no Pit[t]”—no one, that is, to “arraign revolution,” as Burke had in the Reflections and in later speeches and William Pitt in ministerial policy. In further noting that “the [G]ermans have now to Russia come,” Yeats seems to combine the 1917 military invasion of Russian territories with the decisive German role in spiriting Lenin, and thus Marxian Communism, into Russia. As a result: “There every day some innocent has died” in revolutionary purges epitomized by the Bolsheviks’ July 1918 slaughter of the Tsar, the Romanov children, and the Tsarina Alexandra: “this Marie Antoinette,” who “has more brutally died.” The crucial point is that, as he continued to revise, Yeats stripped “The Second Coming” of all these particularized references. What prompted him to do this? The drafts themselves offer intriguing clues.

Yeats handwriting collagePages from drafts of “The Second Coming”

Deciphering Yeats’s handwriting
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Despite the conjectures necessitated by the rapid scribbling of a man whose handwriting was maddeningly difficult to begin with, most of the specifics and the gist of what Yeats means are clear in this early draft (page 1., image above):
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Ever further h[aw]k flies outward
from the falconer’s hand. Scarcely
is armed tyranny fallen when
when this mob bred anarchy
takes its place. For this
Marie Antoinette has
more brutally died and no
Burke [has shook his] has an[swered]
with his voice, no pit [Pitt]
arraigns revolution. Surely the second
birth comes near—
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……….intellectual gyre is thesis to
The/ gyres grow wider and more wide]
The falcon cannot hear the falconer
The germans have now to Russia come
There every day some innocent has died
The [ ? ] comes to [?fawn]…[?murder]
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In other drafts (all Box 3, Folder 39, W. B. Yeats Collection, SUNY, Stony Brook), Yeats confirms his regret that there’s no Burke or Pitt to arraign Bolshevik crimes as they had French Revolutionary terrorism: “—no stroke upon the clock/ But ceremonious innocence is drowned/ While the mob fawns upon the murderer/ And there’s no Burke…nor Pitt….”; and, again, “there’s no Burke to cry aloud no Pit[t].” Astutely analyzing the drafts in 2001, Simona Vannini had no doubt about the coupling of French and Russian atrocities. But, resisting the “scholarly consensus” (she refers to Donald Torchiana, Jon Stallworthy, and myself), she doubts, based on the drafts alone, that Yeats intended an “explicit correspondence between the murder of the French and the Russian royal families.” But one does not live by the drafts alone.
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Finally, as slowly but surely as the rough beast itself, the poem as we know it begins to emerge (pages 2.-4., image above).

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In the most dramatic of the visions induced in Yeats during some 1890 symbolic-card experiments with MacGregor Mathers (the head of Yeats’s occult Order, the Golden Dawn), the poet suddenly saw, as he records in an unpublished memoir, “a gigantic Negro raising up his head and shoulders among great stones”—a vision transmogrified, in the published Autobiographies, into “a desert and a Black Titan.” Even in this dramatic instance, Yeats continues, “sight came slowly, there was not that sudden miracle as if the darkness had been cut with a knife.” In the drafts of “The Second Coming,” groping for figurative language to introduce the mysterious moment immediately preceding the vision of the vast image rising up out of “sands of the desert” and “out of Spiritus Mundi,” Yeats first wrote: “Before the dark was cut as with a knife.” Whether examining the finished poem or the drafts, we are surely justified in locating one of the principal origins of the rough beast in Yeats’s occult experiments with MacGregor Mathers.

We may also have, in the cautionary example of Mathers himself, a key to Yeats’s abandonment, in the course of revision, of the historical figures and events specified in the drafts. Yeats found his occult friend’s apocalyptic imagination, “brooding upon war,” impressive when it remained “vague in outline.” It was when Mathers “attempted to make it definite,” that “nations and individuals seemed to change into the arbitrary symbols of his desires and fears.” Yeats was aware of the tendency of literalists and cranks to apply the obscure symbols of Revelation to the world-historical crisis of their own particular moment in time. This is what Mathers was in the habit of doing and what Yeats had initially done, as evidenced by the drafts of “The Second Coming.” Of course, it was what the Apocalyptist himself had done in producing a text that was less an inspired prophecy than a coded account of events happening at the time he was writing. But there was one clear prophecy. John insists, following Paul and Jesus himself, that the promised second coming was imminent. Implicit throughout Revelation, that prophecy is explicit and particularly resonant at the end, where John puts the premature parousia in Christ’s own mouth, “Surely, I am coming soon” (echoed by Yeats: “Surely the Second Coming is at hand…”), and concludes by intensifying the urgency in his own voice: “Come, Lord Jesus!” (22:20)

Less interested in correlating specific events with Revelation or in predicting the future than he was in artistically mining Revelation as a rich source of resonant symbolism, Yeats was particularly fascinated by sublime aspects of the apocalyptic Beast: simultaneously menacing, exciting, destructive, and potentially renovative. (In depicting the first coming of Christ, he had referred, in the turbulently sublime final line of his visionary poem “The Magi,” to “The uncontrollable mystery on the bestial floor.”) Above all, Yeats, as visionary, would have had no desire, by binding his prophecy to particular events, to make himself ridiculous—as had many biblical scholars, or MacGregor Mathers. That would be to succumb to what Alfred North Whitehead would later call (in one of Yeats’s favorite books, Science and the Modern World) “the fallacy of misplaced concreteness.”

St. Jerome, aware of the many strained, historically specific misreadings preceding his translation of the Bible, was content to revise previous commentaries on the Book of Revelation rather than venture one of his own. As he observed in a letter, “Revelation has as many mysteries as it does words.” The same might be said of the final version of “The Second Coming,” which retains Yeats’s own “desires and fears” without limiting those generalized (“abstract”) emotions to the specific (“concrete”) historical events that originally provoked them. That the beast slouches, in the single vestige of specificity, towards Bethlehem makes the creature a type of the Antichrist. But Yeats was hardly a conventional Christian pitting sectarian goodness against Satanic and bestial evil. In fact, while the final poem and title refer to Christ’s parousia, the original drafts repeatedly refer, not to the “second coming,” but to the “second birth,” echoing Wordsworth’s “nightmare” premonition in The Prelude that the “lamentable crimes” of the September Massacres were not the end of revolutionary violence in France, but a precursor of the far worse Terror to come: “The fear gone by/ Pressed on me like a fear to come…”

For the spent hurricane the air provides
As fierce a successor; the tide retreats
But to return out of its hiding-place
In the great deep; all things have second birth. (Prelude 10:71-93)

Wordsworth’s image of a malevolent and returning tidal sea may remind us not only of the loosing of “the blood-dimmed tide” in Yeats’s poem of “second birth,” but of another powerful, and no less apocalyptic, prophesy of  “coming” destruction. In Robert Frost’s 1926 couplet-sonnet, “Once By the Pacific,” the water is “shattered,” and “Great waves looked over others coming in,/ And thought of doing something to the shore/ That water never did to land before.” This is an unprecedented rather than repeated act of destruction, but its premeditated “thought” makes Frost’s ocean even worse than Yeats’s “murderous innocence of the sea” (in “A Prayer for My Daughter,” where revolutionary violence takes the form of “sea-wind…/ Bred on the Atlantic”). Though Frost’s shore “was lucky in being backed by cliff,/ The cliff in being backed by continent,” the sea seems backed by God himself, whose creative fiat in Genesis, “Let there be light,” is soon to be superseded by his apocalyptic extinction of light:

It looked as if a night of dark intent
Was coming, and not only a night, an age.
Someone had better be prepared for rage.
There would be more than ocean-water broken
Before God’s last Put out the Light was spoken.[3]

In that final line, Frost moves from Genesis (1.3) to the Book of Revelation (21:1). In reversing Christian expectation (in Matthew 24 and Revelation), the poet of “The Second Coming” echoes the whole of the Prelude passage, which ends with Wordsworth returning to Paris, scene of the worst atrocities of the September Massacres, to find the place “unfit for the repose of night,/ Defenceless as a wood where tigers roam.”[4] Yeats’s “strong enchanter,” Nietzsche, author of The Antichrist, invoked a Dionysian and eternally recurrent “savage cruel beast”: an eruptive force incapable of being “mortified” by what he called, in Beyond Good and Evil, these “more humane ages.” Unsurprisingly, since Yeats believed that “Nietzsche completes Blake, and has the same roots,” and that “Nietzsche’s thought flows always, though with an even more violent current, in the bed Blake’s thought has worn,” Nietzsche’s beast (first trotted out in Yeats’s 1903 play Where There is Nothing) later resonated in his archetypal mind with Blake’s Tyger and his half-bestial Nebuchadnezzar, slouching on all fours (as in Daniel 4:31-33) on Plate 24 of The Marriage of Heaven and Hell.

William Blake Nebuchadnezzar (Tate copy)Nebuchadnezzar by William Blake (via Wikimedia Commons)

The Rough Beast
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The vast image or animated sphinx “out of Spiritus Mundi” has many “sources.” It can be traced back to the most dramatic of the mental images induced in Yeats during the symbolic-card experiments he conducted in 1890 with MacGregor Mathers, the dominant figure in the occult Order of the Golden Dawn. In his most memorable vision, Yeats saw a “Black Titan” rising up ominously from the desert sands. Other components are drawn from Shelley’s stony pharaoh Ozymandias (his wrecked statue almost lost among the “lone and level sands”) as well as from his Demogorgon (in Prometheus Unbound): a nightmare denizen, along with the “rough beast” of “The Second Coming,” of the mysterious “Thirteenth Cone” in Yeats’s occult book, A Vision.
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Around 1902, Yeats “began to imagine” a brazen winged beast “afterwards described in my poem ‘The Second Coming’.” In that same year, in his uncanonical play Where There is Nothing, he envisaged a laughing, destructive beast resembling the eternally recurrent “savage cruel beast” of Nietzsche: a Dionysian, libidinal, eruptive force incapable of being “mortified” by what Yeats’s “strong enchanter” called (in Beyond Good and Evil) these “more humane ages.”
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In perhaps the most momentous of his imaginative fusions, Yeats believed that “Nietzsche completes Blake and has the same roots,” and that Nietzschean thought “flows always, though with an even more violent current, in the bed Blake’s thought has worn.” The rough beast of “The Second Coming” can be seen as a fusion of Nietzsche’s savage cruel beast with (along with the dragons of Revelation and of comparative mythology) aspects of Blake’s Urizen, his Tyger, and his bestial Nebuchadnezzar, crawling on all fours at the conclusion of The Marriage of Heaven and Hell.
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In the 1795 color print reproduced here, Blake returned to the image he had engraved on the final plate of The Marriage. In Daniel 4:33, the Babylonian king, cursed and “driven from men,” ate “the grass as oxen”; his hair “grew like eagles’ feathers, and his nails like birds’ claws.” Blake’s Nebuchadnezzar, his mind darkened, stares, unseeing, directly at us. Though his “gaze” is as “blank” as that of Yeats’s “rough beast,” Blake’s king is more terrified than terrifying. But his bestiality and slouching posture is likely to have contributed to the composite beast of “The Second Coming.”

All precursors of the “rough beast.”  But Yeats’s response to French revolutionary violence, and its rebirth, was at least as powerfully influenced by the bestial imagery and conservative politics of Edmund Burke. For conservative Yeats, the September Massacres and French Reign of Terror foreshadowed the emergence in Bolshevik Russia of that “Marxian criterion of values” he described in a letter of April 1919 as “in this age the spearhead of materialism and leading to inevitable murder”: the same inevitability Burke had early and uncannily prophesied in 1790. In terms of imagery, attitude, and actual verbal details, “The Second Coming” would be a very different poem if it had not had precisely this twin historical genesis. Finally, however, the poem, in its final, published text, is not “about” either the French or the Russian Revolution.

Nor is it about the National Socialist revolution. Many readers have taken it that way, citing a 1936 letter in which Yeats, refusing to politicize the Nobel Prize by recommending a German dissident writer, also condemned Nazism, quoting the most Burkean line in the poem as evidence that he was not “callous”: “every nerve trembles with horror at what is happening in Europe, ‘the ceremony of innocence is drowned’.” While Hitler, with the help of Goebbels, read himself positively into the Book of Revelation, as a secular Aryan Messiah and initiator of the thousand-year Third Reich, Yeats, though a man of the Right, saw the Führer as a type of the apocalyptic beast. In applying to Nazism and the threat of a second world war an image he drew from Burke and applied to the First World War and the threat of Jacobinism reborn as Marxist-Leninist Communism, Yeats was being neither hypocritical nor intentionally misleading. Indeed, he was participating in a tradition of allusion that goes on to this day. And justifiably. For if “The Second Coming” were “about” any one of these historical cataclysms, it could hardly accommodate, as it does, all of them.

§

No less a figure than Goethe has said that to be fully understood, works of art must, to some extent, “be caught in their genesis.” The manuscripts of “The Second Coming” serve a legitimate purpose in revealing the original historical counterparts of what became a universalized prophecy of an unleashing upon the world of anarchy and blood-drenched violence. The speaker has had an apocalyptic vision, a “lifting of the veil” (the Greek meaning of Apokalypsis) and the disclosure of something hidden from the rest of us. But when “the darkness drops again” over the manuscripts, as it should, we are left  with what really matters—the public text of the poem, freed of the umbilical cord attaching it to its genesis, and thus  limiting its evocative power.

If, in studying any poem, particularly one responding to contemporary events, we were to focus unduly on generative intention, and on the immediate context of its creation, the poem would inevitably dwindle in meaning and impact as that particular moment receded. Yeats’s realization of this explains his deletion, in revising “The Second Coming,” of specific historical details. In Waiting for Godot, Yeats’s fellow Irishman and fellow Nobel Prize winner, Samuel Beckett, achieved symbolic resonance by avoiding all overt reference to the historical-political matrix of the play: the German Occupation and French Resistance. Similarly, by cancelling allusions to the Irish situation and all specific references to past and contemporary revolutions, to Burke, Marie Antoinette, Pitt, Germany, and Russia, Yeats liberated his poem from those localized events destined to be assimilated like so many grains of sand in the desert of time. As an anti-Marxist, Yeats would have enjoyed the effect, since it is Marxist critics above all who have been disturbed by the autonomy of works of art, by their capacity to outlive their particular hour—what Geoffrey Hartmann has memorably called art’s “aristocratic resistance to the tooth of time.”

Insistent that the power of his images derived in part from their roots, Yeats declared in “The Circus Animals’ Desertion,” one of his late retrospective poems: “Those masterful images because complete/ Grew in pure mind, but out of what began?” As we’ve seen, “The Second Coming” arose out of two sources, particular and universal. The specific events that provided its initial stimulus helped to shape the final poem. But Yeats, who was, like Carl Jung, fascinated not only by the occult but by alchemy, knew what he was doing when he transmuted the base metals of his historical minute particulars into the poetic gold of universally resonant archetypes. The archetypal symbols he received, or evoked, especially that mysterious and bestial “vast image” taking form “somewhere in sands of the desert,” came, he asserts, “out of Spiritus Mundi”: out of the World Soul that Jung—who reported strange beasts troubling the dreams of his own patients during the First World War—called the Collective Unconscious. That storehouse of archetypes causes universal symbols to arise in individual minds. But if the symbols in “The Second Coming” reflect Yeats’s own immersion in what he called the “Great Memory,” it is also, since each mind is linked to it, our Unconscious as well. In the dialectic of Yeats’s symbolic poems, myth is personal and experience is mythologized. In a similar reciprocity, allusions to “The Second Coming” register individual responses to current crises, contemporary forebodings which, simultaneously, resonate with eternally recurrent archetypes transformed by a great poet into “masterful images.”

“The Second Coming” obviously and dramatically transcends the minutiae of its origins. But it is one thing to simply be general and abstract, quite another to universalize after having delved deeply into, and worked through, materials that are concrete and specific. The method of Yeats—who always insisted that “mythology” be “rooted in the earth,” that we must delve “down, as it were, into some fibrous darkness”—falls into this second category. Influenced, as was Joyce, by the cyclical philosophy of Giambattista Vico, Yeats agreed with Vico that “Metaphysics abstracts the mind from the senses; the poetic faculty must submerge the whole mind in the senses. Metaphysics soars up to the universal; the poetic faculty must plunge deep into particulars” (Scienza Nuova, 1725). Yeats has it both ways in “The Second Coming.” The specific details of the poem’s political genesis have been buried; but the poet’s rooting of his fears and cryptic prophecy in contemporary history—significant soil enriched by the conflicting responses of Burke and Wordsworth, Blake and Shelley, to the great upheaval of their era—surely contributed to the unique power of a disturbing poem whose universalized vision of violent transformation haunted the rest of the twentieth century, and shows every sign of haunting ours. Without that rooting in Viconian and Blakean “particulars,” idiosyncratic theories and his obsession with what Joyce mockingly called Yeats’s “gygantogyres” could easily have produced oracular bombast that would be truly “callous” and shapelessly rather than sublimely vague.

What we have instead is a poem in which Yeats has it several ways at once. The seer casts a cold eye on the whirling of gyres beyond our control, yet seems, at least in part, excited by the rebirth of cyclical energy. But the note of boredom-relieving anticipation detectable in “its hour come round at last” is offset, not only by the elegiac Burkean music of the opening movement, but by the poem’s deepest tonality. For the real surprise, trumping the Nietzschean irony that this “second coming” will take a very different “shape” than that expected by naïve, optimistic Christians, is that Yeats’s own expectation will be exposed as a pipe dream. We must trust the tale and not the teller. For the poem itself, less aloofly visionary than human, suggests that the antithetical era being ushered in will not assume the hopeful form of the Nietzschean-aristocratic civilization welcomed (“Why should we resist?”) in Yeats’s long note to the poem. Instead, the newborn age is likely to take the chaotic shape prefigured by its brutal engendering. With that deeper insight, that peripeteia or sudden plot-change and readjustment of apocalyptic expectation, both the theoretician and the cold-eyed oracle in Yeats yield to the poet and man whose vision of the beast truly “troubles my sight.” This troubled vision is also rooted in apocalyptic literature. Yeats is doubtless recalling the response of the prophet Daniel (two hundred years before an echoing John of Patmos) to the final and most “terrifying and dreadful” of the “four great beasts” he sees in a dream: “my spirit was troubled within me, and the vision in my head terrified me….I was dismayed by the vision and did not understand it” (Daniel 7:19-20, 8:15-27; cf. Revelation 13:7).

Yeats’s dramatic plot-change, foreshadowed in the poem’s drafts, is reflected in his final punctuation. Violating the grammatical logic of its own peroration, “The Second Coming” ends in a question, leaving us with an open, apprehensive, awestruck glimpse of imminent apocalypse, or transformation, or the loosing of a blood-dimmed tide of terror that may constitute (to again quote Shelley on the French Revolution) “the master-theme” of the post-9/11 “epoch in which we live.” Yeats was even more honest when, in the drafts of the poem, he explicitly acknowledged that whatever gnosis was involved was not his, but the beast’s: “And now at last knowing its hour come round/ It has set out for Bethlehem to be born.” In the poem as published, we are left with human uncertainty rather than prophetic certitude. The syntactical and vatic momentum that follows “but now I know…” is retained, and yet the poet ends, as Daniel had, with a cryptic, troubling vision he “did not understand,” and therefore with a genuine question: the mark of interrogation that always, according to the unknown Greek author of the great treatise On the Sublime, attends that mystery.

Peering into the dark forward and abysm of time, their sight “troubled,” readers of Yeats’s poem are easily persuaded that something ominous is afoot. But we are left wondering which of our own current crises might emerge as no less transformative than the events Yeats was responding to in the manuscript-drafts of “The Second Coming,” specifically his connection of 1919 with the bloodshed following 1789. As those drafts reveal, Yeats was paralleling the two most momentous events in the history of the modern Western world: the French Revolution, and its blood-dimmed aftermath, with the First World War and its various sequelae. The consequences of the Great War include the global influenza pandemic that swept away at least 10 million more people than the 37 million fighters and civilians lost in the war itself, as well as the slicing of the modern Middle East out of the rotting carcass of the Ottoman Empire. Before the 1921 Cairo Conference, which created, ex nihilo, Iraq, Saudi Arabia, and Syria, John Maynard Keynes warned the man who had presided over this division, British Colonial Secretary Winston Churchill: “If you cut up the map of the Middle East with a pair of scissors you will still be fighting wars there in a hundred years’ time.”  Five years from that centennial, Keynes seems no less prophetic, and rather more specific, than the poet who envisaged anarchic disintegration and a beast rising from “somewhere in sands of the desert.”

Though excised by the poet, and partially erased from our collective memory by a historical flood bringing even greater calamities, those World War I-related events sowed the seeds of much that followed. Even Yeats’s stress, in the manuscripts, on the execution of the French queen and its repetition in the massacre of the Russian royal family, were not idiosyncratic choices. Whatever one thinks of Yeats’s politics or of the hapless Romanov dynasty, Yeats was not simply—in Tom Paine’s trenchant critique of Burke’s tear-stained apostrophe to Marie Antoinette—“pitying the plumage while forgetting the dying bird.” Alexandra (“this Marie Antoinette” who has “more brutally died”) was battered and shot to death with her husband and children in the “House of Special Purpose” in Ekaterinburg. Though there was no signed order, the ultimate decision was Lenin’s. Those murders marked a pivotal moment when—in the summation of historian Richard Pipes in his magisterial The Russian Revolution—history made a turn toward genocide, when human beings were placed on a list of expendables and the world entered “an entirely new moral realm.”

Yeats sensed this seismic change and registered it in the drafts from which “The Second Coming” evolved—though he saw it not as “an entirely new” moral phenomenon but as a “second birth” of revolutionary massacre. The execution of the Russian royal family—the barbarous slaughter, in particular, of the children, shot, clubbed, and stabbed to death by drunken incompetents—was Yeats’s contemporary example of the loosing of a blood-dimmed tide and slaughter of the innocents that, for him, hearkened back to the French Reign of Terror and, for us, as readers of “The Second Coming,” prefigures all the horrors of the twentieth century and beyond: war, terrorism, nuclear proliferation, genocide, famine, economic chaos, ecological degradation, melting ice shelves and rising sea levels, and political anarchy—in the form, in our own country, of an ideological and special-interest polarization so intense that the center can no longer hold.

Yeats’s prophetic poem—as open to interpretation as the Beasts and Dragons and Horsemen of the Biblical Apocalypse—envisages, or, rather, can be made to envisage, any and all of these nightmares. Front and center at the moment is ISIS: the apocalyptic cult of fanatics operating out of their medieval Caliphate and able to ignite or at least inspire terror wherever the Internet and the various forms of social media they have mastered can reach. ISIS does not exhaust the legion of threats our own century of stony sleep has vexed to nightmare.  Like Yeats, we are left wondering “what rough beast, its hour come round at last, /Slouches towards” us?

W.B. YeatsW. B. Yeats, 1932 (photo by Pirie MacDonald)

In Part Two, we will revisit the turmoil of the Middle East and the rise of ISIS. Though both have deep causal roots, both are the immediate result of our 2003 decision to invade Iraq: a disaster exacerbated by its antithesis: President Obama’s understandable but consequential decisions and then indecisions regarding the Syrian civil war. The US invasion and occupation of Iraq are the roots of the tree from which most of the poison fruit has fallen, but the carnage and chaos in Syria not only expedited the rise of ISIS but produced the current immigration crisis. It is a tragic history.

When various moderate factions first rose up against the Alawite tyranny of Bashar al-Assad, it seemed part of the hopeful Arab Spring. Obama, who had been criticized for his alacrity in abandoning President Mubarak in Egypt, was now criticized for his reluctance to urge the ouster of Assad. After several months of calibrated diplomacy and sanctions, Western policy shifted to regime change. In tandem with French President Nicolas Sarkozy, German Chancellor Angela Merkel, and British Prime Minister David Cameron, President Obama announced that, for the good of the Syrian people and before his regime was utterly rejected by them, the time had come for “President Assad to step aside.” The policy became distilled to three fateful words: “Assad must go.”

That was in August, 2011, when perhaps 2,000 had been killed in the conflict. Figures differ, but a consensus estimate is that, in the subsequent five years of civil war, well over 300,000 Syrians and non-Syrian combatants have been killed, while another 70,000 have perished because of lack of water, medicine, and other basic necessities. Assad alone is responsible for the slaughter of 10% of his own people, over 40% of them civilians. In 2013, President Obama, in a decision as fateful as the announcement that Assad must go, drew a red line, threatening to attack Assad if he used chemical weapons against his own people. When the Syrian President crossed that line, twice, Obama, on the verge of ordering airstrikes, reversed himself, for reasons, and with consequences, we’ll revisit. Meanwhile, the slaughter continued. In addition to the deaths, nearly two million people have been wounded in the ongoing conflict, and approximately 120,000 are currently starving and freezing in towns besieged by government or anti-government forces, and subject to bombing—from the air by Assad and (until recently) by his Russian ally, and, on the ground, by the various warring factions, especially ISIS, which recently launched its worst bombing attack of the war, killing at least 130 people.

The continuing horror in Syria has also created a wider humanitarian and political crisis. Millions of refugees have inundated not only the region but a Europe already buckling under the burden of debt and demography, and giving rise to right-wing anti-immigrant movements that are now threatening centrist governments. The primaries leading up to our own 2016 presidential election—driven by populism on the Left and, most dramatically, on the Right—exposed a fragile political center that, here as in Europe, may not hold. Thrilling some, dismaying most, a nativist rough beast, Donald Trump, is slouching towards Cleveland to become the presumptive Republican nominee, or to hurl the convention into anarchy.

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PART TWO: THINGS FALL APART, CONTEMPORARY CRISES, 2003-2016

III. Mere Anarchy: Polarization at Home; the Challenges of ISIS and Syrian Immigration

Its evocation of imminent yet mysterious catastrophe has made “The Second Coming” the swan song of our time. As the 20th century’s preeminent visionary poet, Yeats, alert to the dangers of hubristic Enlightenment faith in reason and the utopian myth of collective moral progress, was also telepathically attuned to the paradoxically related loosing of the tides of irrational fanaticism. Religion obviously plays a role in a cyclical poem in which the Christian era’s twenty centuries of “stony sleep” are said to have been “vexed to nightmare by a rocking cradle”:  a nightmare that takes the shape of an apocalyptic beast returning to Bethlehem to be born. But in the twenty-first century, there is an even more terrifying twist on the visionary “nightmares” that rode upon Yeats’s sleep in “The Second Coming” and “Nineteen Hundred and Nineteen.” For today, the forces of irrationalism threatening civilization are quintessentially theological and not only committed to terrorism, but, potentially, armed with the most nightmarish, even apocalyptic, weapons.

In part a reaction to Western colonialism and more recent US intervention, militant Islam has deep theological roots in the “sword-passages” of the Quran. Though we have no choice but to confront the threat of jihadist terrorism, our “global war on terror” is both quixotic and often counter-productive. In the Bush-Cheney administration, Neo-conservative hubris joined with the evangelical notion that it is our messianic mission to extend to all cultures, however little we may understand the ethno-sectarian complexities, what President Bush invoked as “the Almighty’s gift of universal freedom.”  The result was the disastrous decision to invade Iraq, worsened when “liberation” became occupation. Worst of all, in the case of such stateless actors as al Qaeda and affiliated jihadists, and now, in the case of ISIS, our global war tends to generate more terrorists than we can kill. We face a metastasizing religious fanaticism impervious to traditional forms of rational or military deterrence and driven by the mad conviction that any and all forms of terror against the infidel West are part of a holy war carried out to avenge past injustices, all under the auspices of their approving God.

President Obama’s anti-terrorist policy, militant but limited, and only partially effective, will doubtless be intensified, whether Hillary Clinton or a Republican is the next President. If the latter, the principal competing visions may once again become apocalyptic, with each side embarked on a sacred mission to eradicate perceived evil. Along with religious-right hawks, we have militants ranging from Rapture-ready End-Timers to apocalyptic Christian Zionists to unreconstructed theoconservatives still clinging to a version of Bush’s Bible-based foreign policy. Despite Ted Cruz’s hyperbolic pledge to make the desert sands “glow,” there is a significant difference between the combatants: a distinction made graphic in the recent nuclear threats by apocalypse-hungry ISIS jihadists, whose suicide belts and Kalashnikovs will seem a quaint memory once they have acquired enough radioactive material to build a divinely sanctioned dirty bomb.

And then there is Iran. Its Supreme Leader, Ayatollah Ali Khameinei, insists that the endlessly reiterated chant, “Death to America,” is aimed, not at the American people, but at the US government and its “arrogant policies.” There is a danger of that distinction blurring should Khameinei—despite the more “moderate” elements in his government and against the majority wishes of the Iranian people, as reflected in the March 2016 elections—choose to resume Iran’s drive to acquire a nuclear weapon. Iran is already defying UN sanctions by testing missiles, tests not covered in the recent US-Iran strictly nuclear agreement. Any cheating on that nuclear accord would invite, well beyond sanctions, harsh retaliation, probably in the form of a massive preventive airstrike on Iran’s nuclear facilities—by the US alone, or in concert with Israel. No one knows what geostrategic repercussions might follow.

A greater nightmare scenario involves actual rather than potential nuclear weapons, with more to come. Pakistan is planning to more than double its arsenal of 100 warheads, including tactical (“battlefield”) weapons, which lower the threshold to nuclear war. And Pakistan, which would then be the fifth-largest nuclear power, is a state (to cite the title of Ahmed Rashid’s recent book) “on the brink” of chaos, perhaps in the form of an Islamist coup. Nine years ago, a matured Benazir Bhutto returned to Pakistan, determined to resist such militants. “Extremism” can be contained, she said, “if the moderate middle can be mobilized to stand up against fanaticism.” Just before the general election, she was assassinated. No Pakistani since has mobilized any “moderate middle,” and there is no prospect of any “center” likely to “hold.” Even if there is no full-scale coup, Pakistan’s arsenal—widely dispersed to deter the perceived enemy, India—will become still more vulnerable with the addition of those smaller, easier-to-steal “battlefield” nuclear weapons. They, or larger warheads, could be seized by a now more globally oriented Pakistani Taliban or by a post-bin Laden al Qaeda still inspired by 9/11: in both cases, terrorists clearly willing to use even these ultimate weapons in the name of Allah.

Though he admired much in the Islamic and Asian traditions, Yeats, who had read Spengler, feared a decline of the West accompanied by the rise of a barbarous fanaticism threatening all civilization. Europe’s debt crisis has now been compounded by Putin’s actions in Ukraine, and, above all, by the potential of the new migration crisis to destroy the European Union, now “on the verge of collapse,” according to Europe’s central figure, German Chancellor Angela Merkel, whose policy of  welcoming Syrian refugees has put even her dominant position in jeopardy. Yeats’s history-based vision of impending European disintegration, a centrifugal blowing apart triggering a decline and fall of the West as a whole, has taken a demographic and terror-haunted form. The problem of Europe’s dramatically declining native birthrates, long accompanied by growing Muslim populations, is, in 2016, exacerbated by the flood of refugees. Many Muslim immigrants, old and new, unassimilated and hopeless, are often hostile to the host countries, with some extremists eager to kill in the name of jihad—as demonstrated by various terrorist plots, culminating in the coordinated attacks in Paris and, three months later, in Brussels. Noting, in the aftermath of those attacks, that the EU has a single currency but lacks a common database to screen terrorists, Die Zeit political writer Jochen Bittner wondered (in the Yeatsian title of his March 24 NY Times op-ed): “Can the European Center Hold?”

Confronting crises in the turbulent Greater Middle East itself—the rise of ISIS, as a “state” and as a generator of jihadist attacks beyond the region; the mass migration produced by the ongoing carnage in Syria; and the apparently irresolvable impasse between Israel and the Palestinians (their contested land the setting for the biblical myth of Armageddon)—we have ample reason to fear that some momentous change is “at hand,” attended by anarchy and violence. Even those of us most skeptical of oracular clairvoyance often find ourselves caught up in the mingled terror and apocalyptic shudder of the Yeatsian Sublime. No matter how novel the specific threats that arise, we can’t seem to find better or, it sometimes seems, other words than those Yeats put on paper almost a century ago.

Responding to “The Second Coming” in our own troubled moment of history, we sense—now more than ever—that “the centre cannot hold.” Like the “falcon [that] cannot hear the falconer,” things seem to be whirling giddily out of human control. The centrifugal forces we have ourselves unleashed—sociopolitical, technological, military, economic, ecological—are now in the saddle and ride mankind. Within the long-term impact of the overarching global climate change we have exacerbated, there may be perfect storms combining nature and technology. Full-time teams are still fighting the radioactive tide at Fukushima, the nuclear plant devastated five years ago by earthquake and tsunami. A full clean up may take the rest of this century, and in the meantime, officials acknowledge, Fukushima remains vulnerable, a Japanese disaster threatening to become a wider catastrophe.

We in America gaze out at what, despite (and often because of) free-market globalization, is an increasingly unstable world: overheated and overpopulated, sporadically wealthy but overwhelmingly impoverished, violent, threatened by terrorism, and by both under- and over-reactions to it; and  groaning for a deliverance that seems never to come. The Arab Spring quickly lost its liberating early bloom, and Afghanistan, Pakistan, Libya, Syria, and Iraq, far from evolving into even semi-stable states, let alone democracies, are well on their way to falling apart: into mere anarchy, or becoming failed states ripe to be dominated by Islamist extremists. China (Napoleon’s sleeping giant) is awake but stumbling; Russia is once again militant under Putin; Iran and North Korea pose future and, in the case of the latter, a present nuclear threat; jihadism is on the march in the Middle East and Africa, its terror networks threatening to unleash a “wave of bloodshed” in Europe. Fresh crises loom everywhere, none more existential than the challenge to the planet itself presented by global climate change, and the threat to Western civilization posed by the apocalyptic savagery of ISIS.

Looking homeward, we wonder about the state of our own democracy. The Democratic Party offers little to rally around, and President Obama, reluctant to get into the trenches, has had a dismal record of working with Congress.  In fairness, it must be added that this President was resisted from the outset by many who, for political, economic, ideological, or racist reasons, never accepted him;  35% of registered Republican voters remain unreconstructed Birthers, and another quarter are “not sure” he was born in the United States. Even so, Obama has been too aloof to be fully effective.

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But the primary blame is located in the very titles of some recent books: The Disappearing Center; Off Center: The Republican Revolution and the Erosion of American Democracy; Rule and Ruin: The Downfall of Moderation and the Destruction of the Republican Party; and It’s Even Worse Than It Looks: How the American Constitutional System Collided with the New Politics of Extremism. The respected bipartisan authors of the latter, Thomas E. Mann and Norman J. Ornstein, formerly critical of both parties, now insist that the core of the current dysfunction and polarization is an inflexible and obstructionist Republican Party. Beginning with the demonization of opponents prescribed by Newt Gingrich, the party’s “center of gravity has shifted far to the right.” Today’s GOP is “ideologically extreme; scornful of compromise; unmoved by conventional understanding of facts, evidence and science; and dismissive of the legitimacy of its political opposition.” Mann and Ornstein concluded by hoping that voters in 2012 would “punish ideological extremism at the polls and look skeptically upon candidates who profess to reject all dialogue and bargaining with opponents.” Only then will “an insurgent outlier party” have “some impetus to return to the center. Otherwise, our politics will get worse before it gets better.” But things have continued to fall apart, with Republicans uninterested in moving toward a “center” that, many clearly believe, should no longer “hold.” The extremism Ornstein and Mann described three years ago is more obvious today. With no sign of getting better, our politics has gotten far “worse,” incarnate in that reductio ad absurdum, Donald Trump.

Even those of us who intend to vote this November have become frustrated by a system not only dysfunctional, but increasingly venal. Mark Twain’s old witticism that “we have the best government money can buy” was never more telling. Our electoral process has been utterly corrupted by “dark money”—to cite the title of Jane Mayer’s brave and brilliant new expose of the Koch Brothers and affiliated billionaires behind the rise of the radical Right. Their flood of filthy lucre was fully unleashed by the Super PAC-producing Citizens United decision—reinforced by the SpeechNow and McCutcheon cases—all thanks to a conservative and “activist” Supreme Court majority. Those decisions have set more beasts a-slouching. In an overheated 2012 essay titled “Beast of Citizens United Slouches Forward,” Charles Pierce described Mitt Romney as “in every way the rough beast” predicted by Justice John Paul Stevens (in his eloquent dissent in Citizens United): a beast “slouching toward Iowa to be born.” (This particular beast in pinstripes would be undone by the secretly taped revelation that he, like the rich donors he was speaking to at the time, believed that 47% of Americans were freeloaders, mooching on government handouts).

Writing in Vanity Fair, Craig Ungar also cited “The Second Coming,” in noting the re-emergence of a discredited Karl Rove, among the quickest to appreciate the SpeechNow decision, which overturned limits on individual contributions to PACs, making it easier for big donors to influence elections. “Proving the Yeatsian verity about the best lacking all conviction and the worst being full of passionate intensity, Rove has created a ruthlessly efficient political operation beholden to no one but himself.” Though dismissed by Donald Trump as a “total moron,” Rove, like Yeats’s irrepressible rough beast, is again heading-up his American Crossroads Super PAC, specifically dedicated to defeating Hillary Clinton in 2016.

The corrupting power of unrestricted money is manifest in the sorry spectacle of politicians pandering to the narrow interests of their party’s base and accommodating an ever-growing army of lobbyists, the most influential representing corporate interests. The result is legalized bribery, and, under the aegis of supply-side economics and an antipathy to government, a breakdown of that balanced public-private partnership epitomizing the genius of the American system at its best. Today, competing in a global market, Western democracies must engage as never before in strategic economic planning. Public investment in jobs, infrastructure, education, and research will be required to restore economic competitiveness. But such federal prescriptions are disdainfully rejected by Republicans, who have turned Ronald Reagan’s mantra about the federal government being the “problem” rather than the “solution” into Ayn-Randian economic dogma, referring to Washington as if it were an enemy capital and indulging the fantasy that the “socialist” federal government, which has supposedly “never created a job,” should just “get out of the way” and let the infallible free market work its trickle-down magic.

In this ideologically polarized context, those of a Keynesian bent, who still wish President Obama’s initial stimulus package back in 2009 had been larger, more innovative, and tied to financial regulation of the bailed-out banks, and who see a positive role for an activist federal government in economic crises, can expect no compromise (now a dirty word) from those committed to the deregulated market forces of the private sector. Hence, the persistent clamor of Republicans, who have virtually all signed on to Grover Norquist’s Pledge, for lower taxes on the most wealthy—the “job creators.” That remains a priority even in the face of an accelerating disparity between the many and the very few: a concentration of private and corporate wealth that translates into political power since laws tend to get written in accord with the interests of those (say, the Koch Brothers) writing the checks. Democrats, when they are not complicit in corporate power, bow to their own special interests, fostering divisiveness in the form of identity politics.

Either way, little constructive gets done. Despite the abysmal approval ratings of Congress, partisan confrontation blocks progress on any measure aimed at healing our economy and repairing our crumbling infrastructure. Three years ago, two liberal commentators drew on Yeats’s “The Second Coming” to deplore the gridlock. Addressing the political “failure” to grasp the “urgency” of the labor-market crisis, economist Paul Krugman decried (in his New York Times column in September 2012) Republican opposition to any plan likely to reduce unemployment. “These days,” charged Krugman, “the best—or at any rate the alleged wise men and women who are supposed to be looking after the nation’s welfare—lack all conviction, while the worst, as represented by much of the G.O.P., are filled with a passionate intensity.” Five months earlier, Bill Clinton’s former Labor Secretary announced his fear that the US economy was “Slouching toward a Double-Dip.” Playing a variation as well on “the center cannot hold,” Robert Reich observed that the top percent or two have now accumulated “so much of the nation’s total income and wealth that the middle class no longer has the purchasing power to keep the economy going full speed,” and that Republican resistance to tax increases had drained funds required to finance important public investments depended upon by that collapsing middle class. With Washington paralyzed by the divide between dread of mounting debt and the need to invest in infrastructure, education, and job retraining, our economy is still “slouching toward” potential disaster.

Krugman and Reich (and Bernie Sanders) notwithstanding, debt, deficits, and burgeoning entitlement spending certainly matter, and must be addressed, as fiscal conservatives rightly insist. On the other hand, most Republicans seem ideologically incapable of acknowledging the opposite danger: that deep retrenchment in public spending is likely to have the same effect here as in Europe, where fiscal austerity, even when it has arrested the downward slide, has failed to produce growth. Yet, as Israeli political scientist Shlomo Avineri has said, “market fundamentalism, radical privatization, and a universal fear of state power are overly simplistic answers to the question of how to sustain a modern, globalized economic order.” His focus is European and global, but Avineri is not forgetting the private-enterprise purists of the Republican Party in the United States.

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Political tension, even partisanship, is not only inevitable but desirable; as William Blake reminds us in The Marriage of Heaven and Hell, “Without Contraries is no progression.” Blake also notes in the same text that “Opposition is true friendship,” that differences can be dialectically fruitful, and need not sour into enmity.  But our current political divide is less dialectical than rancorous; and it transcends “politics as usual” because the widening gap is not only economic and ideological but often cognitive. Senator Moynihan’s reminder that “everyone is entitled to his own opinion, but not to his own facts,” has been trumped by political expediency and, often, by actual or willful ignorance. This phenomenon has been exacerbated by a polarized and polarizing media that caters to those who prefer to have their own prejudices confirmed and amplified rather than to actually think. In the cable war, CNN tacks to the center, but the conservative audience addicted to Fox News has little in common with the liberal audience addicted to MSNBC; and in that war, the clear victor has been Fox, the supposedly “fair and balanced” organ of Rupert Murdoch and Roger Ailes.

In the 1960s, historian Richard Hofstadter devoted two books to Anti-Intellectualism in American Life and The Paranoid Style in American Politics. One needn’t accept every nuance of what conservatives might consider his “elitist” condescension to conclude that Hofstadter’s fears are, today—when the political spectrum in the United States has shifted dramatically to the right—far more justified than they were when he was writing a half-century ago. What would he make, for example, of venomous, pseudo-populist right-wing radio or of the dominance of the Fox News Network? What of fundamentalist resistance, not just to ACLU excesses, but to the very concept of a constitutional separation of Church and State? Or of the Religious Right’s self-congratulatory challenge to the validity of science; most notably, dismissal of the scientific consensus on a partial but manifest human impact on global climate change and, most mind-boggling to the rational, the faith-based denial of the demonstrable truth of evolutionary biology? What would Hoftadter have to say, if he wasn’t rendered mute, by the spectacle of Ben Carson, a physician who is also an evolution-denying biblical literalist; of Ted Cruz, a sanctimonious, inflexible ideologue who deems everyone who demurs from his religio-political absolutism a far-left extremist; of insult-monger Donald Trump, who is—well—TRUMP.

At times we seem to be re-fighting the Civil War. During that defining national tragedy, both sides, equally immersed in the wrathful sword-and-vintage imagery of Revelation that dominates “The Battle Hymn of the Republic,” saw themselves engaged in an apocalyptic struggle, each on God’s side and fighting against perceived evil. The Confederacy may have been defeated by the Union armies, but the old ideological struggle persists between central government and states’ rights, between a concept of the common good and unfettered individualism. And once again, though with considerably less justification, what ought to be a public-private partnership is turned into a conflict hyperbolized and sanctified by conservatives and libertarians as a fight to the death between federal “tyranny” and individual “liberty,” now intensified by the guns-and-God identification of the former with all that is reprehensibly “coercive” and “secular,” the latter with stridently libertarian and evangelical concepts of “freedom of religion.”

Faced with the acrimonious divide in our current religio-political Culture War (another example of a “dialogue of the deaf”) and attuned to the language of Yeats’s apocalyptic poem, we readily concur that “Things fall apart; the centre cannot hold.” Ross Douthat, the conservative columnist earlier cited, returning to “The Second Coming” in Bad Religion: How We Became a Nation of Heretics, lamented the “disappearance of a Christian center.” This “polarization is a sign of what happens” to a deeply religious country when “its theological center cannot hold.” However persuasive or dubious Douthat’s specific claim, his citation of Yeats’s famous line helps rhetorically by locating his argument within a larger and resonant context.

More than a quarter-century ago, in a 1988 “On Language” column, William Safire noted that Yeats’s line about the “center” failing to hold “is quoted whenever polarization takes place and centrists disappear.” That observation is even more germane today, when most centrists have fled Washington in frustration or been driven out by their own party’s more extreme elements. Six-time Indiana Republican Senator Dick Lugar, a notably civil and nuanced Republican with almost unparalleled expertise in foreign policy, was defeated in the 2012 primary by a Tea-Party challenger funded by massive outside spending.

The House situation worsened with the 2010 mid-term elections, when the Republican State Leadership Committee, deploying over $200 million from Republican-aligned “independent groups,” achieved the Redistricting Majority Project (REDMAP) dream, giving the GOP control of the redistricting process until the new census in 2020. By assuring right-wing Republicans safe seats, gerrymandering underwrites obstinacy, reducing the Congress to a partisan, obstructionist combat zone, with opponents demonized and compromise replaced by mutual contempt and deadlock. When, in December 2015, Donald Trump, touting flexibility, criticized the relentlessly uncooperative Senate behavior of his main rival, Ted Cruz, he was furiously attacked by right-wing bloviators Rush Limbaugh and Mark Levin for so much as suggesting he would be willing to work across the aisle. In response, a Cruz spokesperson, back when her man was still relentlessly buttering up The Donald, regretted only that Trump, in accurately noting Cruz’s rejection of any compromise, had resorted to “Democrat talking points”! No wonder centrists leave in frustration. What moderate Republican Olympia Snowe described, in announcing her retirement, as the Senate’s “crumbling center” epitomizes our larger cultural breakdown. When things fall apart, no center, religious or political, can hold.

The 2012 Republican primary debates were filled with fevered, self-righteous, semi-theological rhetoric about “taking our country back,” and “saving the soul of America.” Obama was still elected to a second term, to the dismay of Republicans who, from the outset of his first term, never intended to be a “loyal opposition.” Mitch McConnell flatly stated that the “priority” was to make Obama “a one-term president.” Even now, most Republicans put partisan politics ahead of cooperation, then complain when Obama resorts to executive actions. The old adage that politics ends at the water’s edge is long gone with the wind. Republicans adamantly resist, or ridicule, the nuclear deal with Iran, and would rather criticize a president they despise than find common ground in confronting the danger of ISIS.

Though there are thoughtful individual Republicans, their Party has become ideologically extremist and anti-intellectual, hostile to “elites” and to science. No Republican presidential candidate (even when there were seventeen of them) felt free to publicly accept the fact of biological evolution, let alone acknowledge the crisis of global climate change, resorting to denialism based on reports covertly funded by fossil-fuel interests. In December 2015, the Obama administration helped bring together in Paris 195 nations in an accord committing them, for the first time, to lowering planet-warming carbon emissions to help stave off the most drastic effects of climate change. The modest reductions are tailored but voluntary, making this an executive agreement, not a treaty, which would have been rejected by the Senate, controlled by Republicans who, beholden to the Kochs and their affiliates, either deny established climate science, pronounce the cost of combating the problem prohibitive, or are simply out to thwart the President’s agenda.

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The 2012 Republican primary was temperate compared to the 2015-16 anti-establishment circus, initially starring a pious, clueless neurosurgeon (who would later flame out and endorse Trump), then dominated by a talented but absentee junior senator; an articulate but hyper-ambitious ideologue loathed on both sides of the aisle; and, above all, by a reality-TV huckster and hyperbolist. After losing to Ted Cruz in Iowa, Donald Trump crushed Cruz and Marco Rubio in the next three primary states, becoming—against all predictions from pundits left and right—the prohibitive frontrunner for the nomination. He has continued to cleverly exploit the national frustration at the polarization and dysfunction of Washington, as well as the growing (and justifiable) annoyance with “political correctness.” But in the process, building on and exacerbating the growing fear of all, not just radicalized, Muslims, the Birther-in-Chief (who later played that card on Canadian-born Cruz) has tapped into the nativist zeitgeist and Know-Nothingism of a substantial slice of the American electorate—whose fears, frustrations, and left-behind fury he adroitly channels and fuels.

Republican leaders, having long ginned up their base but caught off guard by the consequences, are now terrified at the looming prospect of Trump becoming their nominee. But he is the untethered Frankenstein’s monster they created—liberated from the Establishment, from Fox News, even from the Koch Brothers! The GOP’s strongest ticket would include John Kasich. But in an extremist milieu, victors tend to be those who appeal to voters “full of passionate intensity,” rather than to the “best”—the better-informed and less absolutist, who don’t expect simple answers to complex questions. Hoping Trump (and Cruz) would fade, the Establishment sought to anoint, as the Party’s “savior,” the more “electable” Rubio, whose initially upbeat campaign quickly darkened into the same old fear-mongering, religious pandering, and strident hawkishness. Since Bernie Sanders, despite his victories and virtual ties, seems unelectable in a center-right country, the Democratic nominee will be a self-wounded, baggage-laden Hillary Clinton.

We can be sure that both sides will be full of passionate intensity. We can also be sure that the Democratic and Republican candidates will be equally supported by their respective Super PACS. Hillary Clinton is flush in PAC money, Cruz is second only to her, and even Donald Trump (closing in on the nomination) will eventually come to the trough. Before his departure, Rubio’s cash cows included three multi-billionaires, who also happen to be pro-Israeli zealots. Despite differences (especially over the West Bank settlements), Israel is our ally, to whom we are bound by history and culture. But must loyalty be obsequious? The Republican nominees (even Trump, who caught hell for saying he would try to be a “neutral” negotiator in the Israeli-Palestinian impasse) are tripping over each other vowing unconditional support of Israel. But 2016 began with primary emphasis on the terrorist and refugee crisis emanating from Syria and Iraq.

This was the subject of President Obama’s rare Oval Office Address in late December (a speech prompting emails from two old Fordham college friends, a Democrat and a Republican, but both foreign-policy hawks). In his Address on the terrorist threat, the President said that we should continue our current policy: working with international partners, using targeted airstrikes and special forces to attack terrorist networks. But he also warned against an expansive ground war in Iraq and Syria, calling for a “sustainable” victory using a minimal number of US ground forces. ISIS (or ISIL, as he prefers) would only grow stronger as an insurgency against an occupying power. “We will prevail by being strong and smart, resilient and relentless.” But alliterative rhetoric is no substitute for a specific strategy.

Until recently, almost everyone (aside from John McCain and Lindsay Graham) agreed with the President that substantial (tens of thousands) of American ground forces would be counterproductive. Trump’s characteristically crude and crowd-rousing alternative—to “bomb the shit out of ISIS”—was bested by Cruz’s lunatic and illegal proposal to “carpet-bomb” their “troops,” to make the desert sands “glow,” presumably with radioactivity.  Given the jihadists’ proximity to the civilians they terrorize and use as shields in the places they occupy, how many tens of thousands of innocents would we have to vaporize to destroy the Caliphate? Besides, even as ISIS loses territory in its Syrian-Iraqi base (down by more than a third from its apogee), the cancer metastasizes—to Yemen, Libya, elsewhere in Africa; and it retains the ability to inspire and coordinate terror attacks far beyond.

There was a shift, to include substantial “boots on the ground,” in the March 10 Republican debate. In calling for a large-scale injection of US troops into the region, the Republicans are in ironic accord with ISIS, itself the bitter fruit of our misguided invasion of Iraq and, in particular, of our ill-planned, blundering occupation, whose chaos created al Qaeda in Iraq. We want no more of that carnage. ISIS does, committed as it is to its own chiliastic scenario, its version of Armageddon. Based on ancient myth, revived by Abu Musàb al Zakhari, founder of al Qaeda in Iraq and the godfather of ISIS, and reiterated by the “Caliph” himself, Abu Bakr al-Baghdadi, the ISIS apocalypse calls for a final battle on the plain outside the small village of Dabiq (north of Aleppo, in Syria). This unlikely place has long been prophesied as the site of the ultimate victory of the Islamic Caliphate over the armies of the infidel—nowadays, those of the United States. Much ISIS propaganda is devoted to luring us into that land war.

Dabiq Burns Cursader ArmiesImage from Islamic State video, in Dabiq (issue one) (via Clarion Project)

It is a lure we should resist. We can target, provide intelligence and special ops; but the main anti-ISIS ground force must eventually be made up, as the President says, of other Sunnis. At least for now, those Sunnis are divided among themselves. The Saudis, the promulgators of fundamentalist Wahhabism and funders of radicalizing madrassas throughout the Greater Middle East, continue their long and sordid double-game—though there are recent signs that they may finally be ready to field anti-ISIS troops. In any case, thus far, President Obama has not displayed the leadership skills (given these divisions, perhaps no one can) required to put together a pan-Arab force, let alone helm or guide the alleged coalition of “sixty-five” partners.

I agreed with some of the substance, though not the “anti-academic” tone, of the response to the Oval Office speech by my Republican Fordham friend. Ridiculing the president’s claim that his plan was “working,” he described Obama as “the ultimate college professor,” couching events that

unfold before his eyes as academic exercises requiring intellectual examination. True, there is a scholarly aspect than can be argued long into the night, but what is really needed is a bold, rousing response like that of George W. Bush, with the megaphone atop the rubble. It’s about looking and acting like a leader, despite the fact that it might not go beyond immediate visceral satisfaction.

Obama may indeed be too “professorial,” but I have no nostalgia for the sort of “bold, rousing response” that led us, hard on the heels of the justifiable attack on the Taliban harboring al Qaeda in Afghanistan, to the duplicitous invasion of Iraq. That 2003 invasion and the subsequent violence and chaos of the occupation triggered a massive increase in worldwide terrorism, an increase British Intelligence has aptly dubbed the “Iraq Effect.” It also engendered much of the current crisis in the Middle East—notably including the abrupt turn, in word and deed, to apocalyptism among Sunnis, not only in Iraq and throughout the Middle East, but in the global jihadist movement. This new End Times appetite among Sunnis, hitherto skeptical of apocalyptic thinking, was fueled by Sunni clerics and by the al-Qaeda precursor of ISIS, Zarqawi, who envisaged the new American “Crusaders” as having joined the Shia and the Jews in a triple union to “destroy” true Muslims. Unlike al Qaeda leaders bin Laden and al-Zawahiri, Zarqawi believed “the Final Hour must be approaching, to be heralded by the rebirth of the caliphate, the Islamic empire that had disappeared and whose return was prophesied.”[5] We now know what rough beast, its hour come round at last, has been slouching to be born in the deserts of Iraq: ISIS.

According to unreconstructed foreign policy hawks who still defend the invasion of Iraq and still fail to grasp the historic complexity of the Sunni-Shia division, that monstrous birth is entirely attributable to Obama, who “abandoned” a “liberated” Iraq made “stable” by the “Surge.” In exploiting the Anbar Awakening, General David Petraeus bought the provisional loyalty of Sunnis even more appalled by al Qaeda than by American forces. But while it was a success tactically and as PR, the Surge, elevated to the status of myth by Republicans, barely affected the underlying realities. Yet the President is incessantly condemned by Neocons, the right-wing media, and the current crop of GOP candidates for “squandering” our “gains” in Iraq by withdrawing “precipitously.” Though he is not without fault, this is far too sweeping, and, of course, characteristically partisan.

Like others, the President was slow to realize the gravity of the threat presented by ISIS (far from the “JV-team” of his glib dismissal), and he failed to heed warnings about the double-dealing of Maliki. The President was eager to get out of Iraq, in accord with his promise during the 2008 campaign, and reflecting the consensus of the vast majority of the electorate. But Republicans tend to pass over that other pledge: the one made by us to the Iraqi government, to completely withdraw US troops by 2011, a pledge made by President Bush. Without the Status of Forces agreement rejected by Maliki (at Iran’s behest), were we to leave in place, in violation of our own agreement and against the express disinvitation of the host government, a residual force of, say, 15-20,000 American troops? The President’s critics on the Right blandly assume that such a force would have prevented the rise of ISIS. General Petraeus recently expressed a wish that we had “tried the experiment,” though he is doubtful “it would have made a difference.”

Opportunities were lost, especially in Syria; today, ISIS entrenched and the Internet at its command, there are no longer any routes to a quick victory without considerable risks and downsides. Any plausible, as opposed to preposterous, plan to defeat ISIS, would not be wildly different from what the President seems to think he can wish into existence, and would involve actual rather than half-imaginary coalitions, Arab and European. But our internally-divided NATO and Arab allies lack the capacity to organize and lead an effective counteroffensive on their own. And Obama may not be the leader required to inspire and implement such a strategy. More hawkish Hillary might be up to the task, more so than Trump, Cruz, and the departed Rubio, all of them as inexperienced as they are bellicose. Had he not fallen from grace, the gifted David Petraeus, running as a Republican or a Democrat, might have provided both experience and thoughtfulness.

We should be under no illusion that there is any military silver bullet that could even conceivably resolve a crisis ultimately based on a long-delayed backlash against Western imperialism and economic exploitation, grievances made toxic by the most militant sections of the Quran being fed by radical clerics to alienated young Muslim men, ripe for revenge. But understanding the causes does not eliminate the need to confront the consequences. Given the deep sociopolitical, economic, cultural, and religious context, and the endless supply of hopeless young men susceptible to the siren call to jihad, eager to spill blood for the glory of Allah and to advance the End Times, there may be no way to avoid a protracted struggle. One would be more satisfied with a multi-pronged, gradual degradation of ISIS leading to eventual defeat were it not for the immediate dangers presented by sleeper cells, and by the ultimate nightmare: the acquisition by ISIS or its affiliates of a dirty bomb or, worse yet, a full-fledged nuclear weapon. Time is no more on our side here than in the need to confront the challenge of global climate change. So, what to do?

In Europe, intelligence has to be much better shared and the EU borders made less porous. Thousands of European Muslims have traveled to Syria and back, now thoroughly radicalized, militarily trained, and ready to wage jihad in their home countries. One such man, Salah Abdeslam, who helped orchestrate the attacks in Paris, slipped easily out of France and into Belgium. Four months later, he was found, by sheer luck, hiding out in jihadi central, Molenbeek, the Brussels neighborhood where he grew up. Though Belgian authorities announced that another attack was “credible and imminent,” Abdeslam’s questioning, apparently perfunctory, yielded no information. Within days of his capture, members of his cell launched their lethal attacks on the Brussels airport and metro station.

In the struggle against ISIS in the Middle East itself, we should counter Iran by pressuring al-Abadi to re-enfranchise the Sunnis, incentivizing the “Iraqi” army to fight, as it has started to do by recapturing Ramadi. We should also inform Turkey that we’re going to intensify our arming of the Kurds—and directly, not through Baghdad. Even then, we can hardly be confident that Sunni forces, themselves radical (foolishly disbanded but left armed by the US in 2003, they became the insurgency against us), would produce eventual stability. And the Kurds, willing and demonstrably able to fight ISIS, are primarily interested in their own independence: understandably, but a further source of regional instability. In fact, in the final week of 2015, Turkey’s increasingly authoritarian President, Recep Tayyip Erdogan, resumed a fierce battle to “annihilate” the Kurdish Workers’ Party (PKK), militants who have long sought Kurdish autonomy.

In the immediate future, Iran and Russia have to be accepted as in fact what they are: major players in the region. This will outrage most on the Right and, when it comes to our policy in Syria, undermine what’s left of the “Assad-must-go” position of the Administration. The more pragmatic assessment of the President’s own Joint Chiefs is that any vacuum left by the removal of Assad will be filled with Sunni extremists rather than largely non-existent Syrian “moderates.” Even a provisional alignment with the supporters of the murderous Assad regime is repellent. But the principal goal we have in common with Iran and Russia is defeating ISIS. For now, along with preventing Iran from developing a nuclear weapon (the one other goal we share with Putin), confronting ISIS must be a strategic priority. In December 2015, a UN Resolution, jointly sponsored by the US and Russia, united many nations in an overdue effort to cut off the sources of ISIS funding. But that cooperation was dwarfed by the impact of Russia’s continued and intensified bombing of Syria, little of it targeting ISIS.

§

Caught up as we are in the struggle with ISIS in particular and jihadism in general, there is a related tension: between Islamophobia and a realistic assessment of the facts. In the wake of the large-scale Paris attack (preceded by the Charlie Hebdo murders and followed by the events in San Bernardino; Brussels was yet to come), President Obama sought to avoid demonizing Islam, while acknowledging that the Muslim community needs to grapple with the issue of radicalization and political violence. In his Oval Office Address, he urged Americans “to see Muslims as neighbors, friends, and countrymen, and to avoid bigotry and discrimination. If we’re to succeed in defeating terrorism, we must,” he said, “enlist Muslim communities as some of our strongest allies, rather than push them away through suspicion and hate.” But, the President added, that “doesn’t mean denying the fact that an extreme ideology has spread within some Muslim communities,” a “real problem that Muslims must confront without excuse.”

The latter is a problem that also needs to be confronted by those who, like the President, want to accept, if not the 65,000 recommended by the UN High Commission for Refugees (UNHCR), at least 10,000 Syrian refugees. Donald Trump’s blatantly unconstitutional proposal that we ban all Muslims until we can figure out “what’s going on” is outrageous, but not, for many, much more so than the Administration’s plan to take in refugees whom even the Director of the FBI acknowledges we cannot properly vet. Tens of thousands of Syrians are starving in besieged towns, and almost all refugees have suffered horribly and deserve compassion. But ISIS would be derelict in its terrorist duty if it didn’t seek to infiltrate and radicalize some of those masses. Syria’s Middle Eastern neighbors—Turkey, Lebanon, and Jordan—have taken in almost four million refugees, and Iraq and Egypt between them another 400,000. Even after the Paris attacks, up to the turn into 2016, Sweden and Germany (having already accepted over a million refugees) were absorbing very high numbers per capita. That ended abruptly in the final week of 2015. Since then the sexual attacks in Cologne and elsewhere on New Year’s Eve, by Arab and North African Muslim men, have challenged Merkel’s admirable welcoming policy and fueled legitimate concern, as well as xenophobia, erupting in street violence between right-wing opponents of immigration and leftist advocates of asylum.

Since our own Muslim population is far better assimilated it seems inhumane and craven for us to resist welcoming a mere 10,000 more, two-thirds of them (as referred to us by the UNHCR) women and children. But many Americans of good will, even those aware that the refugee problem has become a humanitarian crisis on a scale not seen since World War II, nevertheless fear, when it comes to Syrian war refugees, the radicalizing reach of ISIS. Of course, that is just one more aspect of the ISIS strategy of inculcating fear, turning victims seeking to escape from barbarism and lethal violence into potential security threats. The record suggests otherwise. According to an October 2015 Migration Policy Institute report, of the 784,000 refugees we’ve taken in since 9/11, only three have been arrested on terrorism-related charges. But recent events have intensified our concern. Having accepted fewer than 2,000 Syrian refuges since 2012, and now, with many Americans (and virtually all Republicans) opposed to the President’s plan regarding the 10,000, the United States runs the risk of fueling—across the European continent—the sort of anti-immigrant (and anti-American) far-right populism represented in France by Marine Le Pen and her National Front party, and, in Hungary, by Putin buddy Prime Minister Viktor Orbán.

Worse yet, our resistance to accepting refugees further destabilizes such frontline states as Jordan, Lebanon, and Turkey, and strains relations with Germany, which has borne the brunt of the flood into Europe. We have contributed $450 million to alleviate the crisis in Syria, yet appear to be sitting it out, though we are hardly blameless in terms of responsibility. An increasing number of Germans believe, with good reason, that while they are shouldering the consequences of the collapse of Syria, it is America that bears much of the responsibility for the causes of that collapse.  Even former British Prime Minister, Tony Blair, Bush’s war partner, though still proud of the ouster of Saddam, admitted (on CNN in October 2015) that “mistakes” were made. Indeed, “the rise of ISIS and the disintegration of Syria figure among the catastrophic consequences of the US invasion of Iraq in 2003.”

That accurate conclusion was drawn by Michael Ignatieff, playing off but going beyond Blair’s admission. The Murrow Professor at Harvard’s Kennedy School observed in his November New York Review of Books essay “The Refugees & the New War,” that the refugees present not only “a humanitarian crisis,” but “a national security challenge,” though not the one stressed by those unnerved by the possibility of importing terrorists. US strategy in the final year of Obama’s presidency should start, he concludes, from the understanding that helping Europe deal with the refugees is

critical to the battle against jihadi nihilism. If Europe closes its borders, if the frontline states can no longer cope, the US and the West will face millions of stateless people who will never forget that they were denied the right to have rights. In a battle against extremism, giving hope to desperate people is not charity, it is simple prudence….In a war against jihadi nihilism, in a world of collapsing states and civil war, a refugee policy that refuses to capitulate to fear belongs at the center of any American and European strategy.

This openness—at once strategic and in accord with the Universal Declaration of Human Rights and subsequent confirmations of the rights of stateless refugees—is currently complicated by the sheer scope of the crisis; while hesitance is propagandized by jihadists as anti-Muslim hatred. Trump’s “total ban” feeds that narrative, yet appeals to some annoyed by Obama’s attempt to recognize distinctions. With jihadism expanding and growing more savage and dangerous with the emergence of the apocalyptic and ruthless Islamic State, many have wearied of the President’s nuanced language, especially his apparent inability to utter the phrase “radical Islamist terrorism.”

This semantic sensitivity, though diplomatically defensible and admirably intended to avoid turning combat with jihadist terrorism into a war on Islam itself, nevertheless seems misguided, unnecessary, and patronizing—to the vast majority of Muslims and to those capable of distinguishing between them and jihadists. His stubbornness on this point (adhered to by Hillary) also leaves Obama, once we get beyond the lunatic Right’s delusion that he is himself a covert Muslim, vulnerable to the charge of politically correct reticence—and worse.

In a discussion of foreign policy during the December Republican primary debate, Chris Christie contemptuously dismissed the President as a “feckless weakling.” None of the other Republicans on the stage objected to this depiction of a sitting President, whose reputation affects national security. The prime example of this “weakness” for most of his critics, even for many of his supporters, remains Obama’s pivotal rethinking of his initial decision, in the summer of 2013, to militarily enforce the chemical-weapons “red line” he had drawn in Syria, cancelling the airstrikes intended to punish Assad for crossing that line. While the President should never have laid down that red line, he did have valid reasons, military and political, to rethink the airstrikes. His reversal was influenced by David Cameron’s failure to get parliamentary authorization, Angela Merkel’s reluctance, and Obama’s own second thoughts about the danger, in blowing up chemical depots, of poisoning the very civilians he was trying to save.  But the price was not only a loss of US “credibility,” but a perception of Obama himself as vacillating, indecisive, “weak.”[6]

Though Obama’s reluctance to intervene in the cauldron of the Middle East should be appreciated as wisdom rather than dismissed as weakness, he can also be frustratingly overcautious. He can also appear casual, as in his decision, after Brussels, to continue his visit to Cuba and Argentina rather than rush back to Washington. (Despite the baseball-and-tango “optics,” he was also ordering the commando operation that took out the ISIS Finance Minister.) Better Obama’s cool and restraint than the reckless hubris of Cheney and Bush, whose “bold, rousing response” led to the catastrophic invasion and occupation of Iraq. Obama’s restraint is also preferable to the macho chest-thumping of Chris Christie, hailed (three years ago by conservative pundit Bill Kristol) as a much-needed incarnation of Yeats’s “rough beast.”[7] This President’s scrupulous deliberation has its own flaws, but it is sober and rational compared to the half-truths and hyperbole that have marked this Trump-dominated Republican primary in general.

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IV. Things Fall Apart: The American and European Center Threatened

In fact, the more one sees and hears Donald Trump, the more one recognizes in him, far more than in Christie (who later hitched on to Trump), the contemporary political incarnation of Yeats’s “rough beast”—boorish, narcissistic, reckless, given to irresponsible hyperbole and ad hominem bullying. In a January 20 New York Daily News op-ed, “Slouching toward Des Moines,” Harry Siegel deplored the inadequacy of the candidates then gathering for the Iowa caucuses. “The people who would be President are lunatics, liars or both,” he opined. Citing Yeats’s poem in its entirety, he synopsized “the Republican view of the world, and America’s place in it,” by directly quoting Trump, and captioning as a symbol of “passionate intensity” a photo of Trump being endorsed by syntax-challenged flamethrower and nitwit, Sarah Palin. “What rough beast?” Siegel wondered, answering himself: “I’m afraid we’re about to find out.” One day earlier, former Bush speechwriter Michael Gerson noted the intensified conflict between the frontrunners for the Republican nomination: Trump, an “ethno-nationalist wrecking ball,” and Ted Cruz, “more demagogue than ideologue.” Gerson concluded his January 19 Washington Post column: “For Republicans, the only good outcome of Trump vs. Cruz is for both to lose. The future of the party as the carrier of a humane, inclusive conservatism now depends on some viable choice beyond them”—a sentiment echoed by his NY Times counterpart, David Brooks, hoping for Trump and Cruz to kill each other off.

A few days later, National Review, the venerable conservative journal founded by William F. Buckley, weighed in with a special Against Trump issue, featuring twenty-two diatribes denouncing Trump, a “philosophically unmoored opportunist who would trash the conservative ideological consensus.” In varying degrees of panic (the one African-American among them, Thomas Sowell, more exercised by hatred of Obama than fear of The Donald, sounded positively unhinged), the right-wing pundits (plus Glenn Beck) projected the nomination of Trump as a disaster for the Republican Party and a catastrophe for their own “principled,” intellectual conservatism.

Trump characteristically dismissed National Review as a failing, elitist magazine, and announced that his followers’ loyalty was such that if he were to “shoot someone on Fifth Avenue” it would have no effect on his numbers. The outrageous remark was at once offensive and funny. Fears that it might also be accurate were allayed when a suddenly vincible Trump was defeated in evangelical Iowa by a hymn-citing Cruz (“To God be the glory!”), while just edging out a no-less-pious Rubio, praising “Jesus Christ, who came down to earth and died for our sins.”  Better Trump than Cruz, though it’s hard to know which demagogue best embodies the Yeatsian “worst.” As a deal-maker par excellence, Trump seems flexible and pragmatic, but as a candidate on the stump and on TV, he plays a man “all conviction” and “full of passionate intensity,” his certitudes and seemingly spontaneous outbursts cunningly calculated to inflame, while entertaining, the huge crowds he attracts. Media-savvy and freewheeling, a master of the immediacy of reality TV, Trump plays on the frustrations and fears, the anger and alienation, of his core audience: white, non-college-educated, struggling economically—in short, the very “losers” this relentless exponent of “winning” almost certainly despises even as he charms them.

Going into New Hampshire, some attention shifted to Cruz and Rubio, but moderate Kasich beat them both, and all were trounced by Trump, whose decisive victory there, in South Carolina and Nevada (and solid lead in the national polls) left the Republican Establishment reeling. Much of the Religious Right has rallied to Trump, but not Richard D. Land, the former President of the Southern Evangelical Seminary. Dipping into the “maelstrom” of sociopolitical turmoil agitated by the “populist uprising” of 2016, Land, now executive editor of The Christian Post, reported on January 31, that lines of Yeats’s “famous poem” keep “running through my mind.” He quoted a half-dozen lines of “The Second Coming,” beginning, “Things fall apart; the centre cannot hold,” and asked, in conclusion: “Can the political-societal center hold, or has it been hollowed out (center, and increasingly the center-right and center-left) to the point that America and her political institutions have devolved into…ethnic, societal, religious, and electronic tribes (Fox, CNN, and MSNBC)?” Has the “tidal wave of intense populism” surfed by Sanders and Trump left us with a “political tsunami” and an anti-centrism “currently beyond rational constructive consensus?”

This imagery, like the loosing of Yeats’s irrational “blood-dimmed tide,” captures the out-of-control aspect of the 2016 election. The populist appeal of Bernie Sanders, focused on inequality of wealth and opportunity, though anti-establishment, is comparatively benign. But just as Yeats tapped into the Collective Unconscious of  Spiritus Mundi for his images in “The Second Coming,” Donald Trump has, alas, tapped into part of the American psyche—not the Emersonian “Oversoul,” but the darker Under-Soul, or “base,” or id, of the contemporary Republican Party. His appeal, populist-nationalist and pseudo-conservative, though based on himself as the latest embodiment of the Great Man theory, feeds on the facile illusion of simple solutions to complex problems and on what Nietzsche called ressentiment.

As E. J. Dionne noted in an August, 2015 Washington Post op-ed titled “When Yeats Comes Knocking,” Trump “is a symptom of a much wider problem.” Citing the “most cited poem in political commentary,” Dionne observed that we are “definitely in for another ‘Second Coming’ revival,” since “the center is under siege all over the democratic world.” Dionne, a liberal, quoted conservative Reihan Salam, also struck by the similarities between Trumpism and rising movements (to the left and right of centrist European parties) that “manage to blend populism and nationalism into a potent anti-establishment brew.” In a February 24 NY Times op-ed, Jacob Weisberg, author of a balanced new study of Ronald Reagan, noted that unless the Republican Party (which venerates Reagan, but more in the breach than the observance of his pragmatism) “repudiates the inflammatory rhetoric of the primary, it will lose Reagan’s claim to the center and become more like one of Europe’s chauvinistic right-wing parties.”

Trump’s wealth allows him to spurn corporate donors and PACs (appealing to his working-class supporters), and to mock (in tweets) his fellow candidates as “puppets” who (aside from Kasich) flock to palatial meetings to “beg for money from the Koch Brothers.” But he is at one with the Republican Right in fomenting hatred of a federal government allegedly out to “take away our guns” and freedom; and no one has matched Trump in manipulating the festering rage and fear over rapid demographic and sociocultural change that the former fringe but now center of the GOP has been scaremongering for years. That witches’ brew culminates in Obamaphobia: a visceral hatred directed at the ultimate “other”: that alien and Constitution-spurning usurper in the White House whose domestic reign Republicans deem “lawless” and “imperial,” even as they pronounce him “weak” in foreign policy. The hatred is most toxic in Cruz and Rubio, who accused the President of deliberately intending to damage the United States.

In dealing with Syria and ISIS, Obama’s characteristic weighing of every alternative can summon up, even among some of his supporters, the most repeated phrase from “The Second Coming.” I would not myself ascribe to the President a “lack of conviction,” let alone the sweeping “all conviction,” applied (by David Lehman and by the authors of ISIS: The State of Terror) to those who have demonstrated insufficient decisiveness in confronting the terrorist challenge. Cool, poised, and aloof amid the fevered atmosphere of polarizing and extremist babble, Obama may see himself (a colleague, historian Ed Judge, suggests) as the “Man” in Kipling’s “If”: “If you can keep your head when all about you/ Are losing theirs and blaming it on you…” Almost congenitally incapable of expressing and evoking that “visceral” response sometimes required of a leader, Obama can vacillate. Again, his pivotal decision/revision not to enforce with air strikes the red line in Syria brings to mind Yeats’s tragic insight, “The best lack all conviction, while the worst/ Are full of passionate intensity.”

This President may not be the “best,” but he is far better than this year’s Republican alternatives, all (with the only partial exception of John Kasich) critics and haters at once dismissive of Obama’s “weakness” and apoplectic about his exercise of executive power. Finally, however, as it is worth recalling, there are passions even more intense than Obamaphobia. The excellent documentary, “VICE Special Report: Fighting ISIS,” which debuted on HBO on the final day of 2015, ends with Ryan Crocker, former ambassador to Baghdad, lamenting the presence in fragmented Iraq of multiple “passionate intensities,” none boding well for the region, or for us.

§

Like the volatile American primary races, the world doesn’t stop turning and churning. 2016 began with the US stock market’s worst-ever start to a new year, a five-day sell-off reflecting international economic and political turmoil. There are two epicenters this time, Europe and China. In China, runaway economic growth has come to a sudden halt, reflected in the plummeting of its financial markets and fostering a cycle of decline and panic throughout the world, especially in South America and in South Africa, whose economies rely on supplying Chinese manufacturing’s insatiable demand for natural resources. These negative repercussions are compounded by the collapse in the price of crude (at its lowest point in a dozen years), which has already had a devastating impact on petro-states, much of whose oil is sent to China. The dramatic slowdown of the long overheated Chinese economy, the second largest in the world and a main driver of international trade, could conceivably trigger a global recession deeper and wider than the US and Europe-centered financial crisis of 2008.

The European situation is more immediate and more dire. Geoffrey Wheatcroft opened a February 18, 2016 essay in The National Interest: “There are times—and the present moment is very much one of them—when certain great poems, minatory and ominous, force their way into the mind.” He cites Cavafy’s “Waiting for the Barbarians,” Auden’s “The Fall of Rome,” Kipling’s “Recessional.” But his title, “Europe’s Political Center Cannot Hold,” confirms that he really has in mind “that extraordinary, oracular work,” Yeats’s “The Second Coming.” The lines about mere anarchy and the blood-dimmed tide being “loosed upon the world” were (notes Wheatcroft, aware of the poem’s original context) “not meant to be a guide to everyday politics.” Yet the words “the center cannot hold” and “The best lack all conviction, while the worst/ Are full of passionate intensity,” written in 1919, “seemed all the more forceful with every year over the next decades of totalitarianism, total war, and total murder.”

So they do again today. We have witnessed the explosion of the Levant and the implosion of Europe, the rise of demagogues on both the Left and, more notably, on the Right, on both sides of the Atlantic. The internal atrophy of politics in the United States is another question [and one not limited to “Donald Trump’s vulgarity”]….But we Europeans should hesitate before sneering….What has happened in these recent years is not just the near collapse of the European Union, but the demonstration of its complete inadequacy to deal with present dangers, from the self-inflicted and unresolvable crisis of a single currency…to the awful problem of mass immigration [caused mostly by refugees fleeing the horror in Syria]….Beyond that is the acute threat within Europe to political stability. The [the old center-right and center-left consensus] is now being severely challenged from the outside left and outside right by parties and politicians called “extremist” or, much more revealingly, “populist.”

Hungary, Poland, and other Eastern European countries, only free of Soviet imperialism for a quarter-century and in the European Union for a decade, have shown “alarming signs of sliding back into authoritarianism, nativism, racism and corruption.” Even “more perturbing” are events in the nations of Western Europe, recent experience in the largest of which (France, Germany, and Italy) has been “somber.” Consider France, where the National Front founded by neofascist Jean-Marie Le Pen is now headed by his more adroit daughter, who expelled her father from a party whose tone, however, remains staunchly nativist, “anti-immigrant, anti-Muslim.” Wheatcroft’s survey, brief but ominous, provides sufficient evidence to support his grim Yeatsian thesis: “Europe’s political center cannot hold.”

On the humanitarian and political fronts, 2016 arrived accompanied by an intensification of already bad news. The Syrian refugee nightmare continued to worsen by the day, with tens of thousands of Syrian civilians—cut off in towns besieged by pro- or anti-government forces, and bombed from the air—starving and freezing as a harsh winter set in (an ironic reminder of the antithetical crisis: accelerating global warming). Russian airstrikes, especially in and around the rebel-held city of Aleppo, intensified sharply. The February peace talks in Geneva were suspended before they even started, a “temporary pause” essentially attributable to Putin’s bombing, a strategy popular at home and successful in turning the war in favor of Russia’s ally, Assad. In March, that goal achieved, Putin withdrew.

Putin was always seeking a military rather than a political solution in Syria; while the US negotiated but seemed unable to stop him, debating even about airdrops of food and medicine in areas where Russian planes were operating. The agreement reached in Munich on February 11, between John Kerry and Russian Foreign Minister Sergei Lavrov, called for a “cessation of hostilities” on the ground in Syria in order to get humanitarian aid to besieged areas. This tentative step toward a true cease-fire depends on its being honored by the various warring parties and by Assad himself. At the very moment when negotiations to that end were underway, ISIS launched its deadliest attacks of the civil war, bombings that took at least 130 lives. Whatever our role or Putin’s, without a genuine cease-fire, the humanitarian crisis will intensify within Syria and continue to expand throughout the Middle East and Europe as desperate refugees flee starvation and carnage.

At the same time, we have an expanded example of the post-World War I European fragmentation that prompted Yeats to conclude in 1919 that “Things fall apart; the centre cannot hold.” In 2016, beyond the internal collapse of the European “center,” the transatlantic alliance binding the United States and Europe since the end of World War II and anchoring global stability for seven decades seems no longer able to hold. We are still united by shared values, but there is a growing divergence between European and American priorities. Their militaries underfunded, worried about the potential threat of unassimilated Muslim populations, the nations of Europe (and Turkey, also a NATO member) are too divided among themselves to present much of a united front. Insufficiently full-throated in celebrating American “exceptionalism,” and caricatured by jingoists as “apologizing” for America, Barack Obama has been more justly accused of indecisiveness in his vacillation over the Syrian “red line.” We retain—for good or, as we know all too well, for ill—the option to act unilaterally; but  things have fallen so far apart that, whoever is President, the US may no longer be able to lead a coalition of the unwilling, or unable.

This transatlantic division and consequent diminution of resolve and leadership is especially dangerous at a moment when the West is confronted by so many global challenges. The most urgent emanates from the world’s most volatile region, the Middle East, torn by its own divisions: the old and apparently irresolvable breaches between Israel and the Palestinians, and between Shia and Sunni. After three decades of opining about the Middle East, Tom Friedman, in effect, threw up his hands, admitting in his February 12 NY Times column that none of “the many Mideast solutions” are any longer viable. He concluded that the “real,” as opposed to the “fantasy,” Middle East is “a wholly different beast now slouching towards Bethlehem.”

The intra-Muslim rift has been intensified by the recent rupture between Saudi Arabia and Iran, the region’s two most powerful oil-rich states, and the principal defenders, respectively, of the Sunni and Shia branches of schismatic Islam. Triggered by the Saudi execution of prominent Shiite cleric Nimr al-Nimr, and the ransacking and torching of the Saudi embassy in Tehran, the crisis between these regional rivals led, in early January, to a severing of diplomatic relations and to escalating tensions affecting the whole of the Middle East. The breach torpedoed hopes for diplomatically resolving the crises in Syria and Yemen, in which Tehran and Riyadh support opposing sides, and it works to the benefit of ISIS by further destabilizing a region already fractured along ethno-sectarian fault lines. With this Saudi-Iran rupture, we also have the hypocritical spectacle of one barbaric theocracy criticizing the other for behaving—barbarically.[8]

Both autocracies relish the graphic execution of their perceived enemies, and both spread terror: our “ally” through its far-flung madrassas and by permitting its elites to fund jihadists; our opponent, but partner in the nascent nuclear agreement, more directly, and through such proxies as Hamas and Hezbollah. The January 4 New York Times account of the crisis was accompanied by a video of a Tehran mob being whipped into a religio-political frenzy by a cleric ranting that the decapitation of al-Nimr, part of a mass execution (forty-seven in all, mostly by beheading and mostly Sunnis), was carried out at the behest of Islam’s true enemies. According to this turbaned pundit, the Saudis are the “collared dogs” of the Little and Great Satan; thus, the protest climaxed with the usual chants: “Death to Israel,” “Death to America” (even, for good measure, “to England”).

As a fomenter of hatred, unrest, and terror, Iran is second only to ISIS. Offering one glimmer of light, the March 2016 Iranian elections confirmed widespread support for the reformers and those most committed to the nuclear agreement with the US. Whatever the leadership’s internal stresses, and while it remains a theocratic tyranny, Iran seems dynamic compared to its sclerotic regional rival. While revolutionary Iran meddles, propping up the Assad government, bankrolling Israel’s regional opponents, and stirring up Shia minorities in the Sunni-dominated Gulf states, the Kingdom is experiencing its own severe internal tensions. The new dynastic discord within the Saudi royal family has reached the point where open conflict is now a plausible threat, a scenario incomprehensible before the January 2015 ascension of King Salman. Reputedly suffering from dementia, the aging King may have deferred considerable authority to his favorite son, defense minister and Deputy Crown Prince, Mohammed bin-Salman.

Whoever is calling the shots, ailing father or impulsive son, the monarchy’s new and unilateral aggressiveness (pursuing in Yemen a costly, brutal, and indecisive war against the Houthi movement and the Yemeni army, and ordering these recent provocative executions) reflects less strength than fear. Fear of a succession crisis; fear, despite huge cash reserves, of a collapsing oil-based economy; above all, fear of revolutionary Iran and its hegemonic ambitions in the region. The nuclear deal with the US has alarmed not only Israel and Saudi Arabia, but all the Sunni states. Its verification procedures are persistently and deliberately misrepresented by its opponents, but the accord still comes with a cost. Even those of us in favor of the deal— given the unpalatable alternatives—should be as troubled as its opponents are by the prospect of a $100 billion or so windfall attending the unfreezing of Iranian assets in the initial withdrawal of sanctions. Most of that money will be needed to rebuild the sanction-damaged Iranian economy. But some of it will inevitably be used to fund Iran’s proxies. What impact might that influx of cash have on the region?

Bahrain and Sudan joined the Saudis in breaking diplomatic relations with Iran; the Emirates sharply reduced contacts; and Shia militias bombed Sunni mosques in Iraq. Quickly rippling through the Middle East, the decision to behead al-Nimr stirred protests as far away as Pakistan and India. The fact that the United States advised against the execution of al-Nimr and was given no advance notice of the Saudi decision to sever diplomatic relations with Iran suggests that the young Crown Prince may be in charge in Riyadh. With the role of the US diminished, China and Russia both weighed in, urging restraint; Putin even offered to mediate. This political and religious crisis, the most dangerous regional confrontation in decades, threatens, in the language of several Middle-East experts, to “spiral out of control.”  Retired General Mark Hertling, a perceptive CNN military analyst, concerned that a more direct military conflict between Saudi Arabia and Iran could erupt, employed the same imagery: “That’s the key issue. This is spiraling very quickly.” It is hard, in pondering the perennial relevance of “The Second Coming” to contemporary crises, not to think of Yeats’s own spiraling imagery: the poem-opening falcon, no longer under the control of the falconer, “turning and turning in the widening gyre,” its spiraling movement replicated by the “desert birds” whose shadows “reel” about the ominous “shape” moving in “sands of the desert.”

This crisis, on hold but potentially explosive, is part of a recurrent centrifugal pattern. Yeats was responding to specific historical events in “The Second Coming.” If readers were bound by the literary equivalent of judicial “originalism,” the theory espoused by the eloquent but reactionary late Justice Antonin Scalia, many or most of them would be guilty, in endlessly citing and alluding to the poem, of misappropriation, quoting Yeats’s words while inadvertently or deliberately misconstruing his original political intentions. But we are not thus bound, as Yeats also intended. For his deepest and most genuine foresight, as we have also seen, was his decision to delete, in the process of composition, virtually all the specific details that would have tethered his poem to the events of 1919 as seen through the perspective of the worst atrocities of the French Revolution. The result is a universal poem that has resonated with every generation of readers, and from every political perspective, for almost a century.

Whether we have in mind international political and economic crises, the coarsening and polarization of American politics, the metastasizing of Islamist terrorism, the fragmentation of the European Union and of the Middle East, the refugee tide inundating Europe and the Levant, the danger of nuclear proliferation and nuclear blackmail, or the interrelated ecological challenges threatening life on the planet itself in our new “Anthropocene Age,” we may be reminded of John Donne’s disoriented cry early in the 17th century. With “new Philosophy” calling “all in doubt,” sun and earth “lost” and the “Firmament”  itself “crumbled out againe” to atoms, the Metaphysical poet summed up the chaos in a single line: “‘Tis all in pieces, all cohaerence gone” (The First Anniversary, 205-13). That lamentation over the loss of wisdom, cohesion, stability and order was surely recalled by an admirer of Donne, W. B. Yeats, when he wrote the line that has become so familiar to those contemplating the world the modern poet prophesied as he brooded, in excited reverie and dread, over European disintegration, and envisioned, “everywhere,” the loosing of an irrational blood-dimmed tide of “anarchy” and varieties of “passionate intensity” erupting in violence and chaos. To quote it once more: “Things fall apart; the centre cannot hold.”

One recalls that open question from Yeats’s near-parallel poem, the great sequence “Nineteen Hundred and Nineteen”: given all this, “is there any comfort to be found?” If so, it is unlikely, for most readers of “The Second Coming,” to derive from Yeats’s own Burkean political perspective, in which the sociocultural disintegration threatened by centrifugal forces could be countered only by the values of a hierarchical, aristocratic civilization. What comfort there is, if there is any at all, may be inherent in the symbol of the gyre itself: the eternal cycle which, for Blake, was a dehumanizing nightmare, but, for Yeats’s other great mentor, Nietzsche, an eternal recurrence to be embraced with astringent tragic joy. And there is a variation more comic than tragic. That aspect of the recurrent cycle was caught by an anonymous editorial writer in the Christmas Eve 2015 issue of a newspaper, the Memphis Flyer. “Simultaneously looking back and forward,” and proceeding “ahead into the next turning of the eternal gyre,” the editorialist invoked the locus classicus:

That aspect of the eternal gyre is something we of the Western world owe to William Butler Yeats, whose poem, ‘The Second Coming,’ gave us lines to remember through all the cycles, all the turnings of fate that seem to foreshadow an end but merely invite a new beginning. There are times, as Yeats wrote almost a century ago, when ‘the best lack all conviction, while the worst/ Are full of passionate intensity.’ A hundred years later, and it’s still true. It will always be still true. And we will survive and scramble to find our place in a brand new cycle, which itself will seem to be heading to an end but will just be the same old adventure in a new cycle….

The phrasing at its most glib—“merely,” “brand new,” “just be the same old adventure”—is in keeping with the purpose of the editorial, which was to wish its readers a “Happy New Year!” But, mutatis mutandis, this  optimism differs only in tone from Yeats’s own pipe dream, as expressed in his lengthy annotation to “The Second Coming.”  I refer to the vision—influenced by Nietzsche but one that would have repelled Blake—of that new and nobler hierarchical civilization Yeats hoped, and apparently believed, would succeed the democratic and Christian age that was dying.

Introducing his play, The Resurrection, Yeats presents a counter-myth to democracy, Christianity, and that linear “progress” Nietzsche dismissed as a “modern theory, and therefore vulgar.” “When I was a boy” Yeats tells us,

everybody talked about progress, and rebellion against my elders took the form of aversion to that myth. I took satisfaction in certain public disasters, felt a sort of ecstasy at the contemplation of ruin. [Around the turn of the century, after reading Nietzsche], I began to imagine, as always at my left side just out of the range of sight, a brazen winged beast that I associated with laughing, ecstatic destruction.

Yeats goes on in this paragraph to cite his 1903 uncanonical play Where There is Nothing, featuring a Nietzschean beast with the literally hilarious name, “Laughter, the mightiest of the enemies of God”—a beast (he adds in a footnote) “afterwards described in my poem ‘The Second Coming’.”

But is this assertion, this claimed identity, really accurate? Mythically and politically, the apocalyptic “rough beast” of “The Second Coming,” wingless and certainly not laughing, may represent both the end-product of the vision of the “progressive” Left and the first stirrings, life arising out of death, of an antithetical vision of the aristocratic Right. But however “exciting” it may be, the risen and slouching creature, as actually presented in the poem, is far less promising than sinister, its imminent birth less hopeful than horrifying. In terms of its precursors, Yeats’s rough beast resembles Nietzsche’s beasts, cruel or laughing, only peripherally. And it has less in common with Blake’s prophetic Tyger, terrible but beautiful, than with the slouching, bestial Nebuchadnezzar of Blake’s striking illustration. Indeed, as a creature of “second birth,” the rough beast may most resemble one of those “tigers” Wordsworth imagined prowling the bloodied streets of revolutionary Paris, ready to pounce again in the even worse Terror to come: for all things have second birth.

In short, whatever the poem’s original starting point as a response to his juxtaposed Bolshevik and French Revolutions, and whatever Yeats’s own politics and cyclical counter-myth to the vulgar modern myth of linear progress, “The Second Coming” turned out, as a linguistic work of art, to have a momentum all its own, quite aside from authorial intention. Though the tone of the finished poem mingles dread with a vestigial schadenfreude (“I-told-you-so”) exultation, it ends in human incertitude rather than prophetic certainty.

Other readers may differ, but, aside from that breathless and ambiguous phrase, at once cyclical and terminal, “its hour come round at last,” I find—once we’ve turned from the prose glosses to the actual text of “The Second Coming” itself—little or nothing of the anticipatory optimism attending Yeats’s theoretical celebrations of ecstatically destructive beasts. Nor, I believe, at least as poet rather than prose annotator or apocalyptic theorist, did W. B. Yeats—his sight titillated, but, finally, as “troubled” as ours by what he glimpsed before the darkness dropped again.

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V. What Rough Beast?: Can (Should) the American Center Hold?

Re-narrowing the focus, I want to return to the current American political scene, specifically to the 2016 Republican primary race. As mentioned earlier, back in 2012, Bill Kristol, the conservative mastermind who had earlier helped midwife both the Iraq War and the emergence to national prominence of Sarah Palin, welcomed Chris Christie as the “rough beast” the Republican Party needed to win the Presidency. This time around, we have two far more likely Republican contenders for the title of “rough beast”: Donald Trump, obviously, but with Ted Cruz lurking in the wings.

Christie was forced out of the 2016 race after a humiliatingly weak showing in New Hampshire, but not before humiliating Marco Rubio, who, in a campaign-altering meltdown, reiterated a canned accusation that it was Obama’s deliberate intention to damage the US:  “We have to stop saying that Obama doesn’t know what he’s doing; he knows exactly what he’s doing….” Rubio kept robotically repeating this charge of presidential treason, even after Christie had twice ridiculed, not the malice or the mendacity, but the verbatim repetition! In a second coming, Christie, out of the running himself, returned as a revenant the day after the Republican debate in Austen, Texas, to repeat his takedown of Rubio. Having finally been put on the defensive in that debate by Rubio, Trump demonstrated his skill in dominating the news cycle. The next day, in a surprise “Big Announcement,” he trotted out Christie to repeat his ridicule of Rubio while effusively endorsing the “one man” able to provide America “the strongest possible leadership” and insure that “Hillary Clinton will never return to the White House.” In one stroke, this tag team of bullies blunted Rubio’s short-lived post-debate “momentum,” taking the wind out of the sails of the Republican Establishment’s preferred last hope to Stop Trump.

Shortly thereafter, with Christie looking less like a formidable surrogate than a flaccid sycophant, Trump managed (after failing, in response to repeated questions from CNN’s Jake Tapper, to definitively repudiate the support of David Duke and the KKK) to reach a new level of vulgarity. Trump turned Rubio’s innuendo-laden taunt about his allegedly “small hands,” and what that “meant,” into a boastful “guarantee,” in the next debate, of his impressive sexual endowment. The “debates” had deteriorated from mere incivility to schoolyard braggadocio, with “he-started-it” silliness to follow. When a lush photo from Melania Trump’s modeling days was distributed by a group unaffiliated with Cruz, Trump tweeted a threat to “spill the beans” on Cruz’s wife, Heidi. At first Cruz responded with an indignant defense of his wife (its sincerity tainted by the fact that it was plagiarized, verbatim, from the 1995 film, The American President), before bellowing, after Trump had posted an unflattering photo of Heidi, that this “sniveling coward” better leave “Heidi the hell alone.”

In the first Super Tuesday round of primaries and caucuses, Ted Cruz, who had not at that point descended into the Trump-Rubio gutter, did well, crucially holding his own state, Texas, and winning several others. Though Rubio, ironically the first “Tea Party” senator, had briefly become the darling of the Establishment, the attempt to slow down Trump by wrestling with him in the mud had backfired and been to no avail. Trump took seven of eleven states on Super Tuesday. Subsequently, and even more ironically, with Rubio fading (he would never get beyond his two minor victories: the Minnesota caucuses and the Puerto Rican primary), and Trump denounced by Mitt Romney as a fraud, Cruz, in whom everything anti-Establishment was concentrated as in a bouillon cube, emerged as that Establishment’s last desperate hope to keep the blond-maned rough beast from slouching to the convention in Cleveland with the required 1,237 delegates, or with so many fired-up acolytes chanting Trump! Trump! Trump! that it would prove difficult if not impossible to broker him out of the nomination.

It would be a battle between egotistical demagogues, equally capable of commanding an audience, though their oratorical styles could hardly be more different. Silver-tongued Cruz, who can’t say “hello” without sounding as if he’s pontificating from a pulpit or from atop a soapbox, deploys the  elaborately-constructed, orotund sentences of a trained debater, skillfully weaving his points into a coherent argument. Rambling and repetitive Trump rallies his rapt audiences in staccato, non-syntactical bursts, hitting the same few points, and often legitimate grievances, but appealing less to reason than to emotion and prejudice. In a March 8 NY Times op-ed, “Only Trump Can Trump Trump,” Tom Friedman noted the folly of rivals trying to rationally convert Trump “fans” who respond to him on a “gut level” impervious to logical argument. Friedman’s conclusion, that “you can’t talk voters out of something that they haven’t been talked into,” aptly reminded my friend Dennis O’Connor of Jonathan Swift’s advice to a young clergyman in 1720: “Reasoning will never make a man correct an ill opinion, which by reasoning he never acquired.”  In addition, with his base, Trump assumes the ethnic stereotypes he shares with them, and in which, as a businessman, he has trafficked for years. He also possesses a bully’s ability to size up an opponent and skewer him with an ad hominem epithet. “Little Marco” was left, diminished, on the ropes; a single hyphenated adjective, “low-energy,” from which Jeb Bush never recovered, was enough to demolish a dynasty. “Lyin’ Ted,” puffed up with hubris, proved able to take a punch.

The latest avatar of the Religious Right and a purist ideologue—a contemporary right-wing version of Robespierre, the “Incorruptible” of the French Revolution—Ted Cruz is, for many, more frightening even than Trump. An unctuous, sanctimonious ultra-conservative, Cruz thunders apocalyptically about undoing everything done by his hated predecessor on “my first day in office”—“repealing” Obamacare, “ripping to shreds” the nuclear agreement with Iran, getting rid of regulations on corporations, stringently curtailing a woman’s reproductive rights, rolling back environmental protection measures (indeed, terminating the EPA, along with the Department of Education and the IRS); devoutly committing ourselves to Israel, right or wrong; to judicial originalism; and to the extremist agendas of both the NRA and the Koch Brothers.

Hardline conservatives applaud many of these presidential priorities, but Ted Cruz is a zealot and a singularly unattractive one, loathed from the outset by his Princeton and Harvard classmates and later by his Senate colleagues. It is not necessary to consider him (to cite the paired photo of Cruz and Grandpa Munster that has gone viral) “a blood-sucking vampire from a bygone era,” or as “Satanic” (a televised adjective David Brooks later modified to “Mephistophelian”), in order to be turned off by Cruz’s naked ambition, his self-righteousness, his preening arrogance, and the studied artifice of his oratory, as bombastic as it is demagogic. One can admire his verbal skills, but despise the man himself, to say nothing of the hard-right policies he so apocalyptically and inflexibly espouses.

Ted Cruz Grandpa Munster

To observe that Cruz was cursed with a vampiric and (however appropriately) a Joe McCarthy-like visage is to risk joining Donald Trump in belittling a person’s physical appearance. But it’s his facial expressions I find repellent, wincing every time he punctuates his favorite applause lines by chuckling—silently, creepily, barely moving his lips and without anything resembling actual human mirth. Listening to his speech to his followers on the evening of the third Super Tuesday, the Ides of March, I was reminded of Shakespeare’s Cassius, that cunningly ambitious man who thinks too much and has “a lean and hungry look.” As Caesar intuited, “Such men are dangerous.” Though many Republicans, including former rivals Jeb Bush and Lindsay Graham, have now, however half-heartedly, endorsed Cruz as the only way to Stop Trump, others remain no less terrified of the prospect of the reptilian Ted Cruz slouching towards Washington.

Republicans unnerved by Trump and repelled by Cruz are now hoping for an open convention, in which most pledged delegates, committed to the primary and caucus results only through the first ballot, would be free to vote for anyone on a second and subsequent ballots. But that threatened to loose “mere anarchy.” If Cruz or front-runner Trump were to be spurned at a contested convention, their followers might revolt—even, as Trump warned (or threatened), “riot” or launch an independent third party. As March ended, the panicked GOP, having long nurtured its radical right wing, seemed on the verge of disintegration. Party elders feared that neither a detested Cruz nor an unpredictable Trump would be able to defeat a damaged but still formidable Hillary Clinton (they continued to dismiss “that socialist,” Bernie Sanders). In addition to losing the Presidency, with Trump as nominee, Party bosses fretted that some centrist Republicans would either cross over, or not vote at all in November; or that the “Trump Effect” would further radicalize the GOP, strengthening Tea Party challenges to Establishment incumbents, and wrecking what was left of the no longer very grand Grand Old Party.

With no center able to hold, Ayn Randian conservative Paul Ryan, Speaker of the House, now seemed like a moderate. But, however respected, even revered he was, Ryan was unable to get hardliners on his right to endorse his budget, while being threatened, from his other flank, by Trump, who rejected cutting Social Security benefits, and informed Ryan who would be “boss.” Even the Republican center-right, the position represented by all three Bushes, had manifestly collapsed, with Trump having achieved the unique feat of unleashing the furies of both the extreme Right and, for Republicans at least, the populist Left. Ryan himself was privately and publicly urged to become the savior at the convention (a role Kasich hoped to play, in the wake of his March 15 victory in Ohio). But any such convention coup, though infinitely preferable to the extremist alternatives, would leave the ultras committed to Cruz and the devotees fanatically loyal to Trump more convinced than ever that they had been betrayed yet again by the Washington elites: insiders represented, on the Democratic side, by Hillary Clinton, a battered but resilient survivor of Bernie Sanders’ valiant and stunningly popular insurgency from the progressive Left.

The division within the parties reflected, but failed to resolve, the massive discontent in the nation: the very frustration and anger—much of it rooted in the slowly, weakly and, above all, unevenly recovering economy—that had fired up the anti-Establishment Sanders and Trump movements in the first place. Some professed themselves perplexed by voters torn between the apparent extremes of Trump and Sanders. That phenomenon can be explained by their overlapping support from blue-collar workers. Those workers, always a low priority for Republicans, were largely abandoned in the 1970s by the Democrats, who have become—as progressive gadfly Tom Frank argues in Listen Liberal, Or Whatever Happened to the Party of the People? (2016) —more allied with non-union technocrats and other professionals. There are exceptions among individual pundits and politicians (even Hillary Clinton is having second thoughts on trade). But in general, the “party of the people” became less interested in blue-collar workers and thus in economic inequality—which has actually widened under Obama.

Into this vacuum came Sanders and Trump, whose populist blue-collar appeal is based on their protectionist opposition to outsourcing and to international trade agreements that have benefited corporations but taken away thousands of manufacturing jobs, especially in the Midwest rustbelt. American de-industrialization is not attributable to NAFTA, CAFTA and the TPP alone, but unemployed factory workers are understandably less interested in nuanced theoretical discussions of the positive aspects of globalization than in eagerly listening to those who reflect their grievances and promise to redress them. No matter that, as a businessman, Trump does not practice what he preaches when it comes to outsourcing and hiring illegals. No matter, as well, that he (and Bernie) make campaign promises, many of which they would not be able to fulfill as President. Both create hope, much of it false. But the desperation is real, and the appeal powerful.

Though the American economy under Obama has created 4 million private sector jobs since 2010, many without a college education or lacking the skills required in a new economy have been left behind. Unemployed and underemployed whites are at the core of Trump’s constituency. But these painfully real socioeconomic conditions do not fully explain the phenomenon of Trump, who is also, as David Remnick observed in the March 14 New Yorker, “the beneficiary of a long process of Republican intellectual decadence” (the assault on science, the elevation of Sarah Palin, etc.) and years spent “courting the basest impulses in American political culture,” beginning with  Richard Nixon’s “Southern strategy” and including, more lately, “a birther movement and the Obama Derangement Syndrome.” Birther-in-Chief Trump, flaunting endorsements by the barely coherent Palin and the evolution-denying Doctor Carson, occupies a prominent position at the populist epicenter of this intellectual decadence.

Unlike that of Sanders, Trump’s populist insurgency is spiked by a toxic dose of nationalism and xenophobia. Something short of a fascist or a racist himself, Trump assumes and fuels the resentment and racism of many of his followers: a visceral hatred evident in the outbreaks of violence at recent Trump rallies. As usual, there are two, if not quite equivalent, issues in tension. Sarah Palin, eloquent as ever, has dismissed the protests as “punk-ass little thuggery” cheered on by a leftist media. It is true that Black Lives Matter activists intend to disrupt more than protest, undermining the free-speech rights of Trump supporters. What matters is how Trump has responded to this double “tension.” Unsurprisingly, he has not made it a “teachable moment.” While he does “not condone” the violence against the various protestors (some carrying “Sanders” signs), Trump most certainly does not condemn it. Instead, he incites or incentivizes it, announcing from the podium that he himself would like to “punch” protesters, and waxing nostalgic about the days when such dissidents would be “carried out on stretchers.” When one of his fans did in fact sucker-punch a black protestor as he was being led away, Trump offered to pay any legal fees incurred by the assailant—who was immediately afterward taped, not only expressing pleasure at having punched his victim in the face, but adding ominously that he was “not one of us,” and that “next time we may have to kill him.”

Such behavior and such an attitude are obviously extreme even in the most raucous Trump rally. But the “passionate intensity” of the “worst” is often allied with prejudice and ignorance. One is therefore unsurprised by Trump’s professed “love” for the “poorly educated,” and by the enthusiastic willingness of “my people” to follow their Leader. Even Vladamir Putin, that poster boy for virile masculinity, has been impressed by the same quality in Trump—who returned the compliment (“at least,” in contrast to Obama, “he’s a leader”). The exception among foreign heads of state, Putin also pronounced Trump “brilliant and talented,” leading to an official endorsement by the head of Russia’s state-owned news agency.

No Putin, let alone Hitler, Trump has been more engagingly compared to Mussolini. The Donald recently, if unwittingly, re-tweeted a favorite maxim of Mussolini (“It is better to live one day as a lion than 100 years as a sheep”), and his neo-fascist tendencies extend beyond the jutting jaw he shares with Il Duce.[9] But even this alignment is overblown. More apt is the comparison with a later Italian leader, plutocrat turned prime minister Silvio Berlusconi, with whom Trump shares a megalomaniacal and vulgarian cult of the Self. Like all his buildings and projects, Trump’s private Boeing 757 airliner, the backdrop at outdoor rallies, is emblazoned with his name in huge letters. Each step of the plane’s airstair has two “TRUMP” signs; every bath-fixture and seat-buckle is 24-karat gold; every leather seat is stamped with the Trump crest. Asked recently who he consults on “policy,” he responded, as a narcissist would, “I talk to myself. I have a great brain.” The machismo and self-aggrandizement are grotesque, but to his fans, such displays project their leader’s confidence, strength, and authority.

Trump Mussolini

Jonathan Weiner, co-author of Authoritarianism and Polarization in American Politics (2009), recently described Donald Trump’s core voters as driven by their attraction to authority, to plain-spoken solutions to problems and the promise of decisive action in defense of their traditional values. In “Why Trump?,” an online essay published on March 6, cognitive scientist George Lakoff interpreted the nation’s politics, and Trump’s in particular, “metaphorically,” in familial terms. The “conservative and progressive worldviews dividing our country” can be encapsulated in two common but antithetical forms of family life: “The Nurturant Parent Family (progressive) and the Strict Father Family (conservative).” Inculcating “discipline” and “strength,” the Strict Father model produces “winners,” who deserve to win, not only in life, but in electoral contests. Thus, a “formidable candidate’s insults that stick are seen as victories—deserved victories.” For those whose attitudes and prejudices have been deemed outmoded and stigmatized as “politically incorrect,” Trump “expresses out loud everything they feel—with force, aggression, anger, and no shame.” By supporting and voting for Trump, they make him their voice, and their views are made “respectable” by “his victories.” He is “their champion. He gives them a sense of self-respect, authority, and the possibility of power.”

Donald Trump photo by Tony WebsterPhoto by Tony Webster (via Flikr Creative Commons)

Lakoff sketches out a conservative worldview embracing distinctions  Trump adroitly straddles.[10] But it is the distinction between “direct” and “systemic” causation that most illuminates Trump’s appeal to the wide following he has attracted. According to Lakoff, empirical research has shown that conservatives “tend to reason with direct causation,” and to deal with a problem by “direct action,” whereas progressives are more in their element engaging the “complex” interactions involved in “reasoning with systemic causation.” If it sounds like Trump vs. Obama (he of the unenforced “red line”), it is.

“Many of Trump’s policy proposals,” as Lakoff notes, “are framed in terms of direct causation.” Immigrants are flooding in from Mexico: build a wall to stop them. Many have entered illegally: deport them, even if 11 million are working and living throughout the country. Jobs are going to Asia: slap a huge tariff on the goods produced there. ISIS profits from Iraqi oil: send US troops to Iraq to seize it (in fact, coalition bombing is now taking a serious toll on ISIS oil production). Want to defeat ISIS?—“bomb the shit” out of them, and threaten (even if it’s a war crime) to kill the families of jihadists. Seeking information from terrorist suspects?—water-board them, or worse. Afraid a few terrorists might slip in among Syrian refugees?—ban all Muslims from entering the country.  To add the latest: tired of funding NATO and providing a nuclear umbrella in the Far East?—declare NATO defunct and let Japan and South Korea develop their own nuclear capability. “All this makes sense to direct causation thinkers, but not [to] those who see the immense difficulties and dire consequences of such actions due to the complexities of systemic causation.” Trump’s can-do machismo (including his insulting of the way a woman “looks”) will be less effective in a general election than it has been on this rowdy campaign trail.[11]

§

Contemptuous of Trump’s penchant for simplistic solutions to complex problems, and stunned by his colossal egotism, skeptical observers of his campaign were initially incredulous, even amused. But their sides stopped shaking in mirth as he piled up victories. With his near sweep on the third Super Tuesday (March 15), his delegate count became virtually insurmountable. Crushing Rubio in his home-state, winner-take-all Florida, Trump drove the Senator from the race, collecting a bonanza of 99 delegates. Kasich held on in his home-state, denying Trump Ohio’s 66 delegates. Cruz won nowhere, but continued to collect delegates, slouching toward Cleveland with a number sure to be second only to the front-runner,  whom he planned to defeat at a contested convention. Needless to say, if he fails to reach the nomination-clinching 1,237 prior to the convention, Trump will not go gently in any floor fight; there are arms to be twisted, and there’s always that threat of a “riot.” Quite aside from his own fierce will to “win,” The Donald has repeatedly told us that what he is leading is not a mere political campaign, but a “movement.”  He’s right, and he’s not alone.

Such anti-centrist movements, driven by right-wing authoritarianism and galvanized by Europe’s even greater immigration crisis, are proliferating throughout the West. In France, Marine Le Pen has slowed her activities as president of the right-wing National Front, but only because she is preparing to run next year for the Presidency of France. (Her father, the party’s ousted neo-fascist founder, having tweeted in January that if he were an American, he “would vote for Donald Trump,” accurately described Trump in March as “an independent candidate with populist language; this is what has made him successful.”) In Germany, Angela Merkel’s centrist coalition is under threat because of her (no longer welcome) welcoming policy toward migrants. That policy, controversial within her own party, is challenged by right-wing opponents, most prominently by Frauke Petry, the efficient and determined leader of the AfD (Alternative for Germany), a populist, anti-immigration party she led to victory in several mid-March elections. Going beyond even Marine Le Pen, Petry has proposed that police “shoot, if necessary,” at migrants attempting to enter the country illegally.

In impoverished Greece, over 100,000 migrants have arrived since the beginning of the year; in late February, police clashed with asylum seekers at the Macedonian border. Politically, demographically, and economically, the culminating moment came on the night of March 7, when Europe officially closed its borders. The leaders at the summit convened in Brussels, the EU capital (also, ironically, the central nest in Europe of unemployed, unassimilated jihadists in the making), proclaimed the end of “irregular flows of migrants.”[12] Henceforth, refugees fleeing from war-ravaged Syria and Iraq would no longer be able, in the typical scenario, to escape to the Turkish coast, board a raft to Greece, and travel on, seeking refuge in Germany or elsewhere in Western Europe. Instead, the EU pledged billions in aid to Turkey in exchange for a commitment to take the migrants back. It was a drastic step, but the alternative seemed to be the continued fracturing of Europe, with centrist governments, burdened by debt (with the exception of Germany) and besieged by refugees (and here Germany is no exception), battling against “energized movements from right and left.”

I am quoting a February 25 Washington Post column by Fareed Zakaria, repeated three days later on his GPS Sunday-morning television program on CNN. Zakaria’s title and theme are a modestly hopeful variation on Yeats: “In the West, the Political Center Holds—but Barely.” He begins:

“Things fall apart; the centre cannot hold;/ Mere anarchy is loosed upon the world.” It’s time to quote W. B. Yeats’s famous poem again. But this time, it really does seem that the political center is under intense pressure—from left and right—all over the Western world….Across Europe, governments that occupy the center ground find themselves struggling against [extremist] movements….Centrists are under siege in the United States as well….Why are centrists so vulnerable?

Zakaria notes that moderate politicians and governments have performed rather well in recent decades, steering their countries through many difficult challenges. But while they may be competent, “centrists are dull, practical types,” and “there is always a search for romance in politics.” Even amid centrist success, there are still problems, many of them, often outnumbering the successes, stemming from the same force: globalization. Whatever their ultimate source, there are “enough problems to galvanize the romantics who believe that the answer is a revolution.” And, in contrast to traditional politicians, “outsiders,” a Donald Trump for example, “promise easy answers.” Zakaria turned again to “The Second Coming”:

“The best lack all conviction,” Yeats wrote, “while the worst are full of passionate intensity.” The simple solutions are, of course, non-solutions. And they mostly won’t happen.…But what is happening is political paralysis. The romantics and the radicals might not have the power to overturn the centrist consensus, but they can place it under relentless pressure….In the United States, the country and its political leaders have spent months debating fantasies [building the wall, deporting 11 million people, banning all Muslims]. Meanwhile, there is no discussion of the important issues and the actual, plausible policy options to deal with them—regarding the global economic slowdown, massive infrastructure deficits, growing inequality and climate change, among others.

Yeats was wrong. The center can and does hold, but just barely.

Even that tempered and terminally caveated hopefulness—though a far cry from the optimistic interpretation of the eternal gyre as “just the same old adventure in a new cycle”—may or may not amount to whistling in the dark. Just one day after Zakaria’s reassurance on television, provocative social critic James Howard Kunstler also repaired to “The Second Coming,” painting (in a March 1 blog titled “Yeats’s Widening Gyre is Upon Us”) a dismal picture of the United States as the two parties slouched toward their 2016 conventions. The “sinking global economy,” igniting “cluster-bombs of default through the financial system,” would centrifugally “effloresce,” Kunstler surmised, right around the time of those conventions. He foresaw both front-runners “lumbering inevitably toward their respective nominations,” with the GOP likely to split into “warring factions” in a probably futile attempt to derail Trump at the convention: a split reflecting, and exacerbating, the nation’s economic and cultural fissure. On the Democratic side, Bernie Sanders’s campaign has sparked a revolt that could spawn a liberal version of the Tea Party, which might, in turn, become a truly revolutionary movement were Trump or Cruz to win the presidency. Kunstler concluded: “Yeats’s widening gyre is upon us, and the second coming will not be the reappearance of the celebrity known as Jesus Christ, but rather of the event called the American Civil War.”

The optimistic God’s-eye interpretation of the eternal gyre seems, in the present circumstances, far too cheery to be persuasive. We may hope that Fareed Zakaria’s less dramatic projection of a threatened “center” holding, “but barely,” proves more accurate than James Kunstler’s vision of a second Civil War.  And yet, the American political “center” richly deserves to be challenged, as it now is—powerfully from the left, even more powerfully from the right. In his 1925 poem “Shine, Perishing Republic,” Robinson Jeffers brooded, “sadly smiling,” as “this America settles in the mould of its vulgarity, heavily thickening to empire.” Prophesying coming decay, this austere, almost survivalist poet of rock and hawk held out one Nietzschean-Yeatsian hope. There will always be “noblest spirits,” for whom “corruption/ Never has been compulsory.” When “the cities lie at the monster’s feet there are left the mountains.” So, “shine, perishing republic./ But for my children, I would have them keep their distance from the thickening center.”

The Jeffers poem, written at the same time as Robert Frost’s earlier-quoted sonnet of impending disaster, “Once by the Pacific,” was only one of three darkly prophetic poems cited by readers responding to a March 2016 essay, “Donald Trump and the Remaking of America.”[13] The essay was by military historian and retired colonel Andrew J. Bacevich, whose critical history, America’s War in the Greater Middle East, would be published in April. He has long condemned the Iraq War as a catastrophic decision—as has Trump, though Bacevich otherwise dismisses The Donald as a reckless celebrity performer who has, dangerously and all-too-effectively, adopted a bellicose “attitude or pose that feeds off, and then reinforces, widespread anger and alienation.” At once less interventionist and more hawkish than Hillary, Trump was aligned by Bacevich with Cruz and Rubio, in that all are “unabashed militarists,” each claiming that, as commander-in-chief, he would take no “guff from Moscow, or Pyongyang or Beijing or Tehran.” Each has asserted that, once in office, he “will eradicate ‘radical Islamic terrorism,’ put the Mullahs back in their box, torture terrorists, and give Bibi whatever he wants.” (In this same month, Trump pronounced all of Islam motivated by “hatred of us,” and threatened to kill the families of terrorists—though conceding that if, as president, he could not “expand” the laws, he would, reluctantly, abide by the Constitution and the Geneva Convention.)

Responding to the Bacevich essay online, “John T” summoned up the famous “centre” that “cannot hold” and the loosing of “the blood-dimmed tide,” recalling as well that “the worst / Are full of passionate intensity,” and that a “rough beast, its hour come round at last,” is slouching to be born. After quoting eight lines of “The Second Coming, John T observed that the emergence of Donald Trump marks “the fulfillment of a half-century’s considered and deliberate emasculation of the underlying sense of social responsibility that once held this country together in a fragile balance.”  But, as it turns out, John T is no fan of the contemporary American center.

“The centre cannot hold,” as Yeats said long ago, but it is the corporate center itself that created and unleashed the monster of Trumpism that is tearing the Republican Party apart and that, in the end, will put an end to the corporate institutions that… have so successfully controlled and undermined the very social contract that made their dominance possible. Donald Trump and what he so gleefully represents is a cancer metastasizing through the Republican Party, but what the Democratic pundits who are so joyfully pouncing on the wounded beast fail to understand is that it is a cancer that will bring the Democratic Party down in the same manner….[The followers of Bernie Sanders] expect and demand real and fundamental reform. [They are] not going to have it,…and are not going to accept the lies and pretense that Hillary Clinton is attempting to market. Donald Trump may be the rough beast slouching towards Washington, but the coming fragmentation of the two parties quarrelling over the prize he is seeking is the only hope for real long-term reform that we have left—if we can weather the storm.

Responding, “Ikallitres,” a poetry-lover aware of Matthew Arnold as well as of Robinson Jeffers, observed that “quoting Yeats’s ‘The Second Coming’ has become passé because it can be used to describe any and every one of the disasters that our politics has become.” (From my perspective, the second part of that sentence at once demonstrates and rebuts the first.) The same was true, he continued, of Arnold’s “Dover Beach” (locating us “here as on a darkling plain/ Swept with confused alarms of struggle and flight,/ Where ignorant armies clash by night”). Though grateful to have been reminded of the finale of “Dover Beach,” John T responded to the criticism of his having cited Yeats in words I’ve been employing throughout this essay, though, unlike Ikallitres, I do not find “The Second Coming” outmoded: “Yeats is so passé precisely because his poem was so very prescient at the time he wrote it and so very relevant today.”

Will the Western “center” hold? Should it? The “centre” celebrated by Yeats (a Romantic drawn to both Burke and Nietzsche) was cultural, steeped in ceremonious tradition: not our moderate political center, which he would have doubtless found as “vulgar” as the “thickening center” deplored by Jeffers, a fellow Nietzschean. And yet Yeats, in revising, purged his poem of particulars that restricted it to his own moment in time and reflected his own political perspective. As I have stressed throughout, in so doing, he universalized the poem, making it perennially relevant, applicable to the crises not only of his time but of ours. Reading “The Second Coming” in 2016, we lament the collapsing of the center and the falling apart of things in our present world of anarchy and blood-dimmed violence. We also dread the emergence—from the chaotic Middle East, from fragmented Europe, from our own polarized politics—of some new incarnation of that rough beast, its hour come round at last, and slouching towards us.

—Patrick J. Keane

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Patrick J Keane smaller

 

Numéro Cinq Contributing Editor Patrick J. Keane is Professor Emeritus of Le Moyne College. Though he has written on a wide range of topics, his areas of special interest have been 19th and 20th-century poetry in the Romantic tradition; Irish literature and history; the interactions of literature with philosophic, religious, and political thinking; the impact of Nietzsche on certain 20th century writers; and, most recently, Transatlantic studies, exploring the influence of German Idealist philosophy and British Romanticism on American writers. His books include William Butler Yeats: Contemporary Studies in Literature (1973), A Wild Civility: Interactions in the Poetry and Thought of Robert Graves (1980), Yeats’s Interactions with Tradition (1987), Terrible Beauty: Yeats, Joyce, Ireland and the Myth of the Devouring Female (1988), Coleridge’s Submerged Politics (1994), Emerson, Romanticism, and Intuitive Reason: The Transatlantic “Light of All Our Day” (2003), and Emily Dickinson’s Approving God: Divine Design and the Problem of Suffering (2008).

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Footnotes    (↵ returns to text)

  1. “No Slouch” (Paris Review, 7 April 2015). Oddly, Tabor’s otherwise thorough gathering omits Mitchell’s “Slouching Towards Bethlehem” (on the Night Ride Home album, 1991). But he lists innumerable pop-culture references, including many book-titles, especially sci-fi and detective novels. My own favorite examples range from the titles of all six volumes in the recent Star Trek compendium, itself titled Mere Anarchy (also a Woody Allan book title) to the 12-issue Batman series, written by Kevin Smith, and gathered together under the rubric The Widening Gyre.
  2. In fact, those crucial lines, “the best lack all conviction, while the worst/ Are full of passionate intensity,” echo Shelley and Wordsworth. According to the last Fury in Shelley’s Prometheus Unbound, the “good” lack “power,” the “powerful” lack “goodness”; and “all best things are thus confused to ill” (1:625-28). But Yeats, who was reading the French Revolutionary Books of The Prelude, is also recalling a phrase he underlined in Book 11 (“I lost/ All feeling of conviction”), and is verbally close to a passage in Book 10 in which, contrasting the moderate Girondins to the murderous Jacobins, a troubled Wordsworth speaks of “The indecision on their part whose aim/ Seemed best, and the straightforward path of those/ Who in attack or in defense were strong” (130-32). And there is a final parallel. In Wordsworth’s Excursion, which Yeats read in 1915, the “bad” earn “victory o’er the weak,/ The vacillating, inconsistent good” (4:298-309).
  3. Frost’s poem is riddled with more-than-biblical echoes, though the poems alluded to all have apocalyptic implications. In “Once by the Pacific,” the “clouds were low and hairy in the skies,/ Like locks blown forward in the gleam of eyes”: a fusion of the “insolent fiend” who, in the phantasmagoria at the climax of Yeats’s evocation of  “the things that come again” (the original title of “Nineteen Hundred and Nineteen”), “lurches past, his great eyes without thought/ Under the shadow of stupid straw-pale locks,” itself a negative echo of the primary passage Frost has in mind: “the locks of the approaching storm,” in Shelley’s “Ode to the West Wind,”  where the wind-blown clouds are “Like the bright hair uplifted from the head/ Of some fierce Maenad.”
  4. Prelude 10:92-93. Almost eleven hundred victims suspected of Royalist plotting were butchered during the September Massacres. Among those dragged from prison in September, sentenced to death by tribunals, and killed instantly by small squads of executioners was the Princess de Lamballe, maid of honor to Marie Antoinette. Notoriously, her body was mutilated and its sexual parts paraded before the windows of the prison that held the royal family.
  5. McCants, The Isis Apocalypse, 146. For evidence that “most modern Sunni Muslims viewed apocalyptic thinking with suspicion before the United States invaded Iraq,” and on the “triple-union” now helmed by the American “new Crusaders,” McCants (145-46) cites Apocalypse in  Islam (2011), 121-40, by the French scholar Jean-Pierre Filiu.
  6. For details, see Jeffrey Goldberg’s “The Obama Doctrine,” The Atlantic (April 2016), 70-90.
  7. Following a Republican 2012 presidential primary debate and registering both the on-stage verbal meltdown of then front-runner Rick Perry and the continued right-wing lack of enthusiasm for Mitt Romney, Kristol fired off a Weekly Standard “special editorial,” titled simply “Yikes!” Kristol—who then wanted the outspoken New Jersey governor to get into the race—ended by quoting an email from a fellow-Republican equally dismayed by the caliber of his party’s candidates. Concurring with the emailer’s allusion—“The best lack all conviction, while the worst/ Are full of passionate intensity”—Kristol couldn’t “help wondering if, in the same poem, Yeats hadn’t suggested the remedy: ‘And what rough beast, its hour come round at last,/Slouches towards Bethlehem to be born?’ “Sounds,” he concluded, “like Chris Christie!”
  8. Reviewing a study of the Iran-Iraq War in January, 2016, Graeme Wood cited Henry Kissinger’s observation at the time that it was “a pity both sides can’t lose.” Given the horrific death-toll, the remark was (as Wood says) not only “famous” but “fatuous.” Nevertheless, in contemplating the potential of a larger Iran-Saudi conflict, one might be forgiven if, for an irresponsible moment, Kissinger’s realpolitik remark came to mind—along with then-Senator Harry Truman’s observation, in June 1941, when Nazi Germany had invaded the USSR: “If we see that Germany is winning, we ought to help Russia, and if Russia is winning, we ought to help Germany, and that way let them kill as many as possible.” Brutal; but, Truman thought, in the best interest of democracy.
  9. See Fedja Buric’s “Trump’s not Hitler, he’s Mussolini: How GOP anti-intellectualism created a modern fascist movement in America,” Salon (11 March 2016) accessed April 1, 2016.
  10. As in the old Chain of Being (or the Elizabethan World Picture diagrammed decades ago by E. M. W. Tillyard), this conservative worldview is hierarchical, extending from God to man to nature. Conservative “family-based moral worldviews run deep,” and, Lakoff argues, “Conservative policies” are inflected, even shaped, by this Strict Father hierarchy. Your moral worldview defines for you what the world should be like; “when it isn’t that way, one can become frustrated and angry.” Lakoff notes variations and the split among white evangelical Christians, laissez-faire free-marketeers, and pragmatic conservatives bound by no evangelical beliefs. Winning among all three groups, Trump himself is “a pragmatic conservative, par excellence.”
  11. Trump, already opposed by almost three-quarters of women polled, finally suffered what may be genuine damage. On March 30, pressed hard by MSNBC’s Chris Matthews on the question of abortion, Trump said, not only that it should be illegal, but that any woman who had an abortion should be subject to criminal “punishment.” Here is the exchange, verbatim:

    Matthews: Do you believe in punishment for abortion, yes or no, as a principle?

    Trump: The answer is there has to be some form of punishment.

    Matthews: For the woman?

    Trump: Yes, there has to be some form.

    A more deft politician would never have let himself be cornered by this cable-news version of Socratic dialogue. For Rush Limbaugh, who quickly sped to Trump’s defense, Chris Matthews was no Socrates but a “Democratic Party hack,” whose gotcha question came “out of left field.” Of course, Limbaugh has no problem when the same relentless badgering is employed in the form of questions coming “out of right field,” as they incessantly are in the habitual technique of his fellow right-winger Sean Hannity. In any case, however it was educed, Trump’s astonishing statement, which goes beyond even the extremist anti-abortion positions of Rick Santorum and Mike Huckabee, was quickly walked back by Team Trump. But the damage was done. The Donald’s freewheeling, unscripted style had finally cost him. How much remains to be seen; but some backlash was quickly evident in his falling well behind Ted Cruz in the polls leading up to the next important primary, in Wisconsin, on April 5.

  12. The Brussels agreement, finalized on March 18, went into effect on March 20. Two days later, three suicide bombers (two of them brothers) killed 31 people and wounded some 300 in Brussels, striking at Zaventerm airport and Maelbeek metro station. A fourth terrorist, whose device remained undetonated, escaped, becoming the subject of a widespread manhunt. Anti-terrorists raids and searches occurred in France and Germany as well as Belgium; and ISIS threatened more “waves of bloodshed,” especially in Europe.
  13. The Jeffers poem has a more direct connection to another poem by Frost. “Our Doom to Bloom,” one of Frost’s late—serious yet light-hearted—assaults on the US welfare state, has as its epigraph Jeffers’s “Shine, perishing republic.”
Apr 032016
 

Hands-016

The infinite suggestiveness of common things… —Patrick Madden

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Sublime Physick: Essays
Patrick Madden
University of Nebraska Press, 2016
244 pages, $24.95

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In the last sentence of his postscript to “Independent Redundancy,” the mammoth centerpiece essay of his new collection, Patrick Madden quotes Gide: “Everything has been said before, but since nobody listens we have to keep going back and beginning all over again.” This might be just a bit too morose to serve as an unqualified summation of Madden’s essayistic perspective, but it’s pretty close. To read a Patrick Madden essay is to interface with the mind of an engaged, self-conscious thinker. Actually, that’s not quite right: It is to interface with Madden’s curation of the minds of many thinkers within the expanse of his own.

Madden is not a hoarder of his thoughts or his words, or the words of his many sources, and he frequently seems more interested in exploring mysteries than creating them. In his first collection Quotidiana (2010), Madden declared the essay “an open, leisurely form, somewhat allergic to sensationalism,” and the primary intention of the essayist to “make the mundane resplendent with their meditative thoughts.” In Sublime Physick, his second collection, he continues exploring “the infinite suggestiveness of common things”—spitting hockers, turning 35, being recognized in a public place, temporarily losing his children—while expanding upon a tendency he intimated in Quotidiana of blending his sources into his own thoughts and sentences to the extent that it’s sometimes difficult to tell where his own thoughts begin or end. This will probably be the most divisive element of Sublime Physick’s otherwise gentle, reflective style: Either you are carried away into the free-flowing stream of voices commingling under Madden’s umbrella, or you are confounded by his seeming unwillingness to settle on a central voice or thematic concern.

Madden does his part to prepare the reader in “Fisica Sublime,” the “introduction” which is also the second essay of the collection. After explaining his choice of placing the “introduction” second in the collection, Madden spends most of the essay giving the etymology, metaphorical significance, personal associations, multiple spellings, and binary structure of the essay’s and the book’s title(s), concluding:

Perhaps, I’m beginning to think, everything we think we know is a kind of sublime physic, an abstraction derived from concretion and a double-aspected entity that we think we know in two distinct forms, yet is really a unity: matter-energy, space-time, mind-body, emotion-intellect, self-others, inside-outside, nonfiction-fiction; you could go on and on listing apparently opposed binaries and find, again and again, that where they meet is beauty.

These beautiful binaries comprise the nucleus of the collection’s essays, whose ostensible subjects range from Madden’s travels with recently deceased Uruguayan poet/storyteller Eduardo Galeano, to the brief disappearances of two of his six children, to a midlife non-crisis, numerous meditations on time and its discontents, and the acquisition of a bass guitar.

And that’s just the first half of the book. Much of the second half is taken up with just two essays, the first of which, “Independent Redundancy,” can fairly be called the opus of the collection. In thirty-six sections that seem to be written from at least eighteen points of view, Madden explores the phenomenon of the title, a term Madden coins “to describe the phenomenon of two or more individuals coming up with the same idea without any cross-pollination or shared influence.” The essay trots out a set of cultural referents seemingly impossible for one head to hold, unified mostly by representing different cliques of the same school of thought. Following are some notable juxtapositions and conversations.

Madden opens the essay and comes back numerous times to the phenomenon in popular music of the independently redundant melody, like the one shared by George Harrison in “My Sweet Lord” and the Chiffons in “He’s So Fine,” and by Coldplay’s “Viva La Vida” and Joe Satriani’s “If I Could Fly.” He even traces back the latter pair, in a connection one can guess only he has made, to the Argentine band Enanitos Verdes (Little Green Men). At least as interestingly, Madden also addresses the more obvious technique in modern hip-hop and mashup culture of sampling – direct “quotation” of previously recorded material, most times without citation, a technique, interestingly, that Madden consciously practices in his own essaying. As usual, most musical references somehow lead back to Montaigne or the band Rush.

He spends less space but as much energy on the nature of innovation and discovery in the sciences, positing most great advances as the cumulative work of many— “the result of convergences in ideas, materials, and possibilities”—rather than “the result of genius operating in isolation.” He points out that though the discovery of sunspots, the law of conservation of energy, and the invention of the airplane were all products of independent, synchronous work by numerous thinkers, “our mythologies tend to give full credit to a single inventor.” This leads Madden to ponder the place of free will in this process:

It occurs to me that the struggle between models of determinism…applies to invention as much as individual (or group) destiny, invention being a subset of destiny, and that all are opposed, in some way, to any real model of creativity. Rather, if we stipulatively determine (determine!) that invention means an unpredictable, unexpected, not inevitable creation and that discovery, as is binary, is that which—like a rock in the path of a tiller—will inevitably be turned up, then that is the same struggle. And this would mean that those who believe invention inevitable really really mean that there is only discovery, not invention…

Of course, Madden is not afraid to turn the scope inward. He peppers examinations of his own writing style throughout the essay, from examination of influences like Woolf, Borges, Lamb, and Hazlitt, to farcical interactions with various artificial intelligence devices, robots, and computer-generated feedback services, to his surprised reaction and subsequent self-analysis after a friend tells him he’s a postmodern writer. He decides he’s postmodern mostly in that “I am painfully metaliterary in my thinking.” Perhaps the most singular purpose to this self-analysis (or written-self-analysis) is, in his words, “to wave at the attentive reader, calling attention to the artifice, the fact that this is a creation made of language; it is not the thing it describes.”

Each of the 36 parts echoes independently and redundantly, while Madden stops for breath only occasionally to project himself on the reader:

What if we are our book but our book is not us? What if this independent redundancy spins out of control and the inadvertent plagiarism becomes complete? (184)

…whatever we may convince ourselves, we will never know it all, and no matter our cries of originality, we are ever repeating, singing back the melodies we heard somewhere before, whether we remember or not. (222-3)

As if to pull in the reins after the freewheeling “Independent Redundancy,” Madden finishes the collection by meditating in its final essay on fixity. As if in counterpoint to the multitude of voices, influences, and points of view in the previous essay, Madden situates “Fixity” firmly in his own, starting at a centuries-old grave in Greenwich, England and moving outward to the situation of Greenwich as earth’s prime meridian and finally addressing the gathered crowd with “how you necessarily apprehend my essay, dear reader: by depending on my observations as I in turn depend on the observations of others, near and far, here and long gone.”

Which is all fine and would be a fitting theoretical tie-in to, even justification for, the multitude of voices and echoes he invokes through the previous essay. But Madden goes deeper into himself, deeper into his own fixed point in the landscape, or rather a fixed point adjoining his. As he was traipsing through Greenwich, “111 degrees 52 minutes 24.1608 seconds west of me,” Madden’s wife felt the surging limbs of what would be their fifth child within her and remembered the ghost-child they lost a year and a half earlier, “realiz[ing] with a start that had this lost child come to term, there would have been no time for this new person inside her now, so strikingly active so near to advent; that the loss of one is the profit of another.”

And thus the essay and the book end with a beginning, a birth, that might have been a continuation had circumstances, fate, or whatever shrugged and begun a family a year and a half earlier. The forces that shaped Madden’s life and words would have had an entirely different prime meridian, his family started from a different point, the quotidian moments given substantially different context, all built upon “rigid foundations and relative freedom” from which “we flail against nothingness or take stock from temporary origins and movable objects.”

 

—John Proctor

NC

Proctor

John Proctor lives in Brooklyn, New York with his wife, two daughters, and Chihuahua. His publications include Atlas & Alice, The Weeklings, Essay Daily, The Normal School, The Austin Review, DIAGRAM, Superstition Review, and Underwater New York. His essay “The Question of Influence” was a recent Notable selection in The Best American Essays 2015, and his essay “The A-Rod of Ballhawking” was nominated for a 2016 Pushcart. He teaches academic writing, media studies, and communication theory at Manhattanville College. You can find him online at NotThatJohnProctor.com/.

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Apr 022016
 

Mahtem Shiferraw - Author photo
Fuchsia

It really is a thrill to feature three poems from Mahtem Shiferraw’s debut poetry collection, Fuchsia, here at NC. Longtime readers may remember Mahtem from our production masthead many moons ago, and now she rejoins us having received the Sillerman First Book Prize for African Poets. Fuchsia is a thrilling debut, and, as Yusef Komunyakaa praises, it “captures mysteries of the heart and mind alongside everyday rituals.” Enjoy this small slice of a beautiful book. — Benjamin Woodard

 

Talks about Race

I have dark skin, dark face, and darkened eyes –

the white resides only outside the pupil.

I don’t know how to think of this –
I wasn’t taught to notice one’s colors;

under the sun, everyone’s skin bounces streaks of light.

Which do I claim? It is difficult to explain
the difference between African & African American
the details escape me, thin paper folding the involucre of a burning fire.

I am “other”; it is such
an indistinguishable form, beyond the construct of the proper self.

Sometimes I am asked
if I am Indian, Middle Eastern, or Biracial;

I don’t know what to say to these people
who notice the shape of the eye before its depth
the sound of the tongue before its wisdom
the openness of a palm before its reach.

And what to those who call me, “African”?
Don’t they know I can count the years spent back home
wishing I knew I was “African”?

And how to cradle, and contain the disappointment that is
rekindled whenever someone does NOT know
my Ethiopia, my Eritrea.

I don’t know how to fit, adjust myself within new boundaries –
nomads like me, have no place as home, no way of belonging.

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E is for Eden

It lasts a while. The bitter aftertaste of sorrow
and something sweet. Like honey waves soaked

in lemon juice, it creates hollow spaces between
moments of unabridged whiteness. Glance over

once and the skies have a different story to tell.

You were created with a purpose:

a land of all lands, neither heaven nor earth
suspended between the blue wings of oceans
and their unoccupied gaze.

Once there were creatures here, inhabiting
your luscious corners, and they prodded and swiveled
and flew to please you.

You were made in somebody’s image,
but you have forgotten.

What remains now is the aftermath –
even that stripped of all its glory.

The eyes of men are saddened by the sudden
shadows unveiling in women’s eyes. Your breath

was once dirt, ash, tangible and ugly. Your face
did not exist. The contours that shape your smile,

your hairline, the timid dimple on the left cheek, they
were all ash. Here is what was: only the thought of

being loved and rejected, being loved and birthed,
being loved and destroyed. Your breath does not have

the apple’s acrid taste; it smells of something wild and
unadorned, it says do not fear, it is I, it whispers at night

when you are cold and shivering and alone in this world.

This breath is not yours to take:
mend it and oceans will flow once again.

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Synesthesia

White is a color,
black is art. Nod to those before you.
Brown is a sense of being, and dark hovers
only beneath the shadows of necks –
those who fear it most. Here is to fear.

Red are the tip of shoes of the woman
who waited in the bathroom patiently when I was
only three – to steal my mother’s ruby earrings. White

is the unsafe silence of bathroom walls, and their
morbidly cubic nature. White is water running under
my feet, the innocent screams of school children
at lunch hour.

Brown is the anomalous texture of curtains from my
childhood. Brown is also the parched wood
of a small coffee-grinder my mother used. Brown as in
the intimate angles of sharply cut ambasha my grandmother
made, flour and water, lemon skin and cinnamon shreds, the
dark heads of raisins, while on a cargo plane back to Ethiopia,
the tired eyes of war-victims and their slow recovery. Brown
is also the color of my skin, but I didn’t know it then.

Blue are the waters embedded in my grandmother’s eyes. Blue is
the whisper of the Nile, Abbay. Blue is the color of the brave. Blue
are the walls of empty neighbors houses and the insides of their
living room. Blue is skimmed milk tearing the sky.

White sometimes comes back at odd hours. White are stranger’s eyes
drenched in sadness. White is the uniform of doctors, the smell of
alcohol and something mad. White is absence. Purple comes back

as shoes, American shoes. Sky and blood under a quiet shadow. The
shadow of a young tree planted in memory of a murdered teacher in
high school. And the milky paste of over-ripe figs spurting prematurely,
spiking insides. Purple is warmth in mid-July, when rain hails on corrugated
tin roofs and the leaning green arms of lonely corn plants.

Yellow is crying; it’s a bell, a cathedral in Asmara? A school? Or the
shriek of a mass funeral. Yellow is dead. But listen to black. Listen to
black notes, black heart, listen. Black is art. Not of the artist, the art of
being. The painful art of memory. Here’s to remembering.

— Mahtem Shiferraw

Excerpted from Fuchsia by Mahtem Shiferraw by permission of the University of Nebraska Press. © 2016 by the Board of Regents of the University of Nebraska. Available wherever books are sold or from the Univ. of Nebraska Press 800.848.6224 and at nebraskapress.unl.edu

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Mahtem Shiferraw
is a poet and visual artist who grew up in Eritrea & Ethiopia. Her work has been published in The 2River ViewCactus Heart PressBlood Lotus Literary JournalLuna Luna MagazineMandala Literary JournalBlackberry: A MagazineDiverse Voices QuarterlyThe Bitter Oleander PressCallaloo Literary Journal and elsewhere. She won the Sillerman Prize for African Poets and her full-length poetry collection, Fuchsia, was published by the University of Nebraska Press. Her poetry chapbook, Behind Walls & Glass, is forthcoming from Finishing Line Press. She holds an MFA in Creative Writing from Vermont College.

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Apr 022016
 

Circling Raven Prophecy, Kay O’Rourke

 

This writing project began as a flash of an idea when I first saw artist Kay O’Rourke’s series of thirty paintings, The River Remembers, in Spokane’s Marmot Gallery. I thought how great it might be to have a collection of written somethings to go with these artworks that depict the history of the Spokane River Gorge. My sense was the somethings shouldn’t detract or distract from Kay’s gorgeous paintings. If the writings somehow paid homage to the paintings, I mused—perhaps by taking the same shape (Ah, yes, that magical, sometimes mystical SQUARE!), and if they weren’t too prissy-looking (as regular lineated poems can often appear)—then maybe just maybe the literary enterprise might indeed complement the visual art.

Of course we were talking about an ekphrastic endeavor, and obviously the writings needed to be prose. As in prose poems. Friends at Spark Center, a tutoring center in my neighborhood, helped bring this crazy idea to life. And of course so did the fabulous area writers who threw themselves into this project with such passion. Some of these were novice writers; some were graduates of or students enrolled in Eastern Washington University’s M.F.A. Program. Several were high school students in the Salish Language School, a school that fosters education in traditional tribal language and culture for local Native American young people. This amazing group of area poets and lovers of our river came together, each taking on a painting or two, and “living in it” creatively, roaming imaginatively among its details and history.

Presented here are eight excerpts from the series of twenty paintings and their accompanying prose companions. So many surprising sources of joy fed into this project: the contemplative moments we all spent with the paintings, the intimate engagement of the writers, the stories that poured forth, the prose poems taking shape before us with such gusto, and the history we all learned together of our town and our river. We are grateful to Kay O’Rourke for these marvels of inspiration. I never dreamed all these unexpected sources of delight would, like small feeder streams, enter the great river.

—Nance Van Winckel

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About the Contributors

Kay O'RourkeKay O’Rourke.
Photo Credit: Jon Lepper, Tim Halloran Spokane Creative Life

Artist Kay O’Rourke

I work in oil and mixed media large scale drawings. I also play with found objects, creating artistic narratives. My work is narrative in nature, celebrating moments and memorializing them. The images can be about joy, humour, anger and even sometimes fear. I follow all the rules of good art making but let my inner person take me where I must go.

This last year was spent doing a commission of 30 paintings on the History of the Spokane River Gorge from the beginning of time up to Expo 74. I was commissioned by Jim Frank for Kendall Yards in Spokane these works now hang permanently in the Spark Centre at Kendall Yards. These works still represent my way of using “Majic Realism.” I believe Myth and Folk tales give a better sense of history beyond facts.

I’m drawn to naturalism, lyricism and myth. I consider my work to be “Paw Prints” of my life journey, the creation of myth from the ordinary.

The Writers

Megan Cuilla received her MFA from Eastern Washington University. She lives in Spokane, WA, with her husband and pet rats. Her work has been published in Rock and Sling and Knockout.

Once in a moon Jeffrey Dodd emerges from his bungalow in the foothills of North Spokane, shakes his fist, and returns to prune his shopping list.

Brooke Matson’s first full-length collection of poetry, The Moons, was published by Blue Begonia Press in 2012 and was also included in the 2015 Blue Begonia Press boxed set titled Tell Tall Women. Matson’s poems have appeared in Floating Bridge Review, CALYX, and various issues of RiverLitfor which she was the 2014 Poet in Residence.

Kathryn Smith’s poems have recently appeared or are forthcoming in Bellingham Review, Mid-American Review, Florida Review, Bluestem, Cleaver Magazine, and Ruminate. She was a 2013 artist resident at Holden Village, and her work has been nominated for Best American Poetry and the Pushcart Prize. She has an MFA in creative writing from Eastern Washington University and lives in Spokane, WA.

These students from Spokane’s Salish School contributed prose pieces: Ryem Abrahamson, Sierra Bates, Danny Boyd, and Shana Ellingburg.

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Raven Watching

After the painting Circling Raven Prophecy (#4)

#4Circling Raven Prophecy

See the reflection in my eye? That is you. It is sunset, or is it sunrise? Sometime before now, a tree branch snapped. The teal-tinted feather that covers my ear moves gently as you move. Everything cries out:  the scent of the river. My murder in the sky.  The man at the river’s edge. The men who are coming.

We flew from where we rested and now we circle the water, waiting. I used to believe things would be like this, circling and timeless, the banks of the river lush, alive. Things will change, sometimes in an instant, and sometimes forever. My beak is open as I breathe in. Tomorrow, I must remember today. One of my brothers carries a vine.

—Megan Cuilla

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The Flowing Clock

After the painting Spokan Chief Garry (#7)

#7Spokan Chief Garry

As I look down the stream, I see in it the generosity and unconditional love it sheds on my people. As I listen, it whispers along the shore all the uncanny secrets of life. We learn from the river; our way of life is like the river. We appreciate that every deed pours into the vast ocean of unknown; yet we stay as composed as the river floating through the luminous meadow. Giving back to our relations, we exist as the river, the people of this land. But as I look at the clock, I see they’re just like the clock, always ticking, running around in circles, running out of time. I begin to question, what happens to the clock as it drowns into the river? Will it keep ticking? Or muddle in the grasp of the water? The ticking stops, and the water talks. Listen.

*Translation notes: Spokan is Salish spelling of the anglicized Spokane.

— Sierra Bates

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Hope

After the painting The Indian Wars (#8)

#8The Indian Wars

I am a spirit, who was once a little girl. I thought after death would mean that I would be with the spirits, but when the spirit of death chose me, I was in the clouds, watching over my tribe and my family, until I do something good for my tribe. Then the syapé came, killing our horses and our people, and the spirit of death picked the horses’ spirits one by one.

I looked at the sky, which was red from the blood of the horses. I looked at my grandparents, my grandmother, crying, holding onto my grandfather as tight as she could, my grandfather, crying on my grandmother’s shoulder, wishing that hope could be as big as the sun. But at that time, it seemed that hope was smaller than the palm of his hand.

I promise that the next day, I will make hope bigger than the sun, bigger than anything. Not so that I could be with the spirits, but so there will be happiness in my tribe once again.

—Danny Boyd

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Legend

After the painting Indian Canyon Falls (#9)

Indian Canyon Falls

Heron watches the Falls

The secret to stillness is to tell yourself a story. Once upon a time there was a face in the falls. I tilt my head to feel the spray. Once upon a time he saw me. I tilt my tilted head, turn a widened eye. I am wondering, a wonder. Once upon a time he wandered. My face faces its own direction, something to do with motionlessness. Something in the water. In the light. Once upon a time a creature ceased flight. It’s something to do with flying forever. I will not disturb the water.

The Falls watch Heron

I am almost not here—cascade of my arms, the way I wear water and water wears me. One heron tilts its head, one leg raised toward…. The men broke camp; the new camp came. Only the horse gave notice. I thought death would be like floating on the water’s face forever. Then the herons came, their blue-gray feathers like a cloak tipped with light, and now I think it’s something to do with perpetual motion. They embody stillness, my opposite (I am ever moving, never constant, ever present). Part of me is water, part is air. I never grow cold.

—Kathryn Smith

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Only Lies Remain

After the painting The Hanging of Qualchan (#11)

#11The Hanging of Qualchan

Qualchan is my name. I am strong.

I was surrounded, but I was not defeated.

My wife Whistalks, my brother Lotout, and I were trapped by the white man. They didn’t expect me to go in with my head held high. Nor did I expect them to break our treaty. We were supposed to bring the white flags, but instead they brought rope and deceit. Twenty-seven already gone, and the three of us stand strong while they hold my father hostage. They tricked us. They’re liars! My throat may be snaked with the string of the wrong, but the fire in my heart will never die out. Hi čn yoyot. I am strong.

Tomorrow I must warn my people! Tomorrow I must tell them of the “Indian Land For Sale” and the “Have a Home of Your Own” that will appear on paper directed towards the foreigners of this land.

HI ČN YOYOT.  QUALCHAN ŁU I SKWEST

—Ryem Abrahamson

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The Empire Builder’s Lament

After the painting James Jerome Hill (#18)

#18James Jerome Hill

This idle leaves room for the goats to wander and taunt the wiry little dogs whose herding days are short. Not good. And giving the lean-about boys time to relax is not good for their industry or their understanding of provision. Even when we’re still, I’m to keep working out my fear and trembling. This land will never claim its own bounty.

When we move, all dominion moves with us and those boys are lumping coal into the box quicker than my little Lindell runs to fetch his pigs when they get a slop of liberty. We cut through Minnesota and Dakota so fast you could see Providence. Hear His voice calling out from the drive wheels: ta-lith-a cu-mi, ta-lith-a cu-mi, ta-lith-a cu-mi. And the prairie did rise.

Whatever future’s far shore we wash up on, this work multiplies in us like the bunched buffalo grass on the plains. Like Lindell’s little cutlets squeeing all over creation, and the voices boiling up from the steam. The other night, big harvest moon calling us home, I wondered if I’d see them again on this side. Even here, elbows deep in this valve chest, a voice calls cu-mi, and I am yet complete.

—Jeffrey G. Dodd

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Four Faces

After the painting Union Depot Demolished (# 28)

#28Union Depot Demolished

I am the silent observer. The beauty of repetition, a stem of possibilities. I am time. I cannot fall. I have to stay strong even though the walls surrounding me are my prison. Keeping me locked away from the outside world. Allowed to look but not touch. That is my punishment.

As the world around me collapses, I remember the very beginning. The people. The plants. The life. The peace. I remember years later, a happy couple boldly dancing on the dirt, sharing their joy with the world. I remember the freedom, back before I was put in my tower, trapped. Now all I see is broken pavement. I don’t know or understand why the world around me collapses. Beneath my numbers, I see destruction. A crashed train, broken cords, a light holding on to all it has left: its color. Red.

I wish I could leave my prison and bravely help the world pick itself back up. I strive to help but no one opens the door to my eternal cage where I am confined.

Tomorrow I will continue to focus on the beautiful repetition and on the way the wind feels on my 365 stones. But today I mourn and put on four faces: strong, bold, brave and fierce. I will prove to the world that not everything can be demolished.

—Shana Ellingburg

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The New Season

The Herbert H. Hamblin Conservation Area (# 30)

#30The Herbert H. Hamblin Conservation Area

To live in rivers is to live among mirrors. My family—we are grafted from one another, sprouting along the river rock like lichen. I have mistaken their wings for mine, recog­nized their coal-black beaks dipping among the yarrow and felt my own hunger raise its neck. Once I looked into my own eyes and saw a raging falls, a red stream of salmon twisting like a muscle across the land, a fire running with yellow feet across the bodies of trees.

A moment ago, I floated among the sedges—the ones with roots that taste like the caps of mushrooms—the water smelling of rusted steel. Goslings pushed their tiny bodies across the current, following their mother’s wake like beads of dew running across a spider’s thread. Then I tasted the delicate, warm dust, bitter with the sap of unfamiliar trees. It fell around us like a new season.

Maybe it is the sun pausing like a hot ember in the clouds, or maybe it’s the scent of burnt feathers mingled with pine, but my sister says the word first. My call follows hers—like the goslings following their mother—and then we are all calling with our blackened mouths, the memory lifting us like a many-winged river from the earth. I glide higher among the flock, heart pounding, and as I do, the sun itself flies down to rest on the water—fanning its red wings.

—Brooke Matson

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author pic

Nance Van Winckel’s newest book is Ever Yrs, a novel in the form of a scrapbook (Twisted Road, 2014). Book of No Ledge, an altered encyclopedia, will appear with Pleiades Press’s Visual Poetry Series in November 2016. Nance teaches in Vermont College of Fine Arts’ MFA in Writing Program and lives in Spokane, WA.

 

Apr 012016
 
Rick Jackson

Richard Jackson

Robert Vivian

Robert VIvian

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From Traversings, by Richard Jackson and Robert Vivian (Anchor and Plume, New Orleans, publication imminent).

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FINDING PARADISE (RJ)

When Dante finally arrived there he had no words
for it. The frog giggers in the river must think
their spotlight is their way to revelation. The dam’s
been broke for years, the mills broken wheels turn back
to a time before time, if they turn at all. The evening sky
still leans down over the ridge line as if it wanted to be
water. The river rubs against the ledge rock. Here we are
far from beheadings and crucifixions in what was once
the land of paradise, a word that came from the Persian
meaning an enclosed park. They must have had this place
in mind. One trout tries for but misses the Jesus bug
that skates away. At night the bats will take what the fish have
missed. Plato thought we are born with a memory of Paradise.
Imparadise’d in one another’s arms is what Milton said.
I think that owl wants to be the moon. He knows
Paradise is the life you’ve hidden from yourself.

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Frog Light (BV)

I, too, was king of the frogs, king of the night palpitant of shadows and king of the white hot spotlight that kills with its stare in the sweeping net of a searching full moon, myself dazed between water and earth on the brink of paradise as the gigger closed in on me with his bamboo spear and beer brewing alchemy in his veins, and what will do you with your vast immortal longings and amphibious wishes deep in the Ozarks before I am speared and the angels pin back their wings and lean in closer to listen to the murder of my race. They say we taste like chicken but the whole world sings in our swollen throats. Before the light freezes me I tell the river I won’t let a window kill me.

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WINDOWS (RJ)

There’s no telling how many worlds live inside our windows.
Each breath raises that question. Each question is a ladder
that has nothing to lean against. Above it, the full moon reveals
the torn paper edges of clouds it hides behind. Tonight it is
just cool enough to stop the insects’ singing. Look the other way
and a distant storm silhouettes the far hills. We have to live on
the rim of these dreams. We make, from a cluster of stars, shapes
they would never agree to be a part of. No one knows what to make
of the solar dust that may or may not explain our origins. When
you lose your sense of smell, they say, your chances of dying
increase exponentially. Why is another question. We name things
to stop them from changing. These are not windows, but mirrors.
This evening, I swear, I saw a stone learning to become a star.

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When Stones Abandoned The World (BV)

All at once they picked themselves up from the barren fields and started walking toward the horizon, silent, solemn march going to the stars even as they tried to become them and rose the thrust and the warbler and the startled robin and I could see that the stones were naked but unabashed and unashamed wanting only to be rinsed again and rose the wind and the dust and where were the stones going but to another place not of their keening and to watch them go I felt abandoned and I did not ask the stones why they were leaving everything behind and rose other birds and still others, starlings and crows and turkey vultures and smoke from a distant fire and if you could see the stones moving, if you could see them turning away you would wonder if home is a dream we tell ourselves to keep from dying though death is with us always in the smallest things, a moth on the windowsill with its paper wings full of dust, old, faded pictures of loved ones long since gone into the ground, but the stones wouldn’t say for they had lain prostrate long enough and the whole earth seemed to tremble and shimmer in the wake of the their passing rife with jewel fire of beauty—I mean the way the ground burned after them in variegated flames, I mean the heart and quake of it that had its equivalent somewhere inside me as I was left behind and there was nothing I could do but watch the stones go on their steadfast journey and vault of sky above them, changing itself with every passing cloud to show them how it was done.

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NOT THE SAME (RJ)

Sometimes our dreams flutter with the moths against
the window in their desperate attempt to reach the darkness.
I don’t know what drives them. The universe inside us
spins along as if it knew where is was going. It is the same
with our rudderless words. By now the storm that has been
crawling along the mountain tops has begun to show itself.
The sounds of individual drops of rain on the window are
really one sound. The other day an asteroid, a rock from
some world we’ll never see, passed, as the astronomers say,
nearby. Stevens called this the odor of stars that links us to
whatever is beyond us. St Francis knew it and talked to trees
and stones, to birds and stars, to the world he loved because
it was a world inside this world. Tonight the news is enough
to put the heart is a sling. The hands of the rain are empty.
The moth doesn’t know which way to turn. The night sounds are
padlocked in their stalls. In the morning the sunlight will judge
what the night has left. To think of love is not the same as having it.

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Day Is A Word (BV)

How are we to make the shadows whole wherever they fall or the sound of rain that comes sweeping down then timpanies away and the moth trapped in a jar, oh, the holy fluttering like a heart skipping a beat wanting to keep on forever and how is the shadow of a doorway absence unto itself that seeks not its own fulfillment but the vision of a door as a dream the shadow loves more than itself for it carries its darkness as a reckoning and the stillness of an empty church at the foot of a mountain and the devout ear of the teacup whose reign of openness is here to stay and the moth again so light against the glass even its desperation carries a stroke of sweetness into the land of bottled oxygen and because the moth is quiet in its doom somehow the whole world is blessed and the shadows again, partial, shifting and reverent in their silence that belies the night they come from and day is a word, a cry and a candle flame as somewhere else on another page the moth is free and flies imperfectly for all of us in a delirium of loops, writing its impossible verses in the air.

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A DOOR WITHOUT A ROOM (RJ)

Wenceslas Cathedral, Olomouce, Czech Republic

Sometimes our dreams flutter with the moths against
the window in their desperate attempt to reach the darkness.
I don’t know what drives them. The universe inside us
spins along as if it knew where is was going. It is the same
with our rudderless words. By now the storm that has been
crawling along the mountain tops has begun to show itself.
The sounds of individual drops of rain on the window are
really one sound. The other day an asteroid, a rock from
some world we’ll never see, passed, as the astronomers say,
nearby. Stevens called this the odor of stars that links us to
whatever is beyond us. St Francis knew it and talked to trees
and stones, to birds and stars, to the world he loved because
it was a world inside this world. Tonight the news is enough
to put the heart is a sling. The hands of the rain are empty.
The moth doesn’t know which way to turn. The night sounds are
padlocked in their stalls. In the morning the sunlight will judge
what the night has left. To think of love is not the same as having it.
Today it is a Cathedral and its famous carved door for Saints
Cyril and Methodius that has traveled all over Europe looking
for a home. You have to imagine where that door might
lead you. Outside the word for fog creates its own world
as it wraps itself around the campanile. There must be a name
for that empty space between the fog and the ground. A couple
of squirrels disappear down its whitening aisle. Inside, a woman
tapes a prayer to a wall with other prayers, and hopes it will
find its way to a love that lies beyond the wall.

Tomorrow will be
Chattanooga where the gypsy moths, who are never anything
like angels, have left their tattered webs in the trees that, like
so many Sybils, have started to deal out their leaves. A friend
once said the leaves are the souls of everyone who has been
forgotten. They fall to meet their own lost shadows. Who has
an answer we can believe in? We have put so many padlocks on
our dreams. Every word should be a door, though our words
last longer than what they mean. Or, every word should be
a prayer, a kind of love to open again our lost or forgotten loves.

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Dream Book (BV)

The hour just now and the holy stillness in rapt awakening, and see how the chair waits for the body and the table upright for the books and the hand that would turn the pages, fingers on paper, leaf after thoughtful leaf while outside other leaves fall from the book of a tree, each one a poem unto itself and so bright in its glowing as I dream of a book or it dreams me and mysterious words within and here are scales of music and a whole cathedral of choir and the love of pure sound in the valley of throat, that hollow chute where emptiness is fulfilled so the book is also my heart wanting so much it can’t be said, maybe the stars or mice out in the fields, maybe the unplowed furrows, the lonely rows and the train tracks beyond stained with creosote and the long moaning of many miles and the crushing burden of coal cars moving brothers of earth across the earth and away from this moving caravan a butterfly, so light no train could bear it nor any human heart though mine will try by saying simply yes to it, go, my gentle friend who cannot see me.

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Richard Jackson has published over twenty books including thirteen books of poems, most recently Retrievals (C&R Press, 2014), Out of Place (Ashland, 2014), Resonancia (Barcelona, 2014, a translation of Resonance  from Ashland, 2010), Half Lives: Petrarchan Poems (Autumn House, 2004), Unauthorized Autobiography: New and Selected Poems (Ashland, 2003), and Heartwall (UMass, Juniper Prize 2000), as well as four chapbook adaptations from Pavese and other Italian poets. Traversings (Anchor and Plume), an exchange in poems and lyric prose with Robert Vivian, will appear in April 2016. He has translated a book of poems by Alexsander Persolja (Potvanje Sonca / Journey of the Sun) (Kulturno Drustvo Vilenica: Slovenia, 2007) as well as Last Voyage, a book of translations of the early-20th-century Italian poet, Giovanni Pascoli, (Red Hen, 2010). In addition, he has edited the selected poems of Slovene poet, Iztok Osijnik. He also edited nearly twenty chapobooks of poems from Eastern Europe. His own poems have been translated into seventeen languages including Worlds Apart: Selected Poems in Slovene. He has edited two anthologies of Slovene poetry and Poetry Miscellany, a journal.. He is the author of Dismantling Time in Contemporary American Poetry (Agee Prize), and Acts of Mind: Interviews with Contemporary American Poets (Choice Award). He was awarded the Order of Freedom Medal for literary and humanitarian work in the Balkans by the President of Slovenia for his work with the Slovene-based Peace and Sarajevo Committees of PEN International. He has received Guggenheim, NEA, NEH, and two Witter-Bynner fellowships, a Prairie Schooner Reader’s Choice Award, and the Crazyhorse prize, and he is the winner of five Pushcart Prizes and has appeared in Best American Poems ‘97 as well as many other anthologies. Originator of VCFA’s Slovenia Program, he was a Fulbright Exchange poet to former Yugoslavia and returns to Europe each year with groups of students. He has been teaching at the Iowa Summer Festival, The Prague Summer Workshops, and regularly at UT-Chattanooga (since 1976), where he directs the Meacham Writers’ Conference. He has taught at VCFA since 1987. He has won teaching awards at UT-Chattanooga and VCFA. In 2009 he won the AWP George Garret Award for teaching and writing.

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Robert Vivian’s most recent collection of prose poems, Mystery My Country, will be published in 2016, along with Traversings, a new book co-written with Richard Jackson. He is the author of The Tall Grass Trilogy—The Mover of Bones, Lamb Bright Saviors, and Another Burning Kingdom, in addition to the novel Water and Abandon. He’s also written two books of meditative essays, Cold Snap as Yearning and The Least Cricket of Evening. Several of his plays have been produced in New York City and his monologues have been published in the Best Monologues series. His essays, poems, and stories have been published in Harper’s, Georgia Review, Creative Nonfiction, Alaska Quarterly, Ecotone, and dozens of other journals. He teaches at Alma College in Michigan and has taught several times at various universities in Turkey, especially in Samsun, Turkey.

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Mar 252016
 

latinoconvopics

It’s the April issue, the vernal surprise, the annual ritual of renewal, the turning of the year, the lengthening of days, mud season in Vermont, moments of  astonishing optimism for no reason, that issue. We have amazing things for you. We’ll knock your socks off. You’ll find it more entertaining than Donald Trump and Ted Cruz (okay, well, maybe not).

We have a couple of group items this issue. The first is a massive nine-person interview/conversation on the subject of Latino writing in the United States, Mexico and Puerto Rico today. Jonathan Marcantoni is the moderator/interlocutor. The conversation is lively, startling. Punches are not pulled. There are also book lists and reading recommendations. This is the state of the art.

I think this is a destructive mindset that is born from a marginalized, colonized perspective. The Oppression Olympics. The Authenticity Maze. The relative slice of the literary representation pie is not large enough for Latinos to start fighting over. I don’t know which Latino group “dominates” who. (The question makes us sound like we’re all battling for literary supremacy in the octagon.) —Rich Villar

  MasandeMasande Ntshanga

 Ben Woodard reviews South African author Masande Ntshanga’s debut novel The Reactive (we also have an excerpt coming).

Masande Ntshanga’s engrossing debut novel, The Reactive, unfolds during the Mbeki presidency. Lindanathi, a young HIV infected man in Cape Town, spends his days huffing industrial glue with his friends Cecelia and Ruan. The trio work together to illegally sell Lindanathi’s extra ARV supply—Cecelia and Ruan are not infected, and Lindanathi is a lucky ARV recipient—to local reactives for quick cash. In lieu of chapters, the novel is broken into five parts, and the first dedicates itself to establishing the relationship between Lindanathi, or Nathi, and his friends, who casually float in and out of day jobs, HI Virus group meetings, parties, and cloudy conversations. Nathi tells his story in first-person POV, and the reader is swiftly immersed into the daily ennui of the gang. In many ways, his life is one of limbo, and death’s inevitability frequently crops up, whether Nathi claims, “It’s still a long stretch of time before I die,” or plays games like Last Life, which “is the name we’ve come up with for what happens to me during my last year on the planet.” —Ben Woodard

Cynthia photo Shawnigan lakeCynthia Flood

We have a brand new story from Cynthia Flood, who has appeared here before and only gets better. This one is weird in the best way, a night wanderer, the clopping of police horses…

Strong feet stepped into the boy’s dream, came nearer down the hall, and he sat up, but the sounds went past, outside.

Quick, to the window.

Down the dark quiet street came four horses, two by two, with police on top. Streetlights shone on the animals’ rumps, the riders’ yellow vests. Clop clop. Harness glinted, tails waved, manes lifted and subsided. The horses too wore reflective yellow, in bands round their ankles. —Cynthia Flood

 

Mahtem Shiferraw - Author photoMahtem Shifferaw

We have poems from Mahtem Shifferaw’s debut colletction:

I wasn’t taught to notice one’s colors;

under the sun, everyone’s skin bounces streaks of light.

Which do I claim? It is difficult to expla
the difference between African & African American
the details escape me, thin paper folding the involucre of a burning fire.

—Mahtem Shifferaw

 

 

Ruth_WebRuth Lepson

And a gorgeous poem from Ruth Lepson on the fascinating American artist Cy Twombly who spent much of his working life in Europe, coming after the Abstract Expressionists and combing their influence with a vast interest in Classical art that surrounded him in Italy.

your chair looks kinda wobbly
cy twombly

I think you’re an anomaly

you’re practically
sliding off the chair
the window’s
broken by lines in a grid
it’s time to stand–
but sit for another minute
give us your specifics
wait — you don’t care
what you get across
or to whom

……………………—Ruth Lepson

Portrait of Cy Twombly by Fielding DawsonPortrait of Cy Twombly, Fielding Dawson

Pierre Joris 2Pierre Joris

Pierre Joris, who also has appeared here before (as a poet, translator and memoirist), returns with a segment of memoir.

Myth, I had learned that very year upon encountering the work and the person of the American poet Robert Duncan — who was to write one of greatest anti-Vietnam war poems the very next year —, the word “myth,” “mythos,” is akin to “mouth,” i.e. myth is the story told, the story that accompanies the ritual action, some action that starts out as, or wants to turn itself into, exemplary ritual. But maybe it is the retelling of the story — whatever it is — that recreates the action that turns the story into ritual and thus self-reflectively creates the myth. —Pierre Joris

Jackson VIvianRichard Jackson & Robert Vivian

Richard Jackson, a poet, and Robert Vivian, in his latest incarnation as an essay writer, have combined their voices to produce a book of poems and essays from which we have a preview excerpt.

All at once they picked themselves up from the barren fields and started walking toward the horizon, silent, solemn march going to the stars even as they tried to become them and rose the thrust and the warbler and the startled robin and I could see that the stones were naked but unabashed and unashamed wanting only to be rinsed again and rose the wind and the dust and where were the stones going but to another place not of their keening and to watch them go I felt abandoned and I did not ask the stones why… —Robert Vivian

Warren Motte 2016Warren Motte

Warren Motte favours us with a really fascinating essay on exoticism and how recent French novelists have used/portrayed America in their work.

I realize, all of a sudden, that my title sounds like the name of a rehab facility in Arizona, a place where “happiness” is very rare indeed and where the “shores” are notional ones, at best. I am quite certain that Baudelaire was not thinking of such a place, as he conjured up a luminous vision of utopia in the first quatrain of his sonnet, “Exotic Perfume”:

When, with both my eyes closed, on a hot autumn night,
I inhale the fragrance of your warm breast
I see happy shores spread out before me,
On which shines a dazzling and monotonous sun.

—Warren Motte

Michelangelo - Daniele da Volterra, 1533, Florence ItalyMichelangelo by Daniele da Volterra, 1533

Julie Larios is back with a new Undersung essay, this time focusing on the sculptor Michelangelo, who also happened to be a surpassing poet. For centuries only a sanitized version of his poetry existed in print…

For more than 200 years, this version of the poems – “discretely doctored” to disguise the homosexual nature of them – was the only one available. By the mid-1800’s scholars began to look back at the originals for comparison; in 1893 the British homosexual activist and poet/critic John Addington Symonds offered a more authentic version, correcting the changed pronouns (from “she” back to “he”) and adding in several of the more explicit poems not included in the 17th-century edition. By 1960 a complete edition was published that included 400 pages of editorial notes referring to the originals. —Julie Larios

Julie LariosJulie Larios

IMG-20160223-WA0005Óscar Oliva

We also have poems from the Mexican poet Óscar Oliva. Yes, yes, we are beginning to tap a steady flow of Mexican lit.

I am just one more shoulder in the crowd marching through,
teargas fumes me,
derailed trains burnt out at the terminal
ripped up tracks and the attack
of the police, of the army, of the riot squad
all in battle formation,
the Zócalo is a rifle butt in the face,
there’ll be more battles… —Óscar Oliva

 

Thomas SimpsonThomas Simpson

 Tom Simpson returns with another essay on his beloved Bosnia-Herzegovina. Once again his guide and inspiration is the wonderful poet Goran Simic (who also has appeared here on NC).

Like an existentialist’s bad joke, Goran’s driveway sits on a dangerous curve. The circular, convex mirror posted across the street, where the sidewalk is, helps only so much. All it tells you is whether a car is bearing down on you, right now, from the left. Once you make your move, all bets are off. The best you can do is utter a prayer, or mutter a curse, before you lurch into the unknown. —Thomas Simpson

Sejla Sehabovic and Goran Simic, Sarajevo 2014Goran Simic

And there is, as I always say, more. John Proctor reviews Patrick Madden’s new book of essays. We have an excerpt from the nonfiction anthology Dirt. There will be something from Ireland and a new NC at the movies. And Nance Van Winckel returns with an ekphrastic extravanganza, a series of creative prose responses to paintings by Kay O’Rourke, many of them by students from the Salish Language School in Spokane, Washington.

There may even be more, or there may be changes, things that surprise even me. There always are.

Mar 142016
 

Lina Wolff

The real strength of Bret Easton Ellis and the Other Dogs isn’t that it hews closely to this one prescribed theme. In fact, the reason this book haunts and horrifies and challenges us so much is that it strays so widely, and so wildly, from any fixed structure or approach. — Mark  Sampson

Bret Easton Ellis

Bret Easton Ellis and Other Dogs
Lina Wolff
Translation by Frank Perry
And Other Stories, 2016
$15.95

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Men are dogs. This is the prevailing theme of Bret Easton Ellis and the Other Dogs, a debut novel that has already turned Sweden’s Lina Wolff into a literary sensation. Wolff’s project – a text at once fragmented enough to pass for a short story collection and yet untraceably centred on the character of Alba Cambó, a writer of violent, horrifying tales who has been diagnosed with terminal cancer – draws a connection between the canine-like nature of human males and the limitations of revenge against their more animalistic natures by women. Setting Alba’s story mostly in colourful Barcelona, Wolff renders it into a kind of narrative kaleidoscope, told through the eyes of her friends, lovers, and acquaintances.

Wolff’s own life seems as kaleidoscopic as the story she has created. She has done stints in both Spain and Italy, and now lives in southern Sweden. She has published one previous book, a short story collection called Många människor dör som du (Many People Die Like You; Albert Bonniers Förlag, 2009), which was met by strong reviews. She writes with an unmistakable focus on feminism – but it is a peripatetic feminism, one that looks to travel widely across the expanse of gender dynamics, and to hit them from a multitude of angles. Ironically, one of her biggest literary influences appears to be French shit disturber Michel Houellebecq, whose own work makes a deliciously comic appearance in Bret Easton Ellis and the Other Dogs.

Wolff’s novel’s title is explained by the back-cover copy, but readers will be misled if they think the following is a summation of the whole book: “At a run-down brothel in Caudal, Spain, the prostitutes are collecting stray dogs. Each is named after a famous male writer: Dante, Chaucer, Bret Easton Ellis. When a john is cruel, the dogs are fed rotten meat.” In actuality, this sequence comes relatively late in the novel, and yet captures the very essence of book’s theme. Here it is, narrated by character named Rodrigo Auscias, a man who once had a threesome with Alba and one of her casual boyfriends:

We’ve got a kennel and the dogs in it are all named after famous writers, she had said. Whenever some guy pays us a visit and is nasty to us, we give the dogs rotten meat. I couldn’t help laughing at the whole idea at the time. Passive rebellion is what they call that, I informed her. When you’re powerless, passive rebellion is what you come up with. It’s also called projection. You make the dogs suffer for what the men have done to you because the dogs are weaker than you. It’s like a father who abuses his children because the factory owner has forced him to work too hard.

Rodrigo goes on to ask where the women got the idea from, and the say they were once visited by an “intellectual feminist” who planted the seed in their minds. This term, passive rebellion (one might also dub it a kind of low-level terrorism), has, the reader will now realize, played a huge role in the various chapters that have preceded this scene. This idea of punishing an animal for the sins of a person has appeared a couple of times already in the novel, with the murder of a canary in one chapter and the boiling of a cat in the other. With a sharp, unflinching eye, Wolff shows us that revenge can take many strange, off-kilter forms.

Yet the real strength of Bret Easton Ellis and the Other Dogs isn’t that it hews closely to this one prescribed theme. In fact, the reason this book haunts and horrifies and challenges us so much is that it strays so widely, and so wildly, from any fixed structure or approach. This lack of a traditional narrative arc allows Wolff’s imagination and talent to sore: there were several points throughout the novel’s episodic approach where I was wowed by her out-of-left-field audacity and the unexpected twists in the turn of events.

A summary of these sequences would prove to be as disjointed as the novel itself. The story begins with an unnamed narrator recounting the time that Alba was spending time with one of her lovers, a man named Valentino, and informed him after a romantic episode together that she was in fact dying from cancer and would not be around for very much longer. The novel then shifts and we soon learn who this narrator is: a young girl named Araceli Villalobos, who lives in the same apartment building in Barcelona as Alba. We learn that Alba is gaining notoriety in the neighbourhood for publishing a series of brutal, feminist-infused short stories in a magazine called Semejanzas (Spanish for “Similarities.”) The most memorable of these pieces involves a man who kills himself after humiliating himself at his own surprise party by farting loudly just before turning on the lights.

The story soon shifts as Araceli learns of a woman from South America named Blosom who is living with Alba. Alba attempts to pawn off Blosom to Araceli and her mother as a kind of live-in housekeeper. After that happens, Wolff takes us on a detailed, first-person tour of Blosom’s life. We learn that she was once married and had a young son who was killed in a traffic accident. We also learn that Blosom began an affair with a married man while working as his housekeeper, right under his wife’s nose. The tension in the household comes to a head during a scene in which Blosom is helping the wife, whose name is Jessica, take a bath. This was one of the most audacious scenes in a novel full of them:

“You’re a pretentious little ignorant cow,” Jessica cried. “Is that what got drilled into you while you were growing up, that there’s nothing more important than giving a man a child? Hah. Along with all those Venezuelan soaps you watch. that’s soft porn for old ladies, all of them thinking the best thing you can do for a man is to give him a child and then the women are left with chains around the ankles and a ring through the nose, stuck with life in a cage. Fortunately, Vicente doesn’t belong to the old school. He doesn’t actually want to have children.”

Our eyes met in the mirror on the other side of the bathtub. I hate you, I thought. I hate you so much it’s killing me.

“You’ve got something in your hair,” she said.

“What?”

“It looks like sperm.”

“Well it’s not that.”

“Would you mind washing it off, please.”

Bret Easton Ellis and the Other Dogs is full of these kinds of jarring, shocking sequences, and they infuse the novel with an inventiveness rarely seen in contemporary fiction. As we go along, the perspective of the book changes once more. By the time we meet a girl named Muriel, a classmate of Araceli’s at the translation school where she is studying, we get a sense of just how decentralized this book’s structure is.

Eventually we loop around to the story of Rodrigo. He has his threesome with Albo and her casual boyfriend Ilich. Ilich uses his cell phone to film part of the encounter and threatens to reveal the video to Rodrigo’s wife, Encarnación, unless Rodrigo agrees to help him. What does Ilich want? He wants Rodrigo’s help breaking in the Spain’s competitive timber market. It’s actually more compelling than it sounds. Rodrigo does what Ilich wants of him and he comes to think he is now free of the man. But Ilich shows up one day at Rodrigo and Encarnación’s apartment in a scene that is rife with domestic tension. The section concludes with Rodrigo watching as his wife descends into a harrowing alcoholism that he cannot stop.

Themes of cruelty and of vengeance churn through this book at every turn, to the point where such acts feel completely normalized. Yet Rodrigo, in detailing his encounters with Alba and Ilich, offers a powerful counterbalance to the notion “passive rebellion” discussed above:

I have no political convictions. I don’t give a damn about politics. People with political convictions frighten me. People who are willing to sacrifice themselves for an idea are also willing to sacrifice other people for the same idea. That applies to people who have been the victims of injustice as well. They are the most dangerous people of all because they believe themselves entitled to revenge.

This one passage helps to snap so much of this novel into focus. The idea that revenge is an entitlement, even if (or, in the case of passive rebellion, especially if) the victims of that revenge are not the same individuals who victimized you in the first place, feels very much like a contemporary preoccupation. The entire world, this book is seeming to say, is full of randomized violence and cruelty, and ideas of “motive” or “blame” may very well be passé in this new reality. Wolff’s dark vision of how our world now operates is a disturbing, but deeply compelling, one.

— Mark Sampson

NC

Photo by Mark Raynes Roberts

Photo by Mark Raynes Roberts

Mark Sampson has published two novels, Off Book (Norwood Publishing, 2007) and Sad Peninsula (Dundurn Press, 2014), a short story collection, The Secrets Men Keep (Now or Never Publishing, 2015), and a collection of poetry, Weathervane (Palimpsest Press, 2016). His stories, poems, reviews and essays have appeared in numerous journals throughout Canada and the United States. Originally from Prince Edward Island, he now lives and writes in Toronto.

Mar 132016
 

Georgi-Tenev

In Party Headquarters Georgi Tenev reduces the traditional novel with its linear time, clear relationships, memory and complex characters to an indissoluble essence. Characters, for example, are nameless—they are merely bodies or even types. Memory, hallucination and current narrative merge creating a fluid world where time is relative. —Natalia Sarkissian

party headquarters

Party Headquarters
Georgi Tenev
Translation by Angela Rodel
Open Letter, 2016
Paper, 123 pp., $12.95

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Almost thirty years ago, in the early hours of April 26, 1986, at Chernobyl’s Reactor No. 4, staff and emergency workers rushed headlong into the exploding core, oblivious to the chunks of smoldering graphite leaching radioactivity. Nearby, the water in the Pripyat River boiled. Fires burned. Ash rained down. Bodies melted, or they sickened, shriveled, died. Evacuation was slow for those living in towns closest to the catastrophe, while for others—for example in Communist Bulgaria—the news was kept from the populace. In fact, in Bulgaria, in the days and months afterward, only the families of elite Communist party officials were tested and cared for. Because Chernobyl had shown that the Soviet atom was unsafe—perhaps the Soviet system itself—the average Borises and Natashas were kept in the dark, their bodies left to soak up iodine-131, caesium-137, strontium-90 and radionuclides. Then, a mere three years later, the Bulgarian Communist Party Boss was deposed; the year after that Communist Party Headquarters in Sofia were torched by demonstrators. A new, transitional era was ushered in.

These historical events—the fallout, both radioactive and political—loom large in Georgi Tenev’s short novel, Party Headquarters. Set during the transition from communism to democracy (1989-1990s), Party Headquarters was first published in 2006, and now, with Angela Rodel’s translation into English, is available for the first time in English from Open Letter books.

An experimental work, organized into three short chapters which are, in turn, divided into non-chronological, discrete sections of memory, fantasy, and thinly disguised historical fact, Party Headquarters tells of tortured relationships and revenge. Gradually the reader pieces together the story. The protagonist, a nameless, ex Pioneer/Comsomol member who is obsessed by the past, must retrieve a suitcase full of money ($1.5 million)—an ill-gotten slush fund—from a Hamburg bank for an old communist party boss, “K-shev”.

 K-shev bears a close resemblance to real-life strongman Todor Zhivkov. Not only does K-shev (like Zhivkov) keep quiet about Chernobyl, but he inflicted “the whole horror of experiencing communism, or socialism—call it what you will” on the country. But unlike Zhivkov, in an ironic twist of fate, K-shev is infected with leukemia and languishes in a Hamburg clinic. This may or may not be the “final proof needed to deify him once and all. [Because he is] A strange sort of god ready to die […] from an illness […] we ourselves all feared becoming infected with.”

 Symbolically, the protagonist is K-shev’s son:

“He, the old man, makes love with the body of the motherland. This love gives birth to thousands of children and he organizes them into Pioneer battalions….”

The protagonist may even be K-shev’s son-in-law; the reader is never quite certain. What is clear is that he dreams of thwarting the old man’s wishes for glory after death by having his body cremated and his ashes scattered in outer space where “everything brought along from earth will lose its significance.” His revenge also includes “collision[s] of love” with a body/the bodies of women who may be either K-shev’s biological daughter or they may be symbolic daughters of the motherland. As the protagonist explains, “she is still a part of his body and he is present in hers…[It would be] the mirror of my masculinity, if it didn’t represent above all the risk of being accused of a crime.”

The novel opens in the middle of one vengeful physical encounter:

Even without the tears I still want to hit her, painfully hard. But when she cries it just gets out of control. The victim’s magnetic attraction inflames the perpetrator. I’m driven to tears myself—out of frustration that I can’t force myself to finish it off, to do absolutely everything I want to her. In exactly the order I would like.

If anyone were to see us at this moment, bawling, locked in this torture chamber at opposite ends of the bed—in the middle the bloody sheets are stained with wet spots, but not from blood, lymph, vaginal secretions, sperm, or who knows what else—could it be that some other beings are copulating here with us?—at that moment the shocked outside observer would think we are crying for each other, for ourselves.

Wrong. An incorrect judgement, a faulty interpretation of ambiguous facts. I’m not sorry. What can I say?

The protagonist’s desire for revenge resides in the exposure—to radiation, to socialism—that he suffered as a child, participating in Communist children’s Pioneer camp activities:

We had no way of knowing […] a few days earlier, a thousand kilometers to the north and east, Reactor No. 4 at Chernobyl had exploded, under the watch of the Fifth Shift [….] A strange taste invade[d] my lungs, the scent of ozone—what does ozone smell like anyway?—at least that’s what I tell myself now as I try to grasp something more, a greater meaning and importance held in those last few moments.

And the question I add to all this today: why didn’t anybody call out to us, tell us to come back? So many secrets in such a short time….

Just as under socialism—we do and did everything correctly, yet life, the world, continues to collapse beneath our feet like a reactor that has entered a runaway state of nuclear meltdown. Is there any need to explain what those two great liberating words mean: chain reaction?

A reaction that breaks chains.

With Party Headquarters Georgi Tenev won the 2007 Vick Prize for the Bulgarian novel of the year. A 1994 graduate of Bulgaria’s National Academy of Theater and Film Arts, Tenev (b. Sofia, 1969) studied under experimental Bulgarian artists such as Margarita Mladenova and Ivan Dobchev. A founder of the Triumviratus Art Group, he has written a number of novels, short stories, plays and screenplays that have been performed in Russia, Germany and France. In a recent interview, Tenev says his background in theater has strongly influenced him. “[It] taught me self-discipline: no mercy for the text, no respect for verbal beauty merely for the bon mots.”

It is evident that Tenev also experiments with structure. In Party Headquarters he reduces the traditional novel with its linear time, clear relationships, memory and complex characters to an indissoluble essence. Characters, for example, are nameless—they are merely bodies or even types. Memory, hallucination and current narrative merge creating a fluid world where time is relative. Roland Barthes’ zero point of literature may have been one influence. As the author states through his protagonist: “I had discovered the zero point within the system of coordinates. The place where everything begins and ends.”

The text has been skillfully translated by American Angela Rodel, one of the most prolific translators of Bulgarian literature today. The recipient of a PEN grant for the translation of Tenev’s collection of short stories, Rodel’s collaboration with Tenev here has yielded a book of haunting beauty built upon unexpected imagery. Pared down to the essential, there is no room for sentimentality.

Consider:

She, of course, is a virgin. And I press down on that barrier with the whole weight of my body, as if poured into a funnel. A whirlpool that changes my own anatomy: at the very bottom, in the center, the point that I flow through—this is where my heart is. And my belly button as well, and maybe even some steaming spot on my back has been sucked down into this vortex. While up above, all at once my head, legs, and bangs are the leftover silt in the funnel.

And:

I’m radiating rays, I’m lit up. Glittering nucleotides bursting from my body in all directions. The water tastes unbelievably bitter in my mouth, the stinging air envelops my hands, all the hairs standing on end in my skin shoot out arrows. Butterflies fall all around me, along with stunned spring sparrows, the frogs in the marshes don’t finish their jet-propelled jumps. The water fleas, legs splayed on the surface of the pond scum, lose their electrical footing. The miracle of walking on translucency has broken down.

Populated by bodies—corpses, near corpses, prostitutes, Pioneers, astronauts, lovers grappling with each other—Party Headquarters is a “bodily adventure,” as the protagonist says; fittingly so for survivors of nuclear catastrophe:

“The body, the flesh transforms itself according to its own laws [.…] no connection is more bodily than inheritance, which makes up the whole of you, yet which you also desperately want to get rid of more than anything.”

A disoriented and disorienting world, with bodies shattered or glowing with unnatural light, is Tenev’s dazing yet dazzling result.

—Natalia Sarkissian

NC

Natalia Sarkissian

Natalia Sarkissian has an MFA in Writing from Vermont College of Fine Arts and was  an editor and contributor at Numéro Cinq from 2010-2017.

Mar 122016
 

Agualusa_by_Lara_Longle-1

Ludo’s central role—a forgotten and then unnoticed eye in the sky spying on others, later thought of as an invisible goddess—and her predicament as an outlier figure who is part myth, part creature, and part human (something stemming, perhaps, from Agualusa’s love of South American fiction and its magical realism tradition), affords Agualusa distance from what he want to depict.  —Jeff Bursey

AGeneralTheoryofOblivion_CatCvr_2

 

A General Theory of Oblivion
José Eduardo Agualusa
Trans. Daniel Hahn
Archipelago Books
Paper, 249 pp., $18.00

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I. José Eduardo Agualusa (b. 1960) often treats the troubled past of his native Angola, a former Portuguese colony, in an ostensibly light manner, the hints of violence, treachery, conflicted identity, and desperation communicating the meanness of life during the War of Independence (1961-1974) and, especially, the civil war that followed (1975-2002).

In his International Foreign Fiction Prize-winning novel The Book of Chameleons (2004, English translation published in 2007) Agualusa mixes the tale of a gecko infused with the spirit of Jorge Luis Borges with the daily life of his owner, Félix Ventura, a man who reinvents the histories of clients eager to cover over their civil war activities. Several characters Ventura has dealings with serve to fill in the picture of a country undergoing an uneasy and fragile transition from hostilities to peace. There is menace in this tightly wrapped story to both main parties, from different sources, and without giving anything away, it can be said that the atmosphere around the amusing or profound thoughts of the Borges gecko act like a lantern held up against a darkness that could swallow everything.

My Father’s Wives (2007, English translation published in 2008) examines racial issues and mediums that people choose to share stories: music, oral history, and literature. Agualusa undercuts their truthfulness (emotional and factitious) by mingling the tales of characters who seem real with those we are told, almost assured, are not. Well before the end of this clever, poignant novel we are becalmed in a sea of lies, half-truths, and possible realities, forced, like those we’re reading about, to adapt to ever-changing conditions. Where we land depends on what we choose to believe. Here, as in The Book of Chameleons, there is a fine degree of control over a debilitating existence lived under almost constant strife and mayhem.

II.

Many of the same themes are present in A General Theory of Oblivion (2013; English translation published in 2015), which is set between the mid-1970s and the early 2000s. (It would be wrong to regard or dismiss the persistence of Agualusa’s themes as obsessive or tiresome sifting and resifting of material. Aleksandr Solzhenitsyn, John Dos Passos, and William Vollmann, along with many more, have rescued important and hidden facts from historical oblivion and worked to keep alive the memory of incidents that plunged entire peoples into despair or periods of ferocious activity, and they have contributed new angles from which to analyze obscure and well-known events. Similarly, Agualusa is mining a rich and deep national memory and has much to tell readers.) The cast recalls those from the previous books: strong women, women praised for their beauty, ignorant men, thick-headed and greedy men, victims of tragedy, and the kind-hearted. Above them all is Ludovica (Ludo) who has accompanied her sister, Odete, and her new brother-in-law, Orlando, from Portugal to Angola just before independence is brought about. She is the figure Agualusa focuses on. Through her, despite her isolation in an apartment building, we are given an overview of Angolan history and society.

Well before leaving for a new life in Africa, Ludo could not stand being outdoors (she “never liked having to face the sky”), which means she is drugged for the flight to Luanda, the Angolan capital. When unrest first breaks out in the city streets, with demonstrations preceding armed warfare, followed by the overthrow of a government, a brief cessation of complete hostilities, and then the decades of factional fighting involving Angolan, Cuban, South African, and other soldiers or insurrectionists, she stays, as she always has, in her missing relatives’ apartment—they attend a party one night and never return—fending off robbers with a pistol before erecting a wall that seals off the apartment entrance from the rest of the building. As conditions throughout the capital and the nation deteriorate and people flee the country, the other tenants vanish until Ludo is, perhaps, the only one remaining. Her company is an albino German shepherd (perhaps a sly allusion to German South-West Africa, an older, colonial name for Namibia, Angola’s southern neighbour) she christens Phantom. She has many books to read and, for a short period, a working telephone, radio, and phonograph. For food she at first relies on a stuffed pantry and crops from seeds Orlando had planted in his terrace. Covered in a cardboard box with eye and armholes to protect her from the sky, she attends to this tiny, life-sustaining garden, catching water from rainfalls when the municipal systems start to fail. But it is often dry, electricity dies, and supplies eventually run out:

The hunger came. For weeks, weeks as long as months, Ludo barely ate. She fed Phantom on a flour porridge. The nights merged into the days. She would wake to find the dog watching over her with a fierce eagerness. She would fall asleep and feel his burning breath. She went to the kitchen to fetch a knife, the one with the longest blade there was, the sharpest one, and took to carrying it around attached to her waist like a sword. She, too, would lean over the animal as he slept. Several times she brought the knife to his throat.

Over the course of the many years spent without other human company that she wishes to contact—for after a while the apartment building attracts new residents—the window is her sole connection with the outside world. It is also a protection against it, and an apparatus to help her eat, for with the appliances long dead Ludo can only cook on sunny days, thanks to Orlando’s magnifying glasses that focus the sun’s heat. When a monkey enters her garden she is ruthless. Eventually the crops she planted assist with her and Phantom’s food needs.

Ludo writes her thoughts down in a series of notebooks, and Agualusa gives us some of those entries, as well as later ones using other surfaces (always presented in italics):

The days slide by as if they were liquid. I have no more notebooks to write in. I have no more pens either. I write on the walls, with pieces of charcoal, brief lines.

I save on food, on water, on fire, and on adjectives.

Further:

I carve out verses
short
as prayers

words are legions
of demons
expelled

I cut adverbs
pronouns

I spare my wrists[1]

Burning furniture, books, and paintings keeps her warm. Her eyesight is going. Life is getting truly desperate, and then a young boy, Sabalu, begins bringing her food, though he starts as a thief entering her apartment through the window while she sleeps and stealing what looks valuable. His own life story changes once they talk. By the time he shows up, well past the halfway mark, we have met others who, while unaware of Ludo, are linked to her and to each other.

Ludo’s central role—a forgotten and then unnoticed eye in the sky spying on others, later thought of as an invisible goddess—and her predicament as an outlier figure who is part myth, part creature, and part human (something stemming, perhaps, from Agualusa’s love of South American fiction and its magical realism tradition), affords Agualusa distance from what he want to depict. Angola’s almost unremittingly traumatic modern history is an immense and complex set of subjects that here is addressed using Ludo’s panoramic view (but a view, as stated, that is decreasing in ability until she has only “peripheral vision”). While her solitary position doesn’t allow her to become involved with anyone but Sabalu, indirectly, through her family and location, she plays a part in the lives of many others as they, in time, come to do in hers. One of the people who, early in the novel, had been after Orlando’s “‘jewels’,” about which Ludo knew nothing at the time, and a Marxist officer he once was in conflict with, meet just outside the apartment on the same day that others, whose lives we have seen in partial ways, also congregate there. Sabalu had broken through the defending wall, with Ludo’s consent. As in a murder mystery—and there are aspects of the detective novel present—the loose threads are tied up, old wounds are given a chance to heal, mysterious sounds explained, a “sea goddess called the Kianda” finally accounted for, and a long-standing absence is revealed at the midway point.

Many of the other characters—Arnaldo Cruz (a sometime political activist turned businessman, more commonly referred to as Little Chief), Magno Moreira Monte (an intelligence officer), Jeremias (a Portuguese soldier), and Daniel Benchimol (a journalist), to name a few—receive time in the narrative for their stories to be fleshed out. Their lives contribute to the seediness and criminality (societal criminality as distinct from crooks) of Angola, as does advocacy journalism, to dovetail with Ludo’s singular story. It’s by design that she is in an equivalent of a Panopticon overlooking a lawless, somewhat formless state where, as Agualusa has shown in earlier novels, no one feels safe, identities and fortunes are fluid, ideologies (Marxism and capitalism) are opportunistic equally, and outside interests (Cold War powers, smaller countries near and far) and factions work to dismember the nation. Splintering the narrative among these assorted characters helps convey their society’s pandemonium and recklessness.

That centre point is also a symbol for something else. Only a boy can break into the apartment, through the window that is Ludo’s eye; that same orphaned boy, who calls Ludo Grandma, breaks down the wall she constructed as a barrier against the world so he and she can emerge. Windows, walls, and doors can be many things, including hymens, and in a metaphorical sense Sebalu and Ludo are reborn when the wall comes down, this time into a changed world, surrounded by those who are not quite family, but close. At the close of the novel what we hear of Ludo’s childhood might make us reconsider what’s gone before, ponder the multiple meanings residing in the imagery, and appreciate the connection of Ludo’s early life to her acceptance of Sabalu.

III.

In addition to what’s been discussed above, there are other significant features about this book: the first concerns the language of the writing itself, the second Angolan history.

As with other books by Agualusa, each translated by Daniel Hahn, there is attention paid to how to phrase characters’ thoughts and on how to squeeze just the right amount from certain conceits. Trapped and cut off from news, Ludo speculates about what is going on, often in language inspired, perhaps, by the many books she has read: “I’m afraid of what’s outside the window, of the air that arrives in bursts, and the noise it brings with it…. I am foreign to everything, like a bird that has fallen into the current of a river.” In order to explain one man’s disappearance another man invents the tale of his being swallowed by the ground, which matches the vanishing of planes and villages. There is a dancing hippo. People are not recognized for who they are: everyone has an opportunity (and a motive) to be new, or at least camouflaged, in this country that’s a work-in-progress. When Ludo has to convert her library into fuel she feels “…as though she was incinerating the whole planet. When she burned Jorge Amado she stopped being able to visit Ilhéus and São Salvador. Burning Ulysses, by Joyce, she had lost Dublin. Getting rid of Three Trapped Tigers, she had incinerated old Havana.” (This reflects Angola’s own hellish environment.) Descriptions of scenery and nature are used sparingly but effectively: “That afternoon they knocked down the fence and crossed to the other side. They found a bit of water. Good pastures. The wind began to blow. The wind carried heavy shadows along with it, as though it were carrying night, in shreds, yanked away from some other, even more distant desert.” Plain speech used by such people as soldiers and Little Chief is as carefully written:

There were guys locked up for diamond trafficking, and others for not having stood to attention during the raising of the flag. Some of the prisoners had been important leaders in the party. They took pride in their friendship with the President.

“Only yesterday the Old Man and I went fishing together,” one of them boasted to Little Chief. “When he finds out what’s happened, he’ll get me out of here and have the morons who did this to me arrested.”

He was shot the following week.

As in The Book of Chameleons and My Father’s Wives, one feels safely guided by Hahn through the multiple voices and tones of this diverse cast.

The second topic arises from Agualusa’s interest in making sure there aren’t any loose ends: Is history over for Angola? What I mean to suggest is not that the history of a nation can be wrapped up once and for all in narratives (there will always be more stories, and then there are the counter-narratives), but that, to my mind, the conclusion of A General Theory of Oblivion unwittingly indicates that events can come to a neat close. Agualusa’s propensity to connect the actions of his characters, and the characters themselves, as attenuated as they might appear, though it functioned well in the earlier novels, comes off here as overtly predetermined. Ludo, for example, has a background that is useful to link her to Sebalu, but since they become family quickly enough as it is, when the narrative provides us with that story it is, by then, unrequired and in any case too familiar. Certain characters glance off each other and are forever paired, and this happens many times, too many when you dwell on the length of time of the action—decades—and the gigantic sprawl of the canvas, thereby provoking a disbelief, and shutting down critical sympathy. Less reliance on clearing up every mystery could have resulted in a more satisfying novel, especially since there is so much that is bloody and messy. The communal and personal histories combine, as they often can, but more disorder and loss—what Ludo described as being swept along by her adopted country in its long state of turmoil—would have removed the feeling that we are reading something that is artistically schematic and contrived to finish in a burst of sentimentality.

Despite that reservation, one that may be chalked up to personal preference, José Eduardo Agualusa’s A General Theory of Oblivion has much to recommend it. This short novel, written with confidence and poise, contains sharply sketched characters, an evolving and engaging main narrative around Ludo, and years of conflict succinctly summarized and easily understandable.

—Jeff Bursey

NC

Jeff Bursey

Jeff Bursey is a literary critic and author of the picaresque novel Mirrors on which dust has fallen (Verbivoracious Press, 2015) and the political satire Verbatim: A Novel (Enfield & Wizenty, 2010), both of which take place in the same fictional Canadian province. His forthcoming book, Centring the Margins: Essays and Reviews (Zero Books, July 2016), is a collection of literary criticism that appeared in American Book Review, Books in Canada, The Review of Contemporary Fiction, The Quarterly Conversation, and The Winnipeg Review, among other places. He’s a Contributing Editor at The Winnipeg Review, an Associate Editor at Lee Thompson’s Galleon, and a Special Correspondent for Numéro Cinq. He makes his home on Prince Edward Island in Canada’s Far East.

 

 

 

Footnotes    (↵ returns to text)

  1. In the acknowledgements Agualusa thanks “the Brazilian poet Christiana Nóvoa, who at my request wrote Ludo’s poems…”
Mar 122016
 

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Present in this excerpt from A General Theory of Oblivion, translated by Daniel Hahn, are some of the recurring themes of the novel: rescue, rebirth, metaphysics, and an example of unexpected kindness alongside violence involving individuals, factions, and nations, as well as the hint of remorse, perhaps on the way to redemption. The language is relaxed and the details vivid. In the last lines those who engage in brutality are said to acknowledge the power of words. Put another way, Agualusa shows that civilization is held in regard even as vengeance, chaos, and an eternal thirst for more, threaten to swallow his country. —Jeff Bursey

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Any one of us, over the course of our lives, can know many different existences. Or occasionally, desistances. Not many, however, are given the opportunity to wear a different skin. Jeremias Carrasco had something very like this happen to him. He awoke, after facing a careless firing squad, in a bed that was too short for his six feet, and so narrow that were he to uncross his arms they would both hang down with their fingers touching the cement floor, one on each side. He had a lot of pain in his mouth, neck, and chest, and terrible trouble breathing. He saw, on opening his eyes, a low ceiling that was discolored and cracked. A small gecko, hanging directly above him, was studying him curiously. The morning was coming in, wavy and scented, through a tiny window high up on the facing wall, just below the ceiling.

“I’ve died,” thought Jeremias. “I’ve died, and that gecko is God.”

Even supposing that the gecko was indeed God, he would appear to be hesitating about what fate to assign to him. To Jeremias this indecision was even stranger than finding himself face-to-face with the Creator and the fact that He had taken on the form of a reptile. Jeremias knew, and had known for quite some time, that he was destined to burn for all eternity in the flames of Hell. He had killed, he had tortured. And if he’d started off doing those things out of duty, obeying orders, he had later acquired a taste for it. He only felt awake, whole, when he was racing through the night, in pursuit of other men.

“Make your mind up,” said Jeremias to the gecko. Or rather, he tried to say, but all that came out of his mouth was a dull, tangled thread of sounds. He made a second attempt, and, as in a nightmare, the dark rush of noise came again.

“Don’t try to talk. Actually, you’re not going to talk ever again.” Jeremias believed, for some moments, that it was God who was condemning him to eternal silence. Then he turned his eyes toward the right and saw a hugely fat woman leaning against the door. Her hands, with tiny, fragile fingers, danced before her as she spoke:

“Yesterday they announced your death in the newspapers. They published a photograph, it was quite an old one, I almost didn’t recognize you. They said you were a devil. You died, you were reborn, and you have another chance. Make the most of it.”

Madalena had been working at the Maria Pia Hospital for five years. Before that she had been a nun. A neighbor had witnessed the shooting of the mercenaries at a distance and had notified her. The nurse drove to the site on her own. One of the men was still alive. A bullet had passed through his chest, on a miraculous, perfect course that hadn’t hit a single vital organ. A second projectile had gone into his mouth, shattering his two upper incisors, then perforating his throat.

“I don’t understand what happened. Were you trying to catch the bullet in your teeth?” She laughed, her body shaking. The light seemed to laugh with her. “Yes, sir, those are some good reflexes. And it wasn’t even such a bad idea, either. If the bullet hadn’t found your teeth, it would have taken a different direction. It would have killed you or left you paralyzed. I thought it best not to take you to the hospital. They would take care of you and then when you were recovered they’d only shoot you again. So be patient, and I’ll look after you myself with what little resources there are. I just have to get you out of Luanda. I don’t know how long I’ll be able to hide you. If the comrades find you, they’ll shoot me, too. As soon as possible we’ll travel south.”

She hid him for nearly five months. By listening to the radio, Jeremias was able to follow the difficult progress of the government troops, supported by the Cubans, against the improvised, unstable alliance between the UNITA party, the National Front, the South African army, and mercenaries from Portugal, England, and North America.
Jeremias was dancing on the beach, in Cascais, with a platinum blonde, and he had never been in a war, never killed, never tortured anyone, when Madalena shook him:

“Come on, Captain! We go today or never.”

The mercenary sat up in bed, with some effort. The rain was crackling in the darkness, muffling the noise of what sparse traffic there was at that time. They were to travel in a little old van, a Citroën 2CV, its yellow bodywork badly worn, eaten away by rust, but with its engine in perfect working order. Jeremias was stretched out on the backseat, hidden by various crates of books.

“Books instill respect,” explained the nurse. “If you carry crates full of beer bottles, the soldiers will search every inch of the vehicle. Besides which, you’ll get to Moçâmedes without a single bottle left.”

—José Eduardo Agualusa, translated by Daniel Hahn

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Mar 112016
 

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The Portuguese island of Madeira, a ‘pearl of the Atlantic’ situated 850 kilometres west of Marrakech, is known as a place for people who like to walk. Retired hiker types from northern Europe flock here year-round to trek the levadas – an ancient and seemingly endless network of irrigation channels that criss-cross the island. The levadas flow between high mountain peaks, through banana and eucalyptus groves, and up on the wild north of the island through the primeval, UNESCO-protected laurel forest that at one time covered much of southern Europe. The trails are mostly flat, making them surprisingly easy to walk: they transport water, and water doesn’t like to travel uphill. It’s all so beautiful, beautiful, the visitors say. ‘Come to walk!’ the tourist brochures say. Walk walk walk, levada levada levada. And flowers.

That’s all fine, but it’s not my Madeira. I’m a dedicated pedestrian and academic (possibly in that order), and I’ve lived on this island for the past three years. I don’t do a lot of levada walks unless friends are visiting, but I get my share of exercise. I move around almost exclusively on foot, except when I buy groceries and take a taxi home. What I mostly see of Madeira are the streets of the capital, Funchal. To walk in Funchal is to walk almost constantly at a slant, on a near-vertical slope. Since settlement in the fifteenth century, the city has gradually climbed up the side of the steep volcano whence Madeira was born. Nearly every house, including mine, enjoys stunning views across the Bay of Funchal. This distinct and dramatic urban landscape, seen from street level at walking pace, is the Madeira I inhabit.

Madeira streets

Taxis have trouble reaching my house. When I tell them the name of my street, they mutter under their breath and slap the dashboard of their ancient canary-yellow Mercedes-Benzes. Most drivers already know me: I’m the tall estrangeiro, the One Who Walks, the non-tourist who cabs it. Funchal is a small city; I think a lot of people know me this way. My boss told me that his father once pulled him aside and asked, ‘Nuno, are you paying the new estrangeiros enough? I often see the tall one in glasses walking by the side of the road – like a stray dog!’ My boss explained that the foreigner liked to walk, though I’m not sure he understands it either. When I walk home from work, the last stretch up to my street has me bent so far forward that I can reach out and touch the ground in front of me. People driving past eye me with a blend of suspicion and pity; a couple of the friendlier ones have stopped to offer me a lift.

It’s a typical weekday morning and I’m standing in a ditch by the roadside. I’m thinking of Samuel Beckett, whose characters I remember were always hanging out in ditches – just hanging out, their lot being simply to represent our debased state as human beings. I can relate to this. I lean back and press myself against the dirty wall, my feet deep in cast-off drink containers, as a bus passes inches from my face. There is a blast of exhaust-filled wind and a deafening noise as the bus shifts up to the next gear, then silence. The sky is a high, hazy blue and I’m on my way to work. I step out of the ditch and continue along the single-lane bidirectional road with houses like walls, no sidewalks or trees or grassy boulevards. If I reach out with my broad wingspan I can almost reach both sides.

Julian1

Parked cars are a huge pain in the arse. I’m tempted to key the car blocking my path, a BMW that’s far too big for such a small island. I even fantasize about walking right over the top of it – I could do it! But instead I wait for a break in the morning rush hour traffic, the cars taking turns to go around it. Even on roads with sidewalks it is difficult and dangerous to be a pedestrian. Cars use the sidewalks as parking spots; somehow they’re immune to ticketing, it’s a populist government and everyone drives. So pedestrians – me, the One Who Walks – are forced to walk on the road. Sometimes I squeeze my passive-aggressive body between the parked car and the wall, snapping in the wing mirror as I pass. Often there are people sitting in these parked cars, why I’ll never know. They’re always playing Candy Crush. My defiant mirror-folding gesture is lost on them. They either ignore completely my body squeezing past their window, refusing to look up, or they act like I’m crazy, like I’m in their space. Hey pal, careful with that wing mirror!

I’ve had some minor altercations. Once I broke the wing mirror off a parked car – it was already taped up, I hardly touched it – and the woman yelled at me as she opened her door a crack to snatch the mirror back from the ground where it lay. Another time it was more serious. I was waiting to cross a busy road, and people kept driving through the zebra crossing. One, two, three cars. When the fourth car approached I started to step out, to signal that it was, in all fairness, my turn to cross. The guy kept driving through at high speed, nearly hitting me. As he drove past me I lifted my leather satchel in a way that was half defensive, half threatening. He was so close that it made contact and clipped the wing mirror – oh those wing mirrors! The mirror came right off. (The satchel was full of books.) There was a loud crack and it went sailing through the air and landed with a tumble, skidding briefly along the road. The Fiat Panda screeched to a halt. The guy was nineteen or twenty, wearing cut-offs and a Cristiano Ronaldo haircut, and he jumped out and started cursing me in Portuguese, calling me the son of a whore. If we had been in North America I might have been worried, like afraid he’d pull out a gun or a bat. But I was twice as big as the guy, if rather willowy and professorial looking, and when I swore back at him in English and shook my satchel full of books he jumped in the Panda and drove off, waving his fist in retreat. I crossed the road.

Julian9

Every morning I start my commute walking straight downhill. I often break into a run because the incline is so steep. Suddenly I’ll hear a car and flatten my body against the wall as the driver passes with a blank stare or an absentminded wave. After fifteen minutes downhill it levels out for a bit and then I usually put in my earbuds and start back up another hill to get to the university. It’s great exercise – so much that I crave it restlessly when I work from home. But I also go through a lot of shoes, stripping the soles right down to my socks every few months.

Being a pedestrian in Madeira is all about humiliation. It’s impossible to ignore, a nagging voice you can’t drown out with the loudest music or the most engrossing podcast. I remember spotting a fellow academic once when I was walking home from the university, a visiting lecturer from MIT. He wore a thick red beard and spectacles and earbuds like me, and he was walking in the opposite direction. I gave him a hail-fellow-well-met but he didn’t notice. He was evidently deep in thought, taking long strides, and he paused to step into the ditch when a bus drove past. Here was my doppelganger; my own humiliation externalized.

So why do I walk? I’m a grown man, with a decent job, and yet just the other day some moron in a Peugeot sprayed me with wiper fluid. Why do I spend my mornings and evenings walking along the gutter – breathing diesel exhaust, dodging dog shit, stepping over abandoned pairs of underpants – instead of cruising the winding roads in a climate-controlled Audi A3 like my colleagues? I’m not cheap; I’m not particularly sporty either. I don’t climb mountains and I’ve never kayaked. What’s wrong with me? Am I afraid to drive? Am I a masochist with psychogeographic tendencies?

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For a while, until I thought better of it, I had considered calling this essay ‘Foreigners, Deficients, Dogs’ – in the end I worried it might be taken the wrong way. I was riffing on the infamous ‘No Blacks, No Irish, No Dogs’ sign that used to hang in lodging house windows in Britain. (I happen to be Irish as well as Canadian.) The use of the offensive-sounding term ‘deficient’ was meant to be an ironic commentary on the Portuguese word deficient that is still used to label people with various mental or physical challenges. Although I see almost no other pedestrians on my morning commute, every morning I walk past two guys with Down’s Syndrome at different points in the journey. They both look about my age, and they possess the same determined, slightly harried look of the pedestrian in a hostile landscape that I must also wear as I walk along the ditch. This being southern Europe, one guy is always smoking; the other guy shouts a loud ‘Bom dia!’ just at the moment he passes me, and I shout back to him over my shoulder. The ‘dogs’ in the hypothetical title were a reference to the packs of stray dogs that I pass every day: usually six or eight in a gang, oddly laid-back and unintimidating despite their size and number, some of them limping after run-ins with cars. The foreigner, of course, is me – and the visiting lecturers who don’t know that nobody walks in Madeira. On this island, we are on the margins – quite literally – while drivers occupy the central space.

There are really two questions I ask myself most days: ‘Why do I walk?’ and ‘Why do I live in Madeira?’. Sure it’s sunny here, but so is San Francisco. After years of living in Madeira my Portuguese is still pretty terrible. Am I afraid to compete in the great northern cities of industry? Perhaps, although I’m fairly certain I could get a job elsewhere. There must be more to it.

If I dig deep, I think it’s that I love the contrast – between the breathtaking beauty, the tropical flowers and sun and sea on one hand; and the plague of traffic and stupidity and all kinds of human failings, which are universal failings, on the other. Anyone who has travelled in southern European cities like Athens or Barcelona or Naples, not to mention the cities of the global south, knows this contrast and its peculiar frisson. Something about the ugliness and beauty of human life, the union of pain and pleasure, is ultimately why I live here and why I walk. I like things to be difficult. I don’t want to be insulated from the pain any more than I already am; I don’t want a life of easy pleasures. Before I moved here I lived in Vancouver and found it depressingly dull, so polished and sensible and fit. I don’t want to give up the hard pleasures that you earn by seeing the world at street level: I want to see what people in cars never see, and breathe the air they don’t have to breathe – even if it kills me.

— by Julian Hanna

(Photos by Simone Ashby. To see more, visit Instagram @tar_island.)

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Julian Hanna was born in Vancouver and is currently self-exiled on the island of Madeira. His research on modernism and digital storytelling appears regularly in academic journals; his creative writing has appeared in The Atlantic, 3:AM, Flash, Minor Literature[s], Cine Qua Non, and elsewhere. Find him on Twitter @julianisland.

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Mar 102016
 

Jenny Erpenbeck

The End of Days explores allegiance to family, to friends, to ideology. It is a story of Jewish identity, and of persecution. It is a story about boundaries and the borders between nations, between people, between ideas, between faiths. It is about the divisions we create within ourselves and the horizon where life meets death. Here is a novel that seeks no less than “the weave of life in its entirety.” — Frank Richardson

end_of_days_cover

End of Days
Jenny Erpenbeck
New Directions, 2016
Paperback $15.95, 240 pages

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When I discovered Jenny Erpenbeck’s The End of Days, I remember how disappointed I was that I would never get to review this remarkable novel. Susan Bernofsky’s translation of Aller Tage Abend had been published in 2014 by New Directions, had won major literary awards, and had received a plethora of accolades from critics across the globe. Damn it, I thought—how often does one get the opportunity to write about such a gem? But, it’d been done and done well, and I had a thesis to write anyway. Six months later, while trolling publishers’ websites, I was delighted to see the novel was being released as a New Directions paperback. Fate and a generous editor would grant me a second chance. Erpenbeck has penned a novel of rare excellence and beauty, a novel of questions that lets you swim in possibility, and it’s all about second chances.

Born in 1967 in East Berlin, Jenny Erpenbeck studied theater directing with Heiner Müller, has worked with Werner Herzog, and has had a distinguished career directing in opera houses in Germany and Austria. In 1999, she published her first prose fiction—the eerie, fable-like novella The Old Child—which quickly garnered international attention. For her first novel, Visitation, she won the Hertha König Prize 2008, and for The End of Days she won the Independent Foreign Fiction Prize (2015) and the Hans Fallada Prize (2014). Her most recent novel—Gehen, Ging, Gegangen (Knaus, 2015)—was short-listed for the 2015 German Book Prize. An English translation from Erpenbeck’s long-time collaborator Susan Bernofsky is, hopefully, forthcoming. The End of Days is the fourth of Erpenbeck’s books translated by multi-award-winning Bernofsky, noted for her translations of Robert Walser, Hermann Hess, and Franz Kafka. Her translations of Erpenbeck’s fiction have won numerous prizes including the 2005 PEN Translation Fund Award (The Old Child), and for The End of Days she won the 2015 Oxford-Weidenfeld Translation Prize and the 2015 Ungar German Translation Award.

The End of Days explores allegiance to family, to friends, to ideology. It is a story of Jewish identity, and of persecution. It is a story about boundaries and the borders between nations, between people, between ideas, between faiths. It is about the divisions we create within ourselves and the horizon where life meets death. Here is a novel that seeks no less than “the weave of life in its entirety.”

Possibilities

It is the year 1902 in a small provincial town in Galicia, present day Ukraine, near the border with Poland. A mother drops handfuls of dirt into the open grave of her baby girl who died mysteriously, her breathing simply stopped. She will not be consoled and imagines her daughter’s life—her playing the piano, her coppery hair, her aiding her mother in old age. She thinks about the mound of earth that tops all fresh graves, that for her child’s it should be as “huge as the Alps,” symbolic of the potential her daughter has lost. The eighteen-month old girl is, however, the protagonist of this story, and she will be resurrected and die four more times.

The 240-page novel is organized as a series of five numbered books of roughly equal length. Each book explores a possible life for the central character, unnamed until book three. The books are separated by short (three-to-eight page) “intermezzos” that serve as segues; here especially the narrator explores what might have been. The concept of a multiverse—that all possible lives are lived in all possible universes—isn’t new, and many authors have used the conceit of parallel universes, but The End of Days isn’t that kind of novel. Not really. The main plot, loosely based on Erpenbeck’s family, follows a single character (let’s call her H.) from her birth in Brody to her life in post WWI Vienna, her joining the Communist Party and emigration to the Soviet Union, and her career as a writer in the German Democratic Republic. Periodically, throughout the course of this plot arc, Erpenbeck’s narrator presents a scenario where H. dies. She then presents a contrary scenario in an intermezzo and subtly opens a new, yet linked narrative. The resulting effect suggests multiple lives, and while her solution looks straightforward and easy, it is a testament to Erpenbeck’s artistry that she can shift the direction of her narrative so effortlessly.

Great characters ground great books, and H.’s diverse histories reflect her complex character. She is courageous, stubborn, willful, loving and loyal, but capable of spite. She is an artist, a writer of novels, stories, and radio plays, who writes “in defense of the beautiful and true.” With each book, her desires shift with her fortunes: in Vienna she falls in love with her best friend’s fiancé while struggling to avoid starvation; in Moscow she must literally write for her life, either to succeed and become a Soviet citizen, or fail and die in a gulag; and in East Berlin, at the height of a brilliant literary career, when faced with losing all she has ever known, she longs most for contact with her son. In an interview Erpenbeck said she wanted “to look at the question of how present death is in our lives, and how our paths change when people close to us remain or leave.” And so, while H. is the focal point, the subplots of richly imagined secondary characters swirl around her. Here, Erpenbeck doesn’t waste a word showing us the regret of H.’s grandmother:

That morning, for the sake of her daughter’s happiness, she had sold her daughter’s happiness. Sometimes the price one pays for something continues to grow after the fact, becoming too expensive long after it has been paid.

Each book comprises numerous short chapters (many only a paragraph long). A third-person omniscient narrator limits herself to a single character in each chapter and shifts focalization with chapter breaks. After some focalization shifts Erpenbeck uses pronouns without antecedents, deliberately blurring the point of view, asking us to acknowledge that all her characters could share the life she describes. This can be slightly confusing, but the character’s identity becomes clear from the context before confusion turns to frustration and rereading. Few characters have proper names, one of the author’s trademarks. Although the linear chronology begins in 1902 and ends ninety years later, in some books Erpenbeck employs nonlinear time as she shifts character focalization, e.g. in the fourth book, while days pass for one character, for another character time is suspended in an instant. Despite multiple books and chapters, changes in character focalization, and use of nonlinear time, the narrative is a harmonious, resonant whole, a vision of the ramification of our lives and the consequences of our choices.

Forking Paths

Borderlands

Erpenbeck leaves no detail unexamined in her intricately interwoven patterns of images, metaphors, and symbolic associations. Given that she grew up in East Berlin, perhaps it is not a coincidence that the primary images of The End of Days are borders, although she writes (Paris Review) and speaks fondly of her childhood and adolescence.

First, there are the geographic borders: H. is born in a border town, and after both World Wars, the borders of Europe are redrawn; Germany is divided. There are subtler borders of place, and propriety—for example, a friend must drop a letter across the threshold of a window since to hand it to the receiver would constitute working on the Sabbath. Then there is the border between faiths: after marrying a Christian, H.’s Jewish mother is left “hanging between two worlds.” While trying to reconcile her imminent death in the Soviet Union with her decision to join the Communist Party, H. questions the “irreversibility of good and evil” and “whether hope had boundaries or not.” And, at the end of her life, ninety years old and slipping into dementia, H. confronts the border between memory and oblivion. As in reality, the link to the ultimate border, death, comes in many forms. Sometimes it is the vagaries of nature—a cold front results in a frozen puddle that turns one’s course toward a deadly encounter. Sometimes the cause is a conscious decision, suicide the only answer. Sometimes the whim of a petty bureaucrat sends you to Siberia, and sometimes it is just the inexplicable, absurd folly of falling down the stairs.

While this strong pattern of boundaries serves as the backbone of her novel, Erpenbeck uses a myriad of other recurring, interconnected images. To cite just one example, H.’s heirloom collection of Goethe’s complete works appears throughout the course of the novel. The books figure prominently during the episode when H.’s grandparents are attacked; the scene is replete with border imagery, including: the boundary between inside and outside their home; the threshold of an opening onto the roof and the violent tug of war between the mob and those who are trying to flee; and the boundary of life itself. Each time the books appear, including volume nine with its scraped spine from where a rock hit it during the attack, we are brought back to this scene. Sometimes specific poem titles or lines of Goethe’s poetry are used to tie the associated images together. Of course, books are made of words, and language becomes a fixation of H.’s father, who concludes we each have our own vocabulary for the “constant translation between far outside and deep within.” The books accumulate various associations as the story progresses and become, in the end, a focal point of sublime reminiscence.

 

Berlinermauer

On Style

Jenny Erpenbeck’s style of prose and her choices for the novel’s organization demonstrate a deep sensitivity to language. The intermezzos serve as borders between possible lives, stylistically mimicking the imagery of boundaries. The last chapter of the first book is an amalgamation of points of view from all the characters up to that moment. From one sentence to the next, then within a sentence, then from word to word, Erpenbeck tells us what the characters are doing (she shifts to the present tense) and what their lives have become in a montage that culminates with the single question that plagues the father, the mother, and the grandmother: why did the baby die? After the reader turns the page, the next logical thought is “But if . . .” and the baby is saved from its mysterious loss of breath by a handful of snow rubbed against her chest. She is revived, and in the first intermezzo we are asked to imagine an alternate life for the young family, the parents never having been burdened with a devastating loss, and the daughter who becomes a young woman. The intermezzo provides an opportunity for reflection, for imagining multiple scenarios beyond the one continued in the narrative.

While it may be imprudent to address prose style in a translated work—after all, isn’t so much of style untranslatable?—nevertheless, Bernofsky’s translation is so expert, so pitch-perfect, it is worth the risk. Regarding the translation, Erpenbeck said in an interview:

I did feel that it was really my book. It was perfectly done. Sometimes her translation is so perfect that I don’t even know the vocabulary she has used.

Erpenbeck’s prose swings between the concise precision of a proverb: “The forest provides the wood for the axe that will chop it down” to the lyrical sinuosity of memory:

For one brief, sharp, clear moment, he understands what it would be like if he could arrive there along with her: The wheat field would be there right from the start, just like the rustling of the leaves at his back, the silence would be filled to the brim—that deafening crack living only in his memory, absent now—and the memory that filled out this silence would be just as real as the footsteps of all the human beings walking upon the earth at this moment, along with their falling down, their jumping, crawling, and sleeping at this very moment, just as real as all that mutely lay or flowered within the earth . . .

Erpenbeck’s longer sentences are not inchoate stream of consciousness demonstrations. They serve, beautifully, the needs of her scenes, her characters, and her themes. When immigrants wait at Ellis Island (a border, intermezzo place), pensive about their admittance into America, the anaphora and rhythm of the sentence becomes the tolling of Donne’s bell:

The people squat, lie on the ground, or sit on benches: people with bundles, bedding, and crates, with samovars, people without any baggage at all, children running about . . . people who are filled with hope, with despair, people who are homesick, frightened, people who don’t know what’s in store for them, people who are wondering where they’ll find the twenty-five dollars for their immigration fee, people who suddenly want to go back . . .

And it’s not an accident that this scene, which occurs in the first book, is echoed in a memory only a few pages from the end of the novel.

***

The End of Days, a book of elegant style and penetrating insight, filled with arresting characters and provocative questions, is a book to come back to a second time, and a third, and . . . who knows how many times? Erpenbeck writes with a gentle intensity—a feeling light as a dream yet so grounded in the moment that if a grenade exploded outside your window, you wouldn’t jump. Although death frames the novel, The End of Days celebrates the beginning of days, for it affirms life’s multiplicity and the potential of every human life. Erpenbeck quotes W. G. Sebald’s Austerlitz in an epigraph; in part, he asks—“where will we be going now?” This question vibrates throughout her novel and remains with us as we move on from this book, and this life, to the next.

— Frank Richardson

NC

Frank Richardson bio pict 2

Frank Richardson lives in Houston and received his MFA in Fiction from Vermont College of Fine Arts. His poetry has appeared in Black Heart Magazine, The Montucky Review, and Do Not Look At The Sun.

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Mar 102016
 

gayraud3-001Joël Gayraud

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Selections from La peau de l’ombre (The Shadow’s Skin)
by Joël Gayraud,
With permission of Editions José Corti, 2004. 239 pp.

Composed of 410 fragments [17 of which appear below], Joël Gayraud’s seductive work belongs to a grand tradition that stretches from seventeenth-century moralists like Baltasar Gracián to Adorno’s Minima Moralia. Arranged in agreeable disorder, following an approach that gives pride of place as much to reverie as to conceptual thought, to poetry as to revolutionary theory, the texts weave together themes as diverse as dreaming, revolt, utopia, death, childhood, telepathy, and atheism.

Inspired by Castiglione and Nietzsche, Leopardi and Bakunin, Fourier and Benjamin, Gayraud is at once a dreamer—“I am one of those who wake up only to continue dreaming”—and a rebel. An immoderate love of revolt courses through his maxims and inspires such sparkling formulations as: “No one ever revolts too much . . . . It is with revolt as with love: excess gives them life.” It is a logical revolt that comes from afar and “draws its legitimacy not only from the injustice that causes it, but from the immemorial past of rebellion that grounds the human in man”; a permanent revolt that, as soon as it “annexes all historical experience,” develops “into a revolutionary strategy”; a revolt, finally, that could not be reduced to narrow-minded quantitative causes: “The insurgents of 1848, the Communards, or the demonstrators in Tiananmen Square fought less for having (bread, work) than for being (communism, freedom).”

Claiming an ethics of “the internal subversion of the reality principle,” Gayraud does not hide his attraction for surrealism, “the only major attempt to reenchant the world on a secularized magical-mythical basis,” an effort consciously turned towards the future, and aimed at accessing the marvellous of things themselves “as a poiesis immanent to the world.”

Michaël Löwy
review of La peau de l’ombre published in S.U.RR.. 5 (2005)

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Gayraud (born 1953) has written on and translated both classical and modern authors, including Ovid, Giacomo Leopardi, Primo Levi, and Giorgio Agamben. His own, often loosely biographical writings, steeped in the double legacy of surrealism and situationism, comprise not only critical essays, fragments and aphorisms, but also poems and short stories as well as children’s books. These have appeared in collections (Clairière du rêve, 2010, Passage public, 2012, Ocelles, 2014) and in numerous radical and surrealist journals in France, French Canada, and the UK. He lives in Paris, where he taught classics until his retirement.

168. The development of sadomasochistic practices contributes more effectively than many revolutionary discourses to undermining the psychological foundations of power. When, in the intimacy of their bedroom, couples experimented with the game of submission and dominance—even where the sexual roles themselves remain uncriticized, the mere fact that this game took place enables the objectification of old fantasies of domination and slavery—fantasies that, as a consequence of the brutal and barbaric establishment of relations of domination, have been buried deep in the breast of humanity. Aggression, whose sublimation can only rarely be satisfying and whose repression perverts and turns it outward, against society, finds here its direct expression. Above all, however, the pleasure shared as much by the dominant partner as by the submissive one, who incidentally often swap roles, initiates them into a veritable communism of pleasure, experienced as a perfectly antagonistic representation of the social economy. It is then the exercise of exclusive power that appears as a sinister perversion, founded as it is on the capitalization of pleasure and its exclusive appropriation. Everyone who, thanks to sadomasochistic practice, each night purges their self of the libido dominandi by giving it playful satisfaction, albeit one leading to real mutual pleasure, cannot but find the pretension to social domination laughable, ridiculous, and a sign of frustration and mediocrity.

*

1Paul Nash 1889-1946. Black and white negative, wrecked aeroplanes at the Cowley Dump 1940 © Tate (2015).

244. When I first discovered the beautiful photographs by Paul Nash dating back to the Second World War and showing the carcasses of aircraft that had been shot down, it became clear to me that the inorganic often takes on the appearance of the organic in its obsolescence or destruction. A plane in working order only lets itself be perceived as a simple machine upon which we look with indifferent eyes, except when we are dealing with a new model, in which case it is the machine’s novelty, even its aesthetic, that attracts us. That attraction, however—except owing to highly particular affective connotations—remains wholly intellectual; in truth, we do not doubt for a second that we are in the presence of the purely inorganic. By contrast, in these images of machinery that had crashed to the ground, I saw not a simple heap of metal but an organic system fixed at an arbitrary moment of its decomposition, the twisted scrap iron, the battered cabins, the gaping and rusted motors, forever out of operation, resembling mangled flesh, eviscerated and mutilated bodies—which did not fail to silently stir through the keyboard of my sensibility the strings of a perfectly licit sadism.

In retrospect, I should clarify that, when looking at these images, I never for a moment thought of the crew that had perished in this mass of metal. And, as added proof that I was not guided by this idea even unconsciously, I remember having experienced similar jubilation before an old dismantled rotary press, a gutted piano, or, to go back even farther in my memory, a tube radio meticulously taken apart by a child’s hands. More recently, and this time on the scale of a landscape, I had an analogous impression of Coney Island, having wandered around the old amusement park entirely abandoned to the elements and wild vegetation: the scenic railway and roller coaster, come to a halt, their carcasses covered in a shroud of rust, had acquired a kind of organicity that one could never have attributed to them at the time of their functioning, when their full operation rendered them emotionally invisible. It is doubtless the attainment of irreparability that makes all these metal creatures approach the intimate sense of our own precariousness.

2Paul Nash 1889-1946. Black and white negative, wrecked aeroplanes at the Cowley Dump 1940 © Tate (2015)

*

181. Just as those seventeenth-century still lifes showing a bowl of fruit, fish fresh out of the water, or a table sagging beneath a heap of venison have only ever provoked my boredom and even repugnance, so, on the other hand, I have always taken pleasure in representations of inanimate objects of everyday life, such as can frequently be seen in the vanitas of the same period. It seems that, if the still life’s immediate effect is to reify the organic entities it depicts, it has the opposite effect on objects and things. The latter, appearing not simply juxtaposed as in a catalogue but, rather, assembled as parts of a whole delimited by the painting’s frame, are elevated to the dignity of organs in a new body, which is that of the painting itself. Such compositions break with the naturalism of their predecessors and, in their mannerism, foreshadow the symbolic function of objects in surrealism or in the boxes of a Joseph Cornell.

*

204. Sometimes when fixing one’s gaze on a rock from a particular vantage point one sees emerge from it the head or the body of a human or an animal. Never, in my experience and in those I have heard recounted on this score, does one see objects that are manufactured or animal forms too removed from us, such as fragments of insects. There is, nevertheless, nothing in the form of the rock that would prevent one from finding them. Doubtless it is that we do not want to find them and hold on to a narcissistic mimetism that makes us search for our of own face or for animals most familiar to us, such as those we have domesticated or those that people our fantasies, our dreams, and especially our nightmares—lions, stags, bears, horses, dragons, and other monsters hailing from mythology enriched by the discoveries of paleontology. Man must no doubt have very quickly understood that nature liked to imitate itself, but that this mimesis was not worried about exactitude and realism in representation; rather, it deformed in stone what had been formed in the flesh, it stylized its features, practicing a kind of abstraction and fetishization of certain elements in detaching them from the whole, in treating them in isolation, in enlarging or shrinking them, in thus playing with the proportions of the different elements being represented. This representation, by nature radically alien to the idea of symmetry, is that of contours and profiles. It is, it seems, the first to have been tried by prehistoric artists. And if we began representing the human face only much later, it is probably because the mask was in use for a very long time.

*

243. Unlike the dialectic of Plato, based on distinction (in the Phaedrus, the dialectician is modelled on the butcher skilled in carving up beasts following the joints of the meat), the dialectic of Heraclitus is based on analogy—on real analogy, which is to say one that grasps the relation of coming together that exists in being. Indeed, if the opposition of two forces lets the bow be drawn and to send an arrow, it must be that these two forces act simultaneously and without mediation. The author of this double action is the archer, but the analogy exists in the very structure of the bow independently of him. Every bow in good condition, thus true to its concept, is capable of shooting an arrow. Put differently, in every bow there already exists the analogy allowing it to actualize the arrow’s flight.

*

259. Our inclination will be to accrue the implicit and the vague, to multiply paradoxes, but also to enhance the lenses of vision so as to make of the smooth surface of things a landscape deeply cut with valleys, bristling with wild mountain ranges, riddled with potholes and crevasses, in order to rediscover the labyrinth of the living beneath the cellophane of scientific certainty. This is precisely what Leopardi did when, in his Zibaldone, in a striking change of focus, he describes a charming garden in flower as a “vast hospital” or battlefield where all of life’s suffering and consubstantial violence are deployed.

*

262. The bones of six million Parisians are piled pell-mell in the hollows of the catacombs, and in all of Paris’s twenty arrondissements there are at present just over two million souls. If all the dead rose to lead us in a danse macabre, each of us would have three skeletons as partners for a quadrille.

*

248. When our parents tell us they had wanted us, they unwittingly deceive us, since first of all they deceive themselves. It is not us, the being whom they address today, that they desired; what they wanted was a child, not this child they then watched grow up. This one here, despite all the ultrasounds, amniocenteses, and karyotype tests that reassured them of its normality, they were utterly incapable of expecting. And so we are brought down to the level of the supposed unwanted unfortunate, which should cut our narcissism and self-confidence down to size. The desire for a child is always a desire for any child, a desire to create whatever entity, ens quodlibet. The scholastic category of quodlibetality, “whatever being,” is here eminently applicable: as wanted or unwanted beings, we are ontologically whatever.

*

263. Historians are the eunuchs charged with guarding the seraglio of truth. Although they have the privilege of seeing it naked, they can never conjoin with it, and never let it go out without first wrapping it in its veil.

*

267. The first Greek philosopher of atheism was called Theodorus, which means “gift of the gods.” For the best that the divine has to offer us is the capacity for negation, all the way to negating the divine itself.

*

287. A dog plays with a man like a child, but its gaze is not that of the child, laughing and reaching for the next moment. The eyes of a dog engaged in child-like play seem, to the contrary, the bearers of an immemorial wisdom. Its gaze is the profound and melancholy one of a sage who has passed through the infinite series of necessary experiences, each time drawing lessons and, in the end, understanding that not one of them merits being retained. He has no other choice than to arrange them in his memory as in a museum display case. It is something like a reflection of such useless and suspended knowledge that can be read in the eyes of an animal drawn by man into one of his games.

*

322. If memory is the condition of knowledge, oblivion is the condition of experience.

*

184. There is no passion so naked that it is not dressed in language.

*

311. One of the watchwords of May ‘68 in France, as of the sixties the world over, was freedom of speech. But, even more than freedom, it was about the uncontrollable necessity of speech for all. Yet, little by little, the paradoxical injunction to “express yourself” spread, becoming an authoritarian commonplace as the movement ebbed away. This paradox of an injunction to freedom did not escape notice and emphasis among the fiercest enemies of freedom in its anti-utilitarian form, who lie in wait for anything that could put back into the service of capital what was meant to contest it. What is most remarkable, however, is that the wretches ordered to express themselves could say nothing, not because they had nothing to say, not because they were totally lacking the faculty of thought, but because it was obvious that the command line between ideas and speech remained, for them, incurably blocked. The world revealed itself as aphasic, which moreover has often been the case among the poorest and most isolated classes, such as peasants. One discovered, in effect, the full extent of the general proletarization of society: access to expression, free at last, opened onto a void. This is why the greatest triumph of humor at the time came from a comedian in overalls narrating the story of someone who had nothing to say, a storyteller with no story to tell, while managing to hold his audience spellbound for a good quarter of an hour.

*

342. As Elias Canetti saw clearly, in contrast to Georg Lukács, it is the masses and not the proletariat who were the subject of history in the twentieth century; in other words, a subject paradoxically deprived of attributes necessary for the definition of a subject; a subject without consciousness; a headless, acephalous subject or, just as good, one whose head is interchangeable. It is on this enormous body of the masses that the evil genius of history grafted the head of Mussolini, Lenin, Perón, Hitler, Nasser. There were, of course, a certain number of positive heroes like Makhno, Zapata, and Durutti, who precisely did not want to play this little role of head. We know what fate was reserved for them.

*

213. Finding its roots is not a preoccupation of the wild plant—to which it never occurred it could lose them—but of the unhappy potted bonsai.

—Joël Gayraud, translated by S.D. Chrostowska

(NC wishes to thank Tate for permission to use the photographs included in the text — creativecommons@tate.org.uk.)

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chrostowka

Selected and translated from the French by S.D. Chrostowska

S.D. Chrostowska teaches at York University in Canada and is the author of Literature on Trial (UTP, 2012), Permission (Dalkey Archive, 2013), and MATCHES, a collection of critical fragments (punctum, 2015).

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Mar 092016
 

Alan-Cunningham-03 19.33.08

 

Idea for a script, no, play.

No, idea for a novel.

A man – no, woman – too many men in literature, opens a suitcase in a living room of a building apartment, starts to place all these, like, well, all these different objects into it. Not sure what they could be – yet. She puts all these – well, things – she puts all these things into the suitcase, leaves her apartment in a city – let’s say, London – and starts walking.

 •

EXT. LONDON

If script – I see a scene now where a camera has been placed at one end of a very long road, and it is filming. I see this road as a road – as the road, sorry, this is a memory – the road I once walked along in Stratford, a – the – road I once got lost on during a walk to see a friend, the road beside the Olympic stadium, you know, no, not the Stadium but the place where the bicycles race around, what’s it called – the Velodrome?

Anyway – we see the woman in the distance now, a speck, tiny and she’s walking toward the camera, lugging the suitcase behind her. There’re no cars on the road, it’s all very quiet, maybe it’s early in the morning and we see her getting closer to the camera, closer, closer and as she gets closer – and this takes a very, very, very long time – we start to see the details of her face and in particular all the effort she’s putting into walking and pulling the suitcase along behind her and she gets even closer, and closer still – she’s almost right by the camera now, almost parallel to it – then she just walks right past it – yeah, fuck it she says, and then she just fucking disappears.

Maybe she just keeps on walking? Maybe she walks eastwards out of London, keeps on walking, turns north, into the countryside? Still don’t know what’s in that suitcase though. (Does it have to be a suitcase? Now I’m writing this I see it more as like a military duffel bag, you know, you know the type I mean?). Or maybe at that moment when she leaves the shot, no, just after it, we see a close up shot of her face, with her eyes closed – yeah, she’s lying in a field.

I mean, there’s some grass in the background, that much we can see – I guess that’s why I – I guess that’s why we – why we would think she’s in a field.

She opens her eyes, gets up and looks around. We see what she sees – trees, other fields, mountains, the occasional bungalow house. She looks confused, but then something in her movement – the ways she gets up, for example, the way she opens her eyes – seems to indicate an acceptance of her predicament, if that is what it is, if it is indeed a predicament, you know, and then she lifts up the handle of the suitcase – lifts the suitcase up, indeed – and starts with walking once again.

Not sure where she’s going. Still not sure what’s in the suitcase (duffel bag?)

How did she get there? I don’t know. Maybe she doesn’t know either. Maybe she just woke up like that – if this were a film we might see a shot of her eyes just gently opening, again, right now – lying in a field, her suitcase right beside her, I don’t know, where could this be shot if it had to be a place, I mean where could we shoot this, easily, Ireland? So she wakes up in Ireland?

Not sure why not England. Could be England. Plenty of fields there too. That might make more sense. Ok, maybe there’s a reason why it’s Ireland.

Anyway she wakes up in a field (ok) in Ireland (all right), the suitcase (duffel bag? Still not sure) full of all these – all these things – beside her.

But she doesn’t know how she got there.

 Ok let’s go back a bit.

 •

A scene, in a bathroom in Copenhagen. The sound of music and dancing can be heard through a slightly open window – one of those frosted windows one almost always finds in bathrooms. She opens the bathroom cabinet, selects a few things – perfume, lipstick, some golden tweezers – and drops them into a tote bag. She stops, though, after that – she hears the music too. She leans back, peers out through the slightly open window.

CUT TO an image of the cityscape of Copenhagen, buildings, blue sky, trees. The camera searches as her eyes search, and then she (camera) finds it – the source of the music. A dance class in a loft nearby. A loft with huge, transparent windows, the loft of all our dreams. She looks at them all, all the women dancing.

Then she remembers the bag in her hand and why she’s in the bathroom.

Next thing we see she walks into the living room, just like we described at the beginning. There’s a duffel bag (forget the suitcase) in the middle of the room and she drops the tote bag into it. Then she pulls the rope tight around the duffel bag, swings it over her shoulder and she walks out.

Still don’t know why though. Does it really matter?

Anyway, back to LONDON.

What does she do there, before her walk to camera? ‘Cause after that it seems like she just appears in Ireland, somehow, right? Need to give her something to do in LONDON. I’m thinking, something to do with space? Before we talk about how she got there, how she got to LONDON?

Those things, remember those things that were all in her suitcase, duffel bag, all the things she packed inside? I think one of them is a deck of cards. I think we might be able to do something with all those things. In a bit though. Wait a bit.

Ok, something to do in London. How about this? The camera looks at a photograph – of the mountain, just like the mountain in the magazine. (What magazine, you’re thinking, just wait will you.) One difference though – loads of military bases. You know, like military buildings installed on mountaintops. It’s a photograph located in, let’s say, the flat of her father. He lives in LONDON. Maybe he stayed there, when she and her mother went to live in Denmark. I’m guessing her mother is Danish, right?

Anyway, this photograph. It’s on a wall. And she looks at it and it reminds her of something else, the mountain in the magazine, something we haven’t seen yet though – but guess what, it’s something really, really, really important.

Before she arrived in London, right, she boarded a train in Copenhagen. Before she boarded the train she bought some typically Danish food products at the train station.

On the train, though – on the train she fell asleep watching the train pass quickly by buildings, then houses, then fields. The man who sat beside was a large but friendly man. She woke up some time later, the train deep within the Danish countryside.

In the pouch situated on the seat in front of her there was a magazine. She pulled it out and, flicking through it, she came across an image of a mountain.

That’s where I’m going, she thought – yeah that’s where I need to go.

 —Alan Cunningham

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Alan Cunningham is a writer from the north of Ireland. His books include Count from Zero to One Hundred (2013), New Green Fool: 7 Essays After The Green Fool and Sovereign Invalid (both forthcoming). Currently based in London he has previously lived in Belfast, Berlin and Melbourne. In 2013 he was a Resident Fellow at Z/KU in Berlin, Germany, funded by the Arts Council of Northern Ireland (ACNI). He was also the recipient of a general ACNI arts award in 2014. 

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Mar 082016
 

Capture

There is no one like Stanford in modern poetry. The triumph and beauty is in the work, more than many us could have imagined forty years ago when we searched out his poems in a few small editions and poetry magazines. And as Stanford said near the end of The Battlefield Where the Moon Says I Love You, “all of this/ is magic against death.” —Allan Cooper

Capture

 

If we’re lucky, once or twice in a generation an artist comes along who changes the complexion of our entire landscape and gives us a way of seeing the world as we have never experienced it before. Often these artists receive little or no recognition in their lifetimes, and it takes years–sometimes generations–for their genius to be acknowledged. I think of the work of William Blake and John Clare, Emily Dickinson, Vincent van Gogh, Paula Modersohn-Becker and the haunting, other-worldly poems of Frank Stanford.

Frank Stanford’s creative life spanned a little more than ten years. During that period he wrote the nearly 700 pages of poetry collected in What About This, and the epic poem The Battlefield Where the Moon Says I Love You (over 500 pages when it was first published in 1977, 15,283 lines of poetry. A little over 600 lines are printed in What About This). Other uncollected poems will surely come to light with time.

Stanford corresponded with a number of poets, including Allen Ginsberg, Lawrence Ferlinghetti, Thomas Lux, and Alan Dugan, who served as a sounding board, confidante, advocate and friend. It was Dugan who urged him to publish Battlefield without further revision: “Received your blockbuster of a ms. and am reading it. It’s wonderful so far, and I think that it should be published as it is in a small edition of books: it could sleep for a number of years and then explode.”

Among the many fine poems in What About This one poem in particular has stood out for me for nearly forty years, a modern masterpiece as poignant as Vermeer’s “Girl with a Pearl Earring.” The poem lives somewhere between the domestic and the wild, between what we know and what we don’t know. It transforms the earthly and familiar into something else:

Place on a Grave

It’s not hard to forget what they ate
Every winter, when the father
And the oldest brother went back to do time,
Cowpeas and smoked goat, all winter
The same muddy supper, their voices
Thick as pan bread, the hollering
At dawn when the mother went out
To the pens in cowboy boots
With a bucket of feed and a roll
Of toilet paper, finding a swatch
Of her daughter’s nightgown
Fluttering on the barbed wire,
The hollering and calling
The rest of them did when they
Raised up from their cold beds
And went out searching at first light
For their crippled sister, who dreamed
Walking over the mountains
In the dead of winter, the smell
Of cooking in her hair, believing
She was gone from there, dignified
Like a wooden figure on the prow
Of a ship with no horizon.

There’s no other poem in the immense body of Stanford’s work that better contains the haunting beauty that is the trademark of his writing and of his life.

*

Frank Stanford was born Francis Gildart Smith on August 1, 1948 to a single mother. He was given up by his birth mother, and soon after was adopted by Dorothy Gilbert Alter, who became the first female manager of Firestone. She married Albert Franklin Stanford, a levee engineer, in 1952. By all accounts Frank Stanford had a comfortable middle class childhood. In the summer his father took the family with him when he worked:

“Unlike most levee contractors, his adoptive father lived in the levee camps with his family during the summer months, and this is the speech Stanford imbibed as a child. It saturated his long, hot, and humid days and his radiant, lunar dreams.” (C. D. Wright, The Poet Frank Stanford, Between Love and Death, from American Poets Magazine. Posted April 1, 2015, poets.org)

The men, women and children he met there populated his poems from the beginning. Many of their names are real. Here’s a small list from “The Blood Brothers”, the first poem in his first book The Singing Knives, published in 1971 by Irv Broughton, editor and publisher of Mill Mountain Press, and Stanford’s lone publisher throughout his life:

Born In The Camp With Six Toes
Baby Gauge
Ray Baby
Charlie B. Lemon
Mose Jackson
BoBo Washington
Jimmy

Some of these are nicknames, but many recur throughout his body of work, especially in The Battlefield Where The Moon Says I Love You. It’s as if his themes, his images, and his concerns were formed at a very early age. Stanford himself claimed that there were poems in his early collections that were written when he was ten years old. This may seem preposterous to us–and Stanford could be a teller of tall tales–but at least one of the poems in What About This was written when he was seventeen years old. It’s feasible that his dreamlike poetic landscape came to him during those childhood summers on the levees, and provided the directive for his entire body of work.

*

It’s imperative that a poet find his or her external landscape, the touchstone or cornerstone from which the poems flow and grow. For Stanford it was Arkansas.

That was his home, his place of living, where he worked as an unlicensed land surveyor to support himself. Many of his best poems are narratives, and Stanford was an acute listener of stories and voices and a watcher of people. Here’s an excerpt from the interview with Irv Broughton in What About This:

I B: You’re a great observer–delaying trips at bus stations.

F S: Not so much just to observe. I did it so I could meet a person; I wanted to talk. Not just to meet but I wanted there to be words, too…. I’m sad when I see really indigent people, people that are down in their heart and their soul. I wanted to help them, but I don’t know how I can.

I B: Have you ever felt that by talking to people you were actually helping them?

F S: If they thought they could truthfully confide in me, if I took a load off by maybe saying a few kind words, maybe so…. But I just helped because I talked to them. Maybe anybody could have talked to them.

Stanford found his influences wherever he could. There’s a whole chapbook of previously unpublished improvisations and versions of the poems of Jean Follain called Plainsongs in this collected, echoing and expanding Follain, set in Stanford’s Arkansas landscape. Here’s one poem from that manuscript, “The Dream Near The Witness Tree”:

Death uses a beautiful rock as its perch
you don’t know what it feels like
how cold and bright it is
until it snows and a blackbird leaves there
the wind blows through its crag
and holds up a branch in the night
like the last peach on the tree
or a woman who has lost a breast
and thinks she will lose you too
Death makes a point of saying I will lose you

We can feel Stanford’s empathy near the end of this poem, and sense that there’s a much larger story behind figure of the woman–the single peach leading to the single breast. Stanford listens and watches, and then selects and amplifies details like a painter. He’s a master of what should be kept and what should be left out.

A poem from One-Finger Zen, another previously unpublished manuscript shows just how much he learned from Follain:

Despair

a man by himself in a bar
feels a shadow behind him
thinks of his wife eating
bleeding meat
hears the rain by the sea
tries to forget his day laid out like dresses for the dead
he knows his heart is closed up for the night
and the people
who are poor and cannot sleep look through the blinds

Stanford’s empathy was immense. He postponed bus trips to listen to others. He cared about the lost and forgotten, the poor and afraid. And he brought them into his poems where their despair and hopelessness could shine clearly, “cold and bright.” His poems should be a wake up call for all of us.

*

Franz Wright has called Stanford “one of the great voices of death.” I think that’s fair. But the myths and misinformation that grow up around poets who die young—Frank Stanford, John Thompson, Sylvia Plath—rarely do the poets justice. In fact their death, in many ways, tends to be a mirror reflecting the reader away from the work. There’s the urge to look for all the sordid details in the poems, and if they’re not there, we seem to have many curious ways of trying to convince ourselves that they are.

While a poet’s work is always more important than the details of his life, sometimes a few details are helpful. Stanford once said “Let’s put on a pot of coffee and write all night.” While he was at the University of Arkansas (he never completed a degree) he was probably writing The Battlefield Where the Moon Says I Love You late at night in his room. He could write anywhere, but he had his favourite places. Again, from the interview with Irv Broughton:

I B: Talk about the ideal writing environment.

F S: During my college days, it seems the best circumstances were for me to spend long periods of time in a given place that I felt some affinity for, that I’d gotten used to, like this cabin. This cabin had a lot of magic feeling to it. I could get up any time of the day, any time of the night, and I could write in it. I felt so at home in this place. It was so strange, when I think of it now, getting up in the winter, building a fire at three o’clock in the morning, making coffee, going down there and writing or reading. It’s a strange feeling. I really became one with that place. It wasn’t a possession. It was just a place you could exist in. It was my place, where I spent all of my time.

*

I want to return briefly to the Follain influence. At his best, Stanford could write a small poem that had the power and depth of a good short story. Again, as in Follain’s work, only a few crucial details are there–a hint of dialogue, three or four condensed images, but they are enough. This poem is from his collection You, published posthumously in 1979:

Braids

At the end of the war there weren’t many
Men left.

So the widows traveled
To the gallows on hanging days
To look for a blindfolded man.

Any woman could save a bandit then,
And maybe two
If she had a thousand acres or a daughter.

All she had to do was bring another horse
And tell the sheriff, him.

*

I keep thinking about the rhythms of Stanford’s lines, their sway and lilt. They’ve always reminded me of blues and jazz rhythms, the leaps of jazz, the smoke of the blues, especially in the long Whitman-like lines of The Battlefield Where The Moon Says I Love You:

I said I love you in the field of honour
and she was like a colt
and she was water I held in my hands
and she was the canoe I worked through the river
and she was the flash at two-thirty in the morning of the suicidal knife
and she was a fire of pine cones who ran like a deer
and she was a butterfly that lit on the float of my pole
and she was the night herself

In Hidden Water (Third Man Books, Nashville, Tennessee, 2015), a companion book to What About This, there are further unpublished poems, facsimiles of letters and photographs, hand written notes, and a partial list of Stanford’s record collection: John Coltrane, Miles Davis, John Lee Hooker, Roland Kirk, Robert Johnson, Muddy Waters, Jimmy Reed–over 120 records, and the list goes on and on. Stanford wrote several poems which touch on the blues. Part of it might have been due to his feeling of having lost that Edenic world of his childhood, those summers spent near the levees with his family. Here’s a poem from his first book, The Singing Knives:

Living

I had my quiet time early in the morning
Eating Almond Joys with Mother.
We’d sit on the back porch and talk to God.
We really had a good time.

Later on,
I’d sort baseball cards
Or look for bottles.
In the afternoon I’d shoot blackbirds.

Jimmy would go by the house for ice water
And make the truck backfire.
Oh, I really liked that.
That was the reason he did it.

In the evenings the cottontails ran across the groves.
I shot one and put him in the backseat.
He went to the bathroom.
Jimmy said I knocked the shit out of him.

At night we would listen to the ballgame.
Then to the Hoss Man.
Jimmy liked “Take Some Insurance On Me Baby” by Jimmy Reed.

By the time Stanford wrote the following lines from a longer uncollected poem, perhaps a fragment itself, there was no more talking to God, no more good time. The poem begins with night and shadows:

Untitled

Night is nothing
but the small shadow a woman-child’s foot casts
when she puts on her boots
when the taichi lesson is over.

……..~~~~

As you can see
I have the blues.

……..~~~~

I believe the farmer who stays awake all night,
sacking his mind like oats
for a name for his farm,
is more of a poet than most.

It’s about time the white men
got wise to blue guitars
of the delta.

I’m a two-timer and a drifter
so I won’t ask you to stay very long with me.

I don’t want anyone else to get
two steps from the blues.

Closer is a word the wise and foolish lovers use.
The incestuous roosters of dawn
are all of the time tracking it down.

The ones who follow wicked routine
are always saying, “Make ends meet.”

If we have to meet, then I want to
meet you like smoke. Yes, I’d like
to chop the kindling of my childhood once more,
we’re the same there. But those days are gone,
for better or worse. So, if we meet at all,
whoever you are, let us meet like horses
smelling one another out
before they mate.

All great poets go deep into their own inner landscapes, and that journey can be dangerous, sometimes fatal. Theodore Roethke wrote in one of his notebooks, ” To write poetry: you have to be prepared to die.” The old saying “he wrote with his blood” isn’t just some romantic aphorism. How far did Stanford go? Was he dogged, as the delta blues musician Robert Johnson was when he wrote “Hellhound on My Trail”?

I got to keep moving, I got to keep moving
Blues falling down like hail…

*

Stanford didn’t write a lot about his poetics. He made a short autobiographical documentary film with the help of Irv Broughton titled It Wasn’t a Dream, It Was a Flood. Some of his ideas about poetry are found in two short pieces in What About This: the interview with Broughton, and six pages of prose that first appeared in Fifty Contemporary Poets: The Creative Process. An excerpt from that piece, “With the Approach of the Oak the Axeman Quakes,” is printed below:

I don’t believe in a tame poetry. When poetry hears its own name, it runs, flies, swims off for fear of its own life. You can bet your boots on that. Jean Cocteau said a poet rarely bothers about poetry. Does a gardener perfume his roses?

Truthfully, it is the lure of the other fields, of other forces which draw me into a poem, not the techniques of a self-conscious poetics. A book like The Secret Life of Plants would have more influence on my poetry, add more in explaining and understanding the other systems of poetry, than would certain texts.

Every poet has a field of force not presently understood.

*

Stanford wrote a few poems from his experience as a land surveyor. To me it seems his physical work laid a grid or template over his poems, and showed him the boundaries in which his poems could percolate and grow, like the frame around a painting. In this previously uncollected poem, we sense how deeply he had gone into his psychic landscape near the end of his life:

How I Showed the Men No-Man’s-Land

The party of lost surveyors
Gathered at my fire
Dead and weary
While I cleaned my fish

“See this creek” the field chief
Told his chainmen
“It doesn’t appear on the map”

It was dusk
And my fire was going down
Like the sun on the ridge

They looked in the sky
For a star to follow
The wind blew
But the branches were still

“It’s odd here men
There must be something underground
The compass won’t work
The needle’s still
As a ship in dead calm”

I came out of the dark with my deaf dog
I asked them wouldn’t they
Take their rest

They whispered among themselves

I offered them biscuits and liquor

“Stranger all we want to know
Is where we are”
So I drew them a map in the dirt
Quietly with my knife

And when they understood
How deep they’d traversed
They looked one another in the eye
And parted company

That night every man looked for his own stone
To lie down beside and die alone

And in the background of the poem, that “ship in dead calm” rocks slowly like Charon’s boat on the bayou.

*

Poets of Stanford’s generation were nurtured by older poets who believed that another aspect of a poet’s work was to start a magazine, or a small poetry publishing house, or translate from other languages—all a part of giving back to the gene pool of poetry. Part of this process is to search out new and overlooked voices and give their work a place to be.

Stanford understood this, and established his poetry publishing house, Lost Roads in 1977. The first title from the press was well-known American poet C.D. Wright’s first collection of poems, Room Rented by A Single Woman. Stanford and Wright had a relationship for most of the last three years of his life.

Shortly before his death, Stanford prepared his will. He had reportedly visited his mother more frequently than usual in the weeks leading up to his death. On the evening of June 3, 1978 he returned to his home and took his own life.

His wife, Ginny Crouch Stanford, and C. D. Wright were in the house at the time of his death. What is perhaps most remarkable is that Wright and Crouch Stanford became co-executors of Frank Stanford’s estate and carefully preserved his many manuscripts over the last four decades. This story is not unlike that of Vincent van Gogh’s sister-in-law, Johanna van Gogh-Bonger, who preserved many of his famous paintings that we cherish today.

I find a commingling of many of the themes in Frank Stanford’s poems in this previously unpublished fragment:

The night, the child, the moon, the drunken sailor,
the woman who wears through her ring like
a pair of Levis that last and last,
the blind Negro who taught me how to strut
when I was six, the look you gave me
the other day, whoever you are, the brave
and the lonely, the animals that see us,
a long time before we shoot them, the bank robber,
the drifter, all of us drink
from the same pool. So, when we meet,
let’s float down together, sane,
stoned, drunk, whatever, like those indigo
dragonflies of spring that will be here
soon.

*

There is no one like Stanford in modern poetry. The triumph and beauty is in the work, more than many us could have imagined forty years ago when we searched out his poems in a few small editions and poetry magazines. And as Stanford said near the end of The Battlefield Where the Moon Says I Love You, “all of this/ is magic against death.”

—Allan Cooper

 

allan cooper.

Allan Cooper has published fourteen books of poetry, most recently The Deer Yard, with Harry Thurston. He received the Peter Gzowski Award in 1993, and has twice won the Alfred G. Bailey Award for poetry. He has also been short-listed three times for the CBC Literary Awards. Allan intermittently publishes the poetry magazine Germination, and runs the poetry publishing house Owl’s Head Press from his home in Alma, New Brunswick, a small fishing village on the Bay of Fundy.

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Mar 072016
 
Sam Savage author photo

Sam Savage photo by Nancy Marshall

The news reached us early in February that Sam Savage is dying. It is an immense and awful honour to be thus involved in an author’s final days. It comes to us because of Jeff Bursey’s relationship with Savage, a relationship based on multiple readings and reviews over the years and the magnificent and compendious interview Jeff did with Savage for our May 2015 issue (“It Is Not a Novelist’s Job to be Merciful: An Interview with Sam Savage”). In the days that followed, Jeff was in touch with Savage about a retrospective essay we intended to publish. Savage sent us a new unpublished short story to go with that essay. And then, amazingly, Savage sent us his entire Collected Poems, most of which have never been published, many of which are brilliant (I absolutely adore the comic sequence called “The Kiffler Poems,” which forms the last third of the book). Thus we have for you today Jeff Bursey’s retrospective essay on the works of Sam Savage, a short story by Savage, and his complete Collected Poems. 

I don’t know Sam Savage except through his work and through Jeff Bursey, which is a lot when you come to think of it. But I think of him reading these words in his bed, and the moment seems holy. Thank you, Sam.

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Introduction

Sam Savage has a genius for getting inside his characters’ heads and bringing out their worst and best traits in such a way that we are never in doubt that the individual—it can be man or woman or, yes, animal—is a presence who has felt pain and sorrow and has a story to tell. His lead characters are intensely believable because the language is intense and believable. This exquisite combination of words and psychology, along with Savage’s knowing penchant for idiosyncratic behaviour, is rare indeed, not found in fiction as frequently as we might desire.

A brief overview

Part of the appeal of Sam’s novels is enjoying the control displayed as his characters do things you would not expect, but that make perfect sense within their own way of being in the world. Each book features a voice (“a way of speaking, a way of seeing the world from an angle so specific that it defines the character of the person who is viewing the world in that way,” as he defined it in the interview he did for Numéro Cinq in May 2015), a set of restraints, and a major task (it may appear trivial or obsessive or disturbed to outsiders) that consumes the positive energy of the narrator. While it might seem easy to convey the type of claustrophobia that comes from situating events and impressions in one mind, it is another level of difficulty to keep that from becoming dull for the reader as the character flails about and retreats further from sociability, competency, and normal manners. Offsetting the potential for the reading experience to turn oppressive is the presence of humour (aggressive or dark more often than gentle or whimsical) and compassion. These elements are handled with firmness and skillfully, always allowing a sufficient amount of space between authorial command and the apparent free agency of a character to move quickly from one activity or mood to another.

It’s partly the purpose of this essay to underscore those and other achievements of a truly fine novelist. Think of this as a reminder, or an alert, to the existence of someone who deserves respect for his art.

Correspondence and interview

Sam was born 9 November 1940; our first exchange occurred in October 2010. So there’s no great depth of knowledge that I’ll draw from here. I also won’t claim to not sound awkward when writing him. We’ve exchanged a few opinions on books, on readers, on the economy, on the Internet, and so on. When I saw a short piece by him in the Winter 2014 issue of Paris Review I asked, in January 2015, if this was part of a new novel. No, just a short story. Had he given up novel writing? His answer had the same bracing absence of self-pity as his fiction: “Well, Jeff, I am 74 years old and in bad health. I don’t have the courage or stamina for another novel. Not a voluntary retirement from writing but simply a recognition of the facts.” Not a case of overstatement and no hint that amplification would come. Either he isn’t like that or, more likely, he’s not like that with some guy he’s never met sitting at a computer northeast of his home, I thought. He is as reticent when it comes to leaving materials behind for biographers: “… I receive few letters, and don’t keep most, and write even fewer. Mostly emails, which I intend to delete before the axe falls. I’d like to leave no trace except my novels.”

Provoked by his health statement to act, in February 2015 I sent Sam the first set of interview questions with the aim of getting more down than the “trace” of his novels for those who, like me, wanted to know about the mind that created them. At the end he summed things up this way: “It has been a long haul, but I am grateful for the chance to address some of the issues you raise. I do think that not many people get where I am coming from, and perhaps this will help a little. And, I am sure, what was long for me was three times as long for you. So thank you.” Of course, the month-long process didn’t seem arduous to me as I found his answers fascinating.

When I first read Firmin I thought that here was a new and supple voice that was capable of wringing pity from vermin. Sloth cemented my appreciation of his talent. Sam’s books are filled with obsessions, a loneliness that is at times terrifying, a devotion to form and voice, and, above all, an underlying humanity that deserves comparison to the works of Joseph McElroy and Gabriel Josipovici. We read of a mind destabilizing and threatening not to be there much longer, and the tension of what’s going on, or what may be revealed in a few lines or at the top of the next page combines with the haphazard (almost leisurely, if that doesn’t sound peculiar) self-exploration of the narrators who cannot help but go on about themselves as they drive (or are driven) towards some shattering, final obstacle.

In the NC interview Sam talks about living with his wife in Madison, Wisconsin, versus the South where he was born: “I work. I used to take walks in the neighborhood. Now I look out the window. In the warmer seasons Nora and I go out to lunch once or twice a week. My sons come for long visits every year. Friends come from South Carolina and from France. I don’t know anybody in Madison apart from neighbors, a couple of Nora’s friends, and doctors. I can hardly be said to live here. I feel I am just passing through, practically unobserved, like a ghost.” It’s the ghostliness of his books—that they may become pale and unseen except by a few souls—which this essay is trying to address.

News I didn’t want to hear

In the interview Sam addressed his health. He had learned in the 1970s that he has alpha-1 antitrypsin deficiency, and this means he’s “…missing a blood component that protects the lungs from attack by some of the body’s own enzymes. The consequences vary widely. Chief among the more serious are liver failure and lung destruction…. It’s an ineluctable, irreversible process.” The expectancy of life ending soon is a feature of his novels. “There was a long period, in my twenties and early thirties, before I became really noticeably sick, when awareness of death in the form of a boundless encompassing dread was so persistent and unbearable that I contemplated suicide in order to escape it… Maybe being sick—and during the last twenty years quite obviously so—has made me more sensitive to the blitheness with which we normally—and I suppose I can say mercifully—go about the business of living.” Looking on things now, I should not have been surprised by what he had to say.

A note on 4 February 2016 spelt out matters with Sam’s usual lack of sentimentality and matter-of-factness: “I was hospitalized for a time in November and on discharge was put into a special Medicare category called Hospice designed for those deemed to have fewer than six months to live, where all restrictions are lifted on morphine and such. In other words, I am dying, and rather rapidly. I am unlikely to live out the six months. In my view I won’t even get close.” He’s not the type to draw attention to his own—well, he’d probably never say plight unless it suited a character, and so I’ll say this turn. “I have no inclination to keep it secret and am prepared to do anything I still can to give my books a chance to live on without me.” At the same time as he expresses what’s taken 40-some years to draw so very near, he writes about it not quite casually, but without self-indulgence, not wanting anything for himself, precisely, but advocating for his art. He knows what creating those novels demanded and required. Most writers, most artists, can identify with that.

Novels

In an effort to pay respect to this artist’s life’s work, then, here are selections taken from reviews I’ve written of his books for various journals to give readers an idea of their flavour. (One novel not considered is The Criminal Life of Effie O. [2005], which he’s dismissive about in the interview.) The hope is to encourage people to entertain this thought: that not reading Sam’s novels (all published by Coffee House Press) is a missed opportunity, something you won’t know you would have missed unless you read him.

Cover_of_firmin_novel_by_Sam_Savage

Firmin (2006; with thanks to Books in Canada.)

“Firmin gathers impressions of the world from novels, history books, and maps. He has a lot of knowledge which, because of his position, will never be put to use. He fails at sign language, learned from a slender pamphlet, the only time he gets to try it, and typing is impossible for him. He can play the piano, but this never helps him pick up girls. He prefers devouring books to anything else. An insatiable reader, he categorizes authors. In fiction, there are the Big Ones, like Joyce, Dostoyevsky, and Strindberg, from whom Firmin learns that ‘no matter how small you are, your madness can be as big as anyone’s.’

Firmin’s situation is complex, bizarre, and at times unutterably sad, due to his exceptional condition. He is a rat who was raised with literature for sustenance, in every sense of the word.

“. . . Airy grief in some way sums up Firmin’s predicament. It’s impossible to read Firmin and not contemplate what it’s like to be out of step with everyone, forever, and not through choice. This trim novel is a modest delight, with its clever conceit, an abiding respect for literature, and geniality co-existing with melancholy.”

Savage_Sloth

The Cry of the Sloth (2009; with thanks to Open Letters Monthly.)

“In the delightfully mordant The Cry of the Sloth, Sam Savage gives us Andrew Whittaker, a lonely man, isolated by a failed marriage, his own misdeeds, and his often ugly personality. A bookish individual, editor and owner of a small-time journal named Soap, Whittaker bears rat-like teeth at his competition. He writes letters to his ex-wife, women he knew years before, contributors to the failing journal, and impatient bill collectors, and these letters make up the majority of the novel, with the occasional excerpt from a diary and passages from a novel Whittaker has underway. While the correspondence tells us that Whittaker is desperately trying to keep his magazine afloat, and is a failure at romance, the novel he’s writing illustrates his loneliness, bitterness, and sexual frustration. Though Savage limits us to Whittaker’s point of view and we therefore have only a one-sided version of events, it’s clear that by the end of The Cry of the Sloth we have witnessed the fairly rapid decline of Whittaker as he loses his friends, his family, his income, and control over his emotional and mental state.

“. . . In the midst of the systemic corruption of the Nixon years, Whittaker embodies, on a modest level, smallness and pettiness, and is a reminder of how easily we can turn, or naturally be, rotten to others while deluding ourselves about our own importance. The Cry of the Sloth is a fine example of the epistolary novel (another is Mark Dunn’s Ella Minnow Pea), and reminiscent of works that attempt to make someone who is unlikeable at least approachable (Joseph Heller’s Something Happened comes to mind). By focusing on a minor, carping, mean-spirited man, it shows that even an unedifying life can serve as a moral lesson.”

Savage_Glass

Glass (2011; with thanks to Requited)

“Like the figures in Firmin and Sloth, Edna looks to be completely on her own. One of the many accomplishments in this fine novel, saved for the last pages of Glass, and carefully led up to, is to make a reader come close to understanding the deadening sadness of her life, and potential fate, and, finally, feel sympathy for a character whose ways can be off-putting and obscure. One wonders if Sam Savage is indicating that we live in a Godless universe, with Edna just one more creature in a glass cage, unloved and not made to last. If so, then this is a chilling picture of old age and contemporary society.”

Savage_Way

The Way of the Dog (2013; with thanks to The Winnipeg Review.)

“[This novel] begins quietly, like Savage’s other works, with readers closely following the mind of Harold Nivenson, a man of undisclosed age living alone in his crumbling home.

“. . . Hatred entered Nivenson’s life early on. His siblings would steal one piece from every puzzle he started, and even if he wasn’t sure they did, the anxiety that there would be a hole in the picture at the end ‘destroy[ed] the pleasure [he] might otherwise have derived from the puzzle.’ Without much more explanation, Nivenson says he ‘became, in my family and for my family, and ultimately for myself as well, the representation of failure.’ His sister and brother, due to the inaction of their parents, ‘bear the entire blame for my situation, a situation that amounts to a disability…’”

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It Will End with Us (2014; with thanks to Numéro Cinq)

“Told through haphazard recollections, It Will End with Us portrays the Taggarts as troubled by the father’s offhand brutality… and the mother’s unraveling mind…, located within dire economic and environmental conditions. The myth of the fertile South is replaced with the reality of a parched region losing its resources—dusty land can’t bear crops, neither Eve nor Thornton produce children…, and the crumbling family home a rebuke to the prosperous Big House frequently featured in Southern history. Savage’s foray into Southern fiction bears some resemblance to Faulkner in its capturing of the deterioration of a self-important family and its host culture, but in Eve there is a larger theme at work, to my mind, than that of the decline of the South. She does not look back with self-pity. Whether we can trust her is open to question.

“. . . The integrity of the main character and of the story told, fascinating topics deftly handled, lead into another aspect of her that is equally rich. A character named Eve who focuses on a childhood when her family was intact invites us to entertain the possibility that this novel, certainly at one level about the mythical/real South, at a deeper level plays with religious myths through the creation of a Biblically-named figure from Spring Hope—a debased name for Eden—who is trying to retrieve a pre-lapsarian world that never existed.” (Full NC review is here.)

Final thoughts

To return to Sam’s news, which he has given permission to be shared, I asked him if he wanted to add something, in a public venue, about his impending death. Why did his answer surprise me? “I think I have nothing more to say.” There’s no appeal for sympathy over his state, no last explanation. In keeping with his integrity, Sam’s novels say what he would like to remain in our heads. They are the artistic achievements he has left standing, that he has left us, and which we have the wonderful prospect of reading and re-reading now and into the future.

 — Jeff Bursey

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Jeff Bursey is a literary critic and author of the picaresque novel Mirrors on which dust has fallen (Verbivoracious Press, 2015) and the political satire Verbatim: A Novel (Enfield & Wizenty, 2010), both of which take place in the same fictional Canadian province. His forthcoming book, Centring the Margins: Essays and Reviews (Zero Books, July 2016), is a collection of literary criticism that appeared in American Book Review, Books in Canada, The Review of Contemporary Fiction, The Quarterly Conversation, and The Winnipeg Review, among other places. He’s a Contributing Editor at The Winnipeg Review, an Associate Editor at Lee Thompson’s Galleon, and a Special Correspondent for Numéro Cinq. He makes his home on Prince Edward Island in Canada’s Far East.

Mar 062016
 

danielledutton1

It is a work of extraordinary emotional and psychological complexity, about a woman who locates salvation in her own creativity and is audacious enough to seek recognition in a world governed by men, from which it is not readily forthcoming. It is also a novel which plays with the line between confidence and egoism in a setting in which the slightest display of confidence on a woman’s part is too easily glossed as egoism — Natalie Helberg

dutton book covr

Margaret the First: A Novel
Danielle Dutton
Catapult, 2016
Paper, 167 pages, $15.95

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Danielle Dutton’s Margaret the First is a fictive recreation of the life of Lady Margaret Cavendish, a seventeenth-century word-smith, scripter, raging oddball, and wheeling brain. This was a woman who ventured to publish her outlandish thoughts and writings when there was very little precedent for acts of this kind (she was, after all, a woman, and constrained by the conventions which dogged her era). In some ways reminiscent of Virginia Woolf’s The Waves, Dutton’s book unfurls in prose which is arrestingly poetic; it concentrates on the small moments, emotions, and sensuous details which make up Margaret’s life, though without forgetting about the larger, less fleeting events which might be termed her life’s frame. It is a work in which colourful linguistic molecules reign, a work whose language is perhaps as excessive and stunning as Lady Cavendish’s own wardrobe was said to be.

It is also a work of extraordinary emotional and psychological complexity, about a woman who locates salvation in her own creativity and is audacious enough to seek recognition in a world governed by men, from which it is not readily forthcoming. It is a novel which plays with the line between confidence and egoism in a setting in which the slightest display of confidence on a woman’s part is too easily glossed as egoism (“Hadn’t I thoughts, after all?…It cannot be infamy, I reasoned, to run or seek after glory, to love perfection, desire praise…”; “I cannot be Henry the Fifth, or Charles the Second, yet I endeavour to be Margaret the First”). On another level, it is a novel about a woman being pushed along the line that is her life, a woman being buffeted about and subjected to forces she has no control over—wars, illness, her own body—while others, including loved ones, drop away: “In March, in London, my niece died from consumption. In April, my sister Mary. In Ireland that summer my brother Tom was crushed by his horse. The following autumn, our mother was taken…Alone in my room in Paris, I felt oblivion creep near.”

Margaret Cavendish, the character Dutton has fashioned, is at once bold and insecure, audacious and isolated (she is often more daring on the page than it is possible for her to be in person); even when she is all the rage (because her writing or eccentric attire is garnering attention) she is without community; she is by turns an object of praise, admiration, ridicule and resentment. The novel sweeps breathtakingly along from her birth to a noble family and early childhood in Colchester, England, to her death on a garden bench one winter’s morning. In between these events, the young Margaret Lucas serves the queen as a lady-in-waiting, marries William Cavendish, an aristocrat with no money but good connections (they dine and otherwise socialize with the best minds of the time: Hobbes, Descartes, Dryden, and others—all of whom more or less ignore Margaret), writes copiously (though she has her crises), and moves with him, in exile, from place to place: They are Royalists and the English Civil War is raging.

It is interesting to consider Margaret the First in light of Dutton’s other works. Dutton, who identifies as a writer of fiction, is nonetheless preoccupied with forms of narrative which resist the very distinction between poetry and prose. Neither her collection of short stories, Attempts at a Life, nor her first novel, SPRAWL, make use of conventional plot. Both are works which appear to let the sentence guide ‘what happens’ in the writing: the only rule seems to be that whatever comes next must be linguistically surprising, or refreshing. (Carla Harryman is another American prose-writer who works in something like this way, and Dutton is of course familiar with her.)

Today there’s no use for descriptions of the past. But life changes on a dial, in a garden, a clinking of beetle wings, a shrimp bush and dry pink petals of Chinese lanterns dangling. Once I thought: I’ll just plant things until there’s no time to be afraid. But storms are furious in their own way, green lightning and bullets as big as hail in the desert, as frogs.

My tongue reveals something faintly audible here. But birds come in off the low-slung roof and confess themselves atop cupboards. Even the occasional warm bird sandwich is prohibited. I spend a term untouched, living in an abandoned chophouse, pulling weeds. I post banns up and down the avenue, on palm trees and street signs. I drive a simple bargain. (“20C Pastoral” in Attempts at a Life)

Whereas Attempts at a Life consists of very short pieces which coalesce like poems (it is almost tempting to think of them as prose-poems), SPRAWL, whose structure is supposed to reinforce its theme, consists of a single, stream-of-consciousness-like paragraph whose sentences inventory the phenomena making up an equally sprawling suburbia:

We have a distinctive ecology involving cows, furniture, farms, real estate, azaleas, fires, corn, curtains, dust, passion, malefactors, milk, meat, cherries, wasps, mayors, pipefitters, fences… So we sit on the couch and drink cocktails with umbrellas and are strongly on this one side of taxation, with an emphasis on judges, unpleasant violent crime, serenity, the good life, biographies of famous leaders, science fiction, and marijuana. I say, “Thanks for coming.” Then I say, “Sakes alive!” then “Mendicant!”

Both books are textured, so to speak, like fiction, but the linguistic parts which make that texture up are allowed to sit next to each other in ways which are perhaps more mysterious than conventional fiction would allow (and how do the elements making up a poem fit together?—often they fit together illogically, which is to say: magically). In this vein, Dutton is an adept maker of lists. Many of her sentences, and paragraphs, too, assume the form of a list whose elements are motley enough to startle expectation, but coordinated enough to sustain a kind of sense overall. This kind of slightly discontinuous listing, if we can call it that, makes Dutton seem aesthetically close to Gertrude Stein, who is one of her acknowledged influences (Virginia Woolf and Georges Perec are others).

Margaret the First makes use of this technique as well, though the items which make up its various lists are slightly more coordinated than they are motley. This is perhaps because the novel, unlike Attempts at a Life, say, although it too is made up of short, poetically-cohering sections, strives to transcend its parts to sustain a longer, unified story. In this respect it is like Dutton’s first novel, though Margaret the First labours under an even greater constraint than the rather open-ended SPRAWL, since, however fictionalized it is, it is about a specific historical figure, whose life it promises to animate. ‘The list’ serves precisely this end; its recurring presence is one of the reasons the book’s prose is so sumptuous, and the world it conveys so vivid. It is also one of the reasons the mundane details of Margaret’s life become entirely engrossing:

One morning that June, I took only a conserve of marigold for breakfast, trying to loosen a cough, and, after wandering the halls, went to the garden with two hard plums in my pocket. I ate; the church bell tolled. Eventually, in petal-flecked shoes, I found my way to the sitting room, where my mother dozed and John’s pregnant wife stood absently by the settle. The room was remarkably hot, for Mother believed in keeping windows shut, and a fat summer fly bumped against the glass. I stood at a table fiddling with a vase. I counted thirty-seven stems and dreamt up a ruby coat for a Chinese empress, a watery dress for Ophelia, a series of towering crystalline hats that rattled, sparkled, and shook—until from the hall came a series of noises.

The kind of writing fictionalized Lady Cavendish does appears in the novel, too. It is also described. At times, it almost seems as if lodged in Dutton’s book is a poetic—a theoretical articulation of a writing practice (Cavendish’s)—which exceeds the poetic the book itself (that is, Dutton’s) partakes in. This poetic is presented in a positive light, as if it is radical and desirable, fully endorsed, even loved. Perhaps it is loved all the more because it does not speak to the novel’s actual style; instead, it is held at a distance, a condition for eros:

Margaret writes everything: poetry, plays, essays, fancies, alternative philosophy. The structure of many of her texts is chaotic, directionless (“just a jumble of speeches and scenes” without structure—though, of course, even a mess has structure: life’s chaos is structured, and Margaret wishes her texts would unfold “like the natural course of things”). Her writing also embraces hybridity (she produces a book which is both fictional and theoretical, both fanciful and philosophical, for example), and switches styles on a whim (“Might not language be as a closet full of gowns?”). It disregards grammatical requirements as well, mainly because Margaret is unfamiliar with them, but refuses to be held back. In a word, her text is wild. It is as wild as she is inexorable. It cuts what seems like it must be an impossible figure of freedom, but which is precisely not impossible: We could say that in Dutton’s novel lies an unformulated manifesto for writing, which in principle, but so rarely in practice, is open to every possibility.

Margaret’s theoretical thinking, too, is feral and fantastical. She disapproves of many of the scientific trends of her day (including experimentation on animals) and produces, we can gather from certain snippets, a kind of alternative metaphysics (which reads like a ‘pataphysical critique): “I rejected any clock-like vision of the world. I chastised men who hunt for sport. The moon might be a ball of water…” When she is finally able to attend one of the Royal Society’s meetings (she has to nudge, but she does get in), she is silent however. Internally, she is enraged; externally, she is docile. “Gentleman,” she says disingenuously, “I am all admiration.” Later, she tells her husband that the meeting was only “more chatter,” and we are given a fuller idea of her own sense of impotence; her docility, her agreeableness at the meeting, was just a throwing up of arms; her speech was the silence of one whose speech is dictated, of one who is trapped or cornered, of one whose genuine thoughts, if they do not provoke violence, will fall on deaf ears, of one who is alone in the world, while the rest of the world bears down.

Psychologically acute moments like this, subtle emotional swivels, rather than action per se, give this narrative shape and depth. The single constant Margaret has in the world, besides her writing, is her husband, William, but even her relationship with him sours and sweetens. He is initially supportive of her writing, even proud, going so far as to distribute copies of it to his eminent friends, but he becomes peevish later on (at one point he even tells her—more or less—that women should be seen and not heard). She does not help matters, either: for all her shyness, she is a shameless self-promoter, and is perhaps too preoccupied with her own doings to realize when she is stepping on his toes: She attends the opening night for a play he has written with her breasts bared and nipples painted—something of a fashion experiment, which is much noted during the performance. “Congratulations,” she tells him afterwards. “No, no,” he says, “Congratulations to you.”

Lady Cavendish is undoubtedly a complex, perhaps even contradictory, character: she is a character one for the most part sympathizes with, though she has it in her to be mortifying. She is an awkward character, to put this another way: both very public and extraordinarily private. The text holds a part of her in reserve, or seems to refrain from disclosing her fully. She wonders if William has forgiven her after the play-incident, but we are given little other insight into her anxiety: we know enough to know it is there; we know enough to know she suffers; still, these things are cloaked with silence. Dutton’s striking novel has its own way of wrapping things in silence: it leaves us with a winter’s tomb after giving us page after page ashake with leaves and petals, orations and courtships, wars and corpses, air pumps and eldritch grammars, seas and sciences, itinerancy and gossip, plums and manuscripts, ups and downs, birds and debt, kings and crates, fancies and Fox-men, wit and infertility, stupor and chewed goose, poems and autumn roses, Spanish stews and steady love. Its energy is inimitable; its curious aura—its curious beauty—burns a long while.

— Natalie Helberg

NC

Natalie Helberg

Natalie Helberg completed an MFA in Creative Writing with the University of Guelph in 2013. She is currently studying philosophy at the University of Toronto. Some of her experimental work has appeared on InfluencySalon.ca and in Canadian Literature. She recently won The Capilano Review’s Fifth Annual Robin Blaser Award for poetry. She is (still) working on a hybrid novel.

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Mar 052016
 

adrian and matthew
It was a cold Friday afternoon, last December, the 18th. By the fire in my front room in Fredericton, New Brunswick (Canada), I called, via Skype, father and son tag team poets, Adrian and Matthew Rice. Adrian answered from his home in Hickory, North Carolina and Matthew from Carrickfergus in County Antrim, Northern Ireland. I was particularly interested in the father-son poetry connection and how much influence they had upon each other’s work, whether their writing processes were similar or not and how the poems unfolded for them. We spoke about their influences, why poetry was important to them and what advice, if any, Adrian would give to Matthew about the writing life. I also asked Adrian about Abbey Press, a poetry press he co-founded in 1997 which published critically acclaimed work from Irish poets such as Michael Longley, Gerald Dawe, Brendan Kennelly, and the late Hungarian poets, Istvan Baka, & Attila Jozsef among others. But first I wondered how a young boy from the Rathcoole housing estate, north of Belfast got interested in poetry and how he eventually found his way to North Carolina.

While the joys of technology made this international video-interview possible, the pains (or my lack of understanding) of this same technology resulted in my external microphone only working intermittently. My solution was to edit my voice out of the recording and allow Adrian and Matthew to speak for themselves which you will soon realise they are more than competent in doing.

Following the interview are four poems from Matthew and four from Adrian (the first two are from his collection, The Clock Flower, and the last two from his recently published book, Hickory Station. Adrian is also one half of  ‘The Belfast Boys’, an Irish Traditional Music duo – in between their two sets of poems, you can listen to The Belfast Boys’ rendition of The Blue Hills of Antrim)

—Gerard Beirne

 ..

Sparrow

Darkness was dwindling
As we arrived back at your house
At dawn, late summer ghosting
The curtained rooms,

To find two sparrows flying a frenzy
Around the place, having tumbled
Down the throat of the chimney,
Spewed into domesticity.

While you set about freeing the one
Downstairs, I followed the other
Up above and cornered it
Against the window in the study,

Butting frantically against the glass –
Hope as a symbol with all hope lost.
And it was then that I thought
That losing all hope was a renewal,

Like the petering-out of a season.
So, I offered it the last of my hope;
I opened the study window
And watched it disappear into sunlight.

.

The Hedge

in memory of Billy Montgomery

I’m a youngster
Led by the hand, as
The steam coming off the hob
Casts a cloudless shadow

Across the kitchen floor –
The smell of it like some old shanty
Billowing out its breath
Into the night,

Filling my field of vision
With a plume-tailed epiphany,
Holding the soul open
For the briefest moment,

Ebbing gently like the aftermath
Of passing through a rain-soaked hedge
Under falling cherry blossom –
As the window is opened

And the room restored.

.

Atreus and Thyestes

in memoriam Zbigniew Herbert

Wet-eyed and begging,
Thyestes’ sons are put under their uncle’s
blade. Clean-edged vengeance-giver,
Atreus separates them into pieces,
aiming carefully at the wrists
to make a clean sever,
and, at pains to preserve the dignity of the young faces,
makes a good stroke at removing their heads.
The heads and hands he’ll cauterise
and keep, holding in a single thought reason and grief.

And look, what a lavish feast he’s laid on
for his brother, who sits across
eating under the illusion of truce,
who, later, will take the long walk
to the Oracle, red-eyed and sickened,
through the honeysuckle hedges
and high-sided hollows,
stopping briefly along the way
to tickle his throat with a feather;
vomiting up his beloved children
amid the indifferent, dipping swallows,
the sweet scent of summer –
how cruel the life that continues on.
The cooling breeze and carefree sway
of high branches make playful shapes
in the setting sun.

.

The Gardener

It’s cool before the sun comes up
over Gethsemane, a single bird
singing like a wayward fan
during a minute’s silence.

The man out for an early morning stroll,
taking a piss under the drooping trees,
wonders briefly why the gardener in the distance
is not moving and is down on his knees.

—Matthew Rice

 

 .

The Clock Flower

As far as the rest of the universe is concerned,
Maybe we’re like the feather-fluff of the clock flower,

The ghostly snow-sphere of the dying dandelion
That the child holds up in wide-eyed wonder,

Which the mother says to blow on to tell the time
By how many breath-blows it takes before the airy seed

All flies away, leaving her child clutching a bare stem.

And where our humanness might go, who knows?
And when it lands – takes root – what grows?

.

from ‘Eleventh Night’
XIX. Budgie

Drive the Demon of Bigotry home to his den,
And where Britain made brutes, now let Erin make men!
from ‘Erin’ by William Drennan (1754-1820)

It seemed like every single house had one
Except us, though we had an aquarium,
The other housed comfort of the working class,
One behind the bars, the other behind glass.
I thought it odd that the underprivileged
Would happily keep something tanked or caged,
Considering our hard human condition.
I guessed it was our identification
With creatures as poorly predestined as we
Often believed our hand-to-mouth selves to be.
Keeping birds in seed is a real kind of love,
And sprinkling fish-flakes like manna from above.
………….Now by a strange quirk of imagination –
Some new light from within, something gene-given –
Every time I saw a map of Ireland
I rebelled against the usual notion,
The birds-eye, map-driven visualization
Of Ireland backed to the masculine mainland,
Her leafy petticoats eyed-up for stripping,
Her feminine fields ripe for penile ploughing.
Even as a child, I refused to see it
As a victim, back-turned towards Brit-
Ain, inviting colonial rear-ending.
I saw it as a battling budgie, facing
The mainland, proudly, prepared for what might come
Winging over the waves from the gauntlet realm.
Though couched by Drennan to properly provoke
His fellow Irishmen to throw off the yoke,
It was no ‘base posterior of the world’,
Arsehole waiting to be slavishly buggered
By a foreign foe even our side flinched at.
No more servile hung’ring for the ‘lazy root’,
But male and broad-shouldered as The Hill of Caves –
Where the United Irishmen first swore slaves
Would be set free by jointly overturning
The home-based kingdom of the sectarian –
Our bold-hearted budgie had come of age,
Had climbed the ladders and looked in the mirrors,
Then ignored the dudgeon doors and bent the bars,
Self-paroled, assuming independent airs.
………..So turned towards the royal raven of England,
To my mind, our Irish budgie was crowned
With the head of Ulster: the tufty hair of
Wind-blown Donegal, the brawn and brains of
Radical Belfast, the ‘Athens of the North’,
With the clear blue eye of Neagh, and beak of Ards,
Heart, lungs and Dublin barrel-bulge of Leinster,
The fiery feet and claws of mighty Munster,
And thrown-back western wings of mystic Connaught.
Four provinces, four-square, forever landlocked,
Friend of brother Celts, but full of righteous rage
Against the keeper of the keys to the cage,
The Bard’s ‘blessed plot’, his ‘precious stone set in
The silver sea’, his ‘dear, dear land’, his England.
Yes, no Catholic cage, nor Protestant pound,
Could hold my dissenting ideal of Ireland.
For in spite of spite, it was Drennan’s Eden,
‘In the ring of this world the most precious stone!’
His ‘Emerald of Europe’, his ‘Emerald Isle’
Which no vengefulness would finally defile.

.

Breath

What is death,
but a letting go
of breath?

One of the last
things he did
was to blow up

the children’s balloons
for the birthday party,
joking and mock-cursing

as he struggled
to tie all
those futtery teats.

Then he flicked them
into the air
for the children

to fight over.
Some of them
survived the party,

and were still there
after the funeral,
in every room of the house,

bobbing around
mockingly
in the least draft.

She thought about
murdering them
with her sharpest knife,

each loud pop
a perfect bullet
from her heart.

Instead, in the quietness
that followed her
children’s sleep,

she patiently gathered
them all up,
slowly undoing

each raggedy nipple,
and, one by one, she took his
last breaths into her mouth.

What is life,
but a drawing in
of breath?

.

Wasps

On an unseasonably
warm afternoon
I am back on the porch,
and the little wasps
are trying to build
in the hollow arms and legs
of my aluminum chair.

They’re determined,
as they are every spring,
to inhabit my chosen seat,
but I have soaked
their sought for portals
with gasoline, being equally
determined to stay put.

But on they come,
at regular intervals,
in one’s and two’s only,
as if one sometimes needs
the second as witness to carry
the story of occupation back
to the others, to be believed.

I wonder what they think of me,
and feel sorry for them,
almost guilty, even imagining
the dark openings they seek
as being cave mouths
in which they wish to store
some valuable scrolls.

So I am kind to myself,
reminding myself
that it’s my chair, my porch,
though I can hear them protesting
But we were here first!
Fair enough. But no matter.
For I have a porch thirst.

Gasoline will win the day,
for another year, anyway,
and I will sit safely and securely
behind my slatted battlements,
scratching the pale page
hoping, as always, to be
stung by poetry.

—Adrian Rice

.

Matthew Rice was born in Belfast in 1980. He has published poems widely in reputable journals on both sides of the Atlantic, as well as having his work included in the CAP Anthology, ‘Connections’. He is currently putting the finishing touches to his first collection of poetry entitled ‘Door Left Open’. He was long-listed for The Seamus Heaney Award for New Writing 2016. He is studying for his BA Honours degree in English Language and Literature. He lives, works and writes in Carrickfergus, Northern Ireland.”

Adrian Rice was born just north of Belfast in 1958, in Whitehouse, Newtownabbey, County Antrim. He graduated from the University of Ulster with a BA in English & Politics, and MPhil in Anglo-Irish Literature.. His first sequence of poems appeared in Muck Island (Moongate Publications, 1990), a collaboration with leading Irish artist, Ross Wilson. Copies of this limited edition box-set are housed in the collections of The Tate Gallery, The Boston Museum of Fine Arts, and The Lamont Library at Harvard University. A following chapbook, Impediments (Abbey Press, 1997), also earned widespread critical acclaim. In 1997, Rice received the Sir James Kilfedder Memorial Bursary for Emerging Artists. In autumn 1999, as recipient of the US/Ireland Exchange Bursary, he was Poet-in-Residence at Lenoir-Rhyne College, Hickory, NC, where he received ‘The Key to the City’. His first full poetry collection – The Mason’s Tongue (Abbey Press, 1999) – was shortlisted for the Christopher Ewart-Biggs Memorial Literary Prize, nominated for the Irish Times Prize for Poetry, and translated into Hungarian by Thomas Kabdebo (A Komuves Nyelve, epl/ediotio plurilingua, 2005). Selections of his poetry and prose have appeared in both The Belfast Anthology and The Ulster Anthology (Ed., Patricia Craig, Blackstaff Press, 1999 & 2006) and in Magnetic North: The Emerging Poets (Ed., John Brown, Lagan Press, 2006). A chapbook, Hickory Haiku, was published in 2010 by Finishing Line Press, Kentucky. Rice returned to Lenoir-Rhyne College as Visiting Writer-in-Residence for 2005. Since then, Adrian and his wife Molly, and young son, Micah, have settled in Hickory, from where he now commutes to Boone for Doctoral studies at Appalachian State University. Turning poetry into lyrics, he has also teamed up with Hickory-based and fellow Belfastman, musician/songwriter Alyn Mearns, to form ‘The Belfast Boys’, a dynamic Irish Traditional Music duo. Their debut album, Songs For Crying Out Loud, was released in 2010. Adrian’s last book, The Clock Flower (2013), and his latest, Hickory Station (2015) are both published by Press 53 (Winston-Salem).

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Mar 052016
 

Karen Mulhallen

xValete Seu Morimi
Be Strong or Be Extinguished

I

Mad about you, deep in me
everywhere—
Can’t Help It.

§

II

Everything you said
you truly meant
at the moment
I fell into the spaces in between
Il dolce fa niente
Can’t Help It!

§

III

The last words I spoke
imagining we would take one of those trips
only lovers take
two great cities, Paris, Istanbul—
nights by water, walking  in the moonlight
as the nightingale begins to sing
and the dervish whirls and the hookahs are
lit aromatic of apple and tobacco and flame
and then I said  no, I will not
torment myself, drive us both crazy
with imaginary scenarios
Can’t Help It!

§

IV

Well this time I thought I got lucky
(and thought he had too)
I met this person
(a real person)
someone from years ago,
and I thought I’m clear of debris
over the catastrophe,
just a plain old mudslide,
ready for love—
xxxxxxxxxxxxxxxCan’t Help It!

§

V

I need to write it out,
hope my words scrawled on paper,
tiny band-aides,
little sutures on the scratches,
the small lines of blood
everywhere on my body­—
Can’t Help It.

§

VI

We’ve had thirty-five years to get this right
and now you’ve bailed
left me with the leaky boat—
Can’t Help It.

§

VII

If you came through the door
like that hawk’s landing
I would just say can’t help it,
Can’t Help It!

§

VIII

Can’t Help It,
I believed everything he said—
he’s an actor—really—
the embodiment of truth
at that moment.

*

You know you can only
lead the horse to water.

*

Nothing ventured, nothing gained:
Hey, just a minute, it was everything ventured,
only wreckage gained

§

IX

It can’t be helped
I wasn’t ready, or maybe I was really ready
ready for love
had no defenses
wasn’t prepared
just jumped in
and now
the undertow is
taking me down.

§

X

Hook up with an actor—
a real true professional—
take the high road to truth,
which of us will take the witness stand now,
speak the truth and nothing but the truth
so help me God.

§

XI

Four months ago I fell in love
and didn’t know whom to tell
and now, now
it’s just old news.

§

XII

It isn’t complicated
I must have lied to myself
saying I don’t want to own you
when I really just wanted
to gobble you up,
and I never thought
after that first night
when you said ‘Who would ever leave you’,
that you really meant to say  no one
but me would ever go away.
Can’t Help It!

§

XIII

That’s the thing about acting,
about actors,— it’s one sincerity after another
—which one is real—
Trust me, Right Now!

§

XIV

I called you rascal, alitros, to my friends
signaling that like Odysseus you were changeable,
mercurial, abandoned Kalypso
after eight years in her arching caverns
and could defeat
even the goddess Kirke herself.

§

XV

I was sitting in the Kensington Market
with my friend Cal
drinking mango margaritas
on the terrace at El Trompo
and I realized that’s precisely
what you have done to me.

§

XVI

I was sitting in the Kensington Market
with my friend Cal, drinking mango margaritas
on the terrace of El Trompo
and I realized that hecho un trompo
is just what I’ve done,
eaten to excess
every bit of you—
Can’t Help  It.

§

XVII

I was sitting in the Kensington Market
with my friend Cal
drinking mango margaritas
on the terrace of El Trompo and
I realized El Trompo is what I’ve become
spinning around like a kid’s top—
you push the spindle
and around I go
over and over and over

§

XVIII

I thought you didn’t like animals—
I don’t, you said, but when they go nuts
around me I have to respond
—just like people—
Can’t Help It.

§

XIX

Only yesterday, Canada Day,
you delivered the death notice,
‘A train wreck’ you called it,
and you were driving the engine,
always in charge,
Raptor Electric coming through, derailed.
.
The news was sudden, abrupt—
nothing convenient in a death—
and now I sit shiva, torn black ribbon
tourniquet for my bleeding heart.
xxxEvery four minutes I weep,
every ten  minutes I wail.
Every hour I slip, sleep, slide
down a bumpy passage.
xxxBrief summer made humid,
xby the tsunami of tears—
Can’t Help It!

§

XX

I called you alitros, rascal,
because like Odysseus you were wily,
shape-shifting, powerful, never contained.
You spent untold hours telling the contours
and crevices of my arching caverns.
xxxWhere are you now, my rascal,
my alitros,
xxxIn whose caves do you now dwell.
Can’t Help It!

§

XXI

And if in a future time perchance
with some girlfriend or other
you should happen on one of my dresses
on display at some museum or other,
you might recall my glance at you
there over my right shoulder,
the black panties draped over the scotch bottle
on the island counter,
and you holding yourself leaning
against the north counter staring at the woman
who glances over at you over her right shoulder,
xxxAnd you can have that secret moment,
xjust for yourself, there in that public place,
with some other woman or other.
Can’t Help It.

—Karen Mulhallen

x
Karen Mulhallen’s latest poetry book is Code Orange Emblazoned Suite, featured here first on Numéro Cinq, published by Black Moss Press (Fall 2015), and translated into French by Nancy Huston. The book launched in Toronto at the Café Pamenar in the Kensington Market and in Paris at Shakespeare and Company in September 2015.

x

x

Mar 042016
 

Richard Farrell

x

On a Thursday afternoon in September, some three decades ago, I sat in Mr. Belanger’s fifth-grade science class at Tatnuck School when the Blue Angels roared into town. Six insignia-blue jets buzzed the hillsides of gold-orange trees and circled over the city before they threw down their landing gear.  It was opening day of the Worcester Air Show, and our sleepy hamlet had suddenly become center stage for a spectacle of aeronautic derring-do and unimaginable pageantry. We stood—two dozen mesmerized kids temporarily released from the rigors of life science—in the windows of that classroom, staring out as the blue planes, one by one, lined up and touched down. Then Mr. Belanger barked at us, and we returned to whatever irrelevant topics awaited in our textbooks.

The ensuing three days of air-show mania were unlike anything I’d ever experienced. The roar of an approaching Skyhawk would send me sprinting outside as if the house were on fire. Blue jets thundered overhead, practicing right above the yellowing sugar maple in my backyard. The ground rumbled as planes climbed, looped, crossed, barrel-rolled and boomed on high, turning the sky above Walter Street into a veritable six-ring circus. My friends and I dashed and chased, waving at the pilots who flew so low we could see their golden helmets and almost read their names painted on canopy sides. Our prosaic lawn furniture became front row seats for an otherworldly show. Delta-winged jets, tucked inches apart, twirled heavenward before screaming back toward Earth. Even now, decades later, the memories of those days seem fantastic and utterly surreal.

When the air show ended, I knew, and declared quite publicly, that one day, I would become a Navy pilot.

Blue Angels A4 SkyhawkBlue Angels in the A-4 Skyhawk, as the author first saw them

§

Emerson writes that self-trust is the essence of heroism. The human spirit, in conflict with itself, must struggle against the trappings of society, ego, and expectation. The enemy is a prevalent falsehood—the mask that we wear out in the world. To hear the Transcendentalist tell it, the hero removes the mask, revealing some inner light, illuminating a truer wisdom.

I knew all about masks. As a snaggle-toothed boy growing up just forty miles from Emerson’s front door, self-trust came reluctantly, if at all. Instead, I admired men like Chuck Yeager, or at least Tom Wolfe’s re-imagined version of Yeager, fabricated from the author’s imagination and an ancient gallery of heroic archetypes. The enduring myth of American meritocracy offered up a path for a good ole boy from West Virginia to convert passion and courage into an express ride to the very top of the pyramid—a test pilot, a general, a bona fide hero with world records to prove it. If Yeager could do it, I reasoned, then why not me? I only had to find the appropriate mask, wear it with a rigid certainty, and suppress any and all emotion that might reveal hesitancy, doubt, or weakness.

§

Ten years after the Worcester Air Show, still pursuing my dream of becoming a Navy pilot, I returned from physics lab to my room at the United States Naval Academy, only to find that a plebe from 10th Company had climbed out of his fifth-floor window and plunged to the brick walkway below.

His shattered, uniformed body was visible from my window as paramedics rushed in vain to save his life. Ambulances, fire trucks, and police cars had cordoned off the road, but the air was eerily still. I expected sirens, but heard only the chirping of birds, the rustle of a breeze off the Chesapeake. Again, it was September. A warm, clear day sparkled. Spinnakers billowed on the Severn River as sailboats tacked their way out to the hazy bay.

The mask had suddenly fallen away.

A moment later, my roommates came back from class. D.J. unpacked his books while Darren tore a long piece of masking tape off a roll and wrapped it around his fingers—sticky side out— and began to daub the tape against his chest, removing dust and lint, preparing for inspection. Darren would quit the Naval Academy later that year and send letters from Wisconsin regaling us with tales of coeds and frat parties.

“What happened?” he asked.

“Doesn’t look good,” I said. “Kid must’ve jumped.”

Paramedics wrapped a vacuum splint around the man’s leg and positioned a backboard nearby. Several firemen closed around the scene. Their arched backs formed a reverent, almost prayerful circle of yellow coats around the dying midshipman. Extending from the center of that circle were navy-blue uniform trousers, the same scratchy wool-polyester pants I wore that day, except the pants on that brick walkway below me were covered in dark blood.

Blood pooled on the bricks. Blood soaked the paramedics’ gloves. At one point, the rescue workers all lurched back in unison. Blood, from a blown artery, geysered out from the center. I felt my knees buckle.

Then D.J. came up and sat beside me on my desk. Just a few weeks into our sophomore year, we had been roommates only a short while. D.J. was an engineer, serious and taciturn by nature. His silence could be unnerving, because I never knew what he was thinking, but in that strange moment, D.J.’s quiet demeanor felt steadying, like a sea captain in a gale. What good were words?

Then an echolalia of chow calls began from open windows all around Bancroft Hall. Sir, you now have ten minutes until noon-meal formation. The uniform for noon-meal formation is working-uniform-blue-delta.

Chow calls were one of the many tedious rituals plebes were forced to repeat, six times a day, at ten and five minutes before each meal. One thousand plebes, minus one, repeated the rote words in a haunted chorus, a maddening mayday from a symphony of oblivious cuckoo clocks chiming the hour. Only this was no mayday. The unfolding misery below our window would not interrupt the routines.

§

I don’t believe that whatever wisdom a middle-aged man has acquired is any truer than the dreams of a ten-year-old boy or a twenty-year-old midshipman. Passions abound, both in the spring of life and in its autumn. We are filled with hope, doubt, fear, longing, joy, and grief. The boy dreams of taking flight, while the grown man reassembles the broken fragments of the past.

These days, I’m a stay-at-home father, a trailing spouse married to a woman who works long, irregular hours as a Navy obstetrician. While my wife manages laboring patients, I spend my time worrying about car pools, sleepovers, birthday party gifts and baseball practice. My children’s schedules dictate the rhythm of my day, leaving precious little time to worry about their dreams: What paths have they already begun to walk? What shapes their destinies? What masks have they already begun to wear into the world? My son wants to play professional basketball; my daughter wants to ride horses and live on a ranch in Montana.

The heroic cannot be the common, nor the common the heroic, Emerson writes. At times, though, I want only simple happiness and security for my children. I don’t want my son’s body battered by contact sports. I don’t want my daughter’s heart broken. But life and wisdom always come with scars.

§

Rituals at Annapolis were enshrined within a tradition and rigidity that even the most ardent cynic might admire. Each moment of our day creaked with customs, from reveille to taps. We marched, saluted, studied, and trained. We followed honor codes and conduct codes. For four years we scoured our rooms, polished brass belt buckles, folded tee shirts and socks with mathematical precision. We tucked sheets into taut hospital corners as though it were a holy sacrament. We believed in big ideas—in America and freedom and power—and we worshipped those ideas through a steadfast devotion to the most minuscule details. Our faith, like our duty, was absolute and unflinching.

For the entire four years we lived together in Bancroft Hall, the largest dormitory in the world. Bancroft Hall was a home and a prison, a hearth and a hell. The massive building, erected at the turn of the last century in the Beaux Arts style, mixed classical symmetries with rococo flourishes. Cold stone surfaces rose to slate gray mansard roofs, trimmed with oxidized copper flashing. Nautical-themed statuary and maritime bas-relief decorated the corners. The scale of the building imposed on us, a structural symbol of an institutional ethos: the individual submitted to the will of the whole, an idea and ideal manifested in rusticated concrete and polished floor tiles. Neoclassical lines spoke of order. We marched beneath its imposing domes and stood midnight watch in Bancroft’s vast, cavernous hallways, always reminded of history, of fallen alumni and of future sacrifice, our individual existences reduced to fodder. For emphasis, brass cannons guarded the grand front staircase.

bancroft hall colour adjustedBancroft Hall, U.S. Naval Academy

In Memorial Hall, at the center of Bancroft, were inscribed the names of more than a thousand alumni who died in battle. A flag from Oliver Hazard Perry’s victory at the Battle of Lake Erie in 1812 was enshrined behind glass. That flag reminded each of us daily with its tattered motto: Don’t Give Up the Ship.

Annapolis pushed a hero-heavy curriculum. The ghosts on the yard were all once great warriors, and we were taught to borrow their masks. Tecumseh stood watch over manicured lawns. Every academic building gestured toward mythical grandeur—Nimitz Library, Halsey Field House, Preble Hall. We revered warrior virtues and worshiped at the altar of self-sacrifice and bravery, all the while puffing out our chests with bravado and notions of coming glory. Self-trust received little attention. To interpret the iconography: there was no higher virtue than to lay down your life for your country.

Death, however, came with obligations of community and valor. While it was heroic to die in battle, it was something entirely different to take one’s own life. As the paramedics attempted to hold on to the young man’s fleeting existence on the bricks below my window, our routines continued apace. There would be no time-out for this suicide, no memorial to his sacrifice.

My roommates stepped back from the window and continued getting ready. Darren turned and D.J. taped-off his back. “Cooperate and graduate,” we learned, recited and believed as an article of faith. All for one and one for all. I rolled the tape around my own fingers, uncertain what it all meant, and kept watching out the window.

Memorial Hall Don't Give Up the ShipMemorial Hall, U.S. Naval Academy

§

In his poem “Musée des Beaux Arts,” W.H. Auden reminds us that there is something rather mundane about the shape of human tragedy. The subjective nature of suffering always leaves room for the rest of the world to carry out the logic of the day. Icarus goes kerflooey while someone else is eating or opening a window or just walking dully along. Auden’s poem addresses the very notions of torment and flight. The poem examines Brueghel’s sixteenth-century oil painting Landscape with the Fall of Icarus, which itself returns to the ancient legend of Daedalus and his eager son. Early versions of this legend can be found carved on Etruscan jugs from the seventh century before Christ. Man has long dreamed of taking flight, even before the discovery of the physics and engineering that made such dreams possible. And for even longer, humanity has managed to ignore tragedy with a blithe nonchalance. Perhaps our indifference is some vestigial hangover of evolution. In the primordial ooze, there would’ve been hardly time to stop and mourn for a fallen comrade while the tiger closed on our heels. Progress lacks easy definitions.

In Brueghel’s painting, an indifferent sea swallows up the ghostly legs of the falling Icarus, while shepherds and sailors go about their day. As Auden says, everything turns away.

Landscape with the Fall of IcarusLandscape with the Fall of Icarus by Brueghel, Pieter the Elder

§

Plebe year at Annapolis was the hell of it, ten grueling months stuffed with relentless military indoctrination, hazing, and physical exertion. I saw varsity linebackers reduced to tears, future fighter pilots so frazzled they’d forget their own names. But in that caldron of discipline and cruelty, an incredible thing happened. The self receded. Second-guessing disappeared. The yoking of regulation, discipline, and custom to our daily habits somehow managed to supplant the individual will. Life became a form of ascetic retreat, with a scripted rigidity, uniforms, slogans, and beliefs. As cruel and brutal as it could be, the routines were also incredibly liberating. The mask simply fit.

Ego vanished plebe year, perhaps not into some higher plane of spiritual awakening, but it was gone nonetheless. You submitted to the will of the larger institution. You became invisible, indistinguishable, if only to avoid getting reamed out by any one of the three thousand upperclassmen who outranked you. The regulations, routines, and discipline squeezed every last drop of individuality out of the blood, a dialysis designed to filter out lazy and timid habits from civilian life and replace them with the bellicose faith of military mythology and American altruism. To be certain, it was a herd mentality, but when in the crush and rhythm of the herd, oh what freedom!

The flipside to joining the herd was an obliteration of self-trust. Emerson wouldn’t have lasted a week at Annapolis. To question, to exert, to challenge—these things were unimaginable. Membership exacted the steepest price. Self-trust wasn’t heroic, it was dangerous and defiant, a tumor in the organs of an otherwise baleful gallantry. The very last thing a military force can withstand is the warrior who thinks too much.

The plebe who jumped that bright September day was named Kevin. Though I didn’t know him personally, the odds were good that we’d passed each other in the halls. I might have braced him up, chided him for an untucked shirt, or demanded he address me as “sir.” Until he jumped, he was just one of a nameless legion of young men and women like me, who turned over our identities and fates to the hallowed traditions of Annapolis.

Only later did I learn that Kevin came from Ohio. He’d managed to gut it out through the misery of Plebe Summer, but the end was still a long way off.  Kevin wanted to quit the Academy, perhaps to return to a more normal life along the shores of Lake Erie, but his well-meaning family, friends, and company officer all told him to stick it out. So did the institutional codes. The reminders were everywhere: Don’t give up the ship.

I can only imagine how words and ideas raged like cannon fire in Kevin’s mind as he struggled. I’d certainly suffered my share of setbacks and doubts during my own plebe year. Sometimes the pressure just got to be too much.

Did leaving for Kevin feel so much like failure that dying seemed a more reasonable option? Did words like sacrifice, duty, and hero slash at him as he pitted them against other words, like freedom, family, and home? Abstract ideas can inspire men to great sacrifices, or they can bring about catastrophic consequences.

As Kevin’s life spilled out on the brick sidewalk below my window, the only thing I processed was the waste of it all.

§

There’s very little that’s heroic about being a stay-at-home dad. No archetype exists, no books about domesticated heroes have been written. My day-to-day challenges involve time management and festering peccadilloes of unsorted laundry and unfinished homework.  “A man is his work,” my father intones, and these days my labor involves making beds, ignoring dust piles beneath the furniture, driving the kids to school. My failures and fuckups register in the emotional damage I can do with a raised voice or forgotten promise. My successes are far more muted. There are no air shows, no bright blue jets and golden helmets. There are no uniforms to hide behind, no masks to wear. A bizarre emphasis falls on the most mundane—the al dente texture of mac ’n’ cheese, the book reports I forget to check until the last minute. I can’t say how high or low the stakes are. Some days this work seems important. Other days, I feel like I’m wasting every second of the precious few I have left.

I never became a Navy pilot, though I came close. I graduated from the Naval Academy, became an officer, and eventually reported to flight school at the very same base where the Blue Angels were stationed. For six months, I donned a helmet, a flight suit, and a parachute and learned how to fly. On yet another September day, I climbed into a T-34 and soloed. After landing and shutting off the engine, I strutted across the flight line like I’d finally arrived at the threshold of where heroes dwelled. But the feeling didn’t linger. In fact, the closer I came to the finish line, the emptier I felt.

I thought that becoming a Navy pilot would change something fundamental about who I was. I thought gold wings would somehow smooth out the rough edges, erase doubts, fill in the empty places. In short, I assumed that I’d grow into the mask. But the opposite was happening. A month or so after that first solo, I suffered a seizure in an airplane. I was lucky to have survived, but I would never again pilot an airplane.

I suppose words like surrender and failure often seem loaded, freighted with the tincture of forever: heroic narratives that offer few examples of second-place finishers.  As a young man, words and ideas seemed ironclad, irrevocable, and failure felt freighted with only disgrace. But the moral value of a win-at-all-cost mentality is a very shallow one, not to mention entirely false. When I was forced to stop flying, I assumed my life would never recover. But I grew up. I learned, listened, and saw beyond rigid notions of right and wrong. We all win. We all lose. In somewhat equal proportions.

At ten and at twenty, it was easier to believe in mythical, right-stuff heroism. My ego willingly surrendered to the bon mot and the battle flag. Only later, with failure, with surrender, was I able to begin to understand self-trust. Emerson doesn’t address this, but sometimes self-trust looks a lot like self-doubt.

Richard Farrell as plebe at AnnapolisThe author in his plebe year

As I boy I read and reread Yeager’s autobiography. I watched The Right Stuff so much that my VCR tape began to stretch. I felt called to the shores of the Severn, but I certainly didn’t understand the implications or repercussions of that calling. My dreams were twisted and warped by the very myths in which I so vehemently believed. Watching the grisly aftermath of a shipmate leaping into the abyss was like watching some inverted, mangled, nightmarish version of my dream.

I wish I could go back and tell Kevin that things would have improved. Plebe year eventually would end. Whatever burdens he carried with him to the ledge that day were temporary ones. Didn’t he know that?  I wish I could have convinced him that there was no lasting shame in quitting the Academy. He would have recovered. Like my roommate, Darren, he could have written letters from a civilian college—boasting of frat parties and girlfriends—while his roommates back at Annapolis envied his freedom. Instead, he opened a window on a glorious September day and jumped.

And though my kinship with him was institutional—born of the anonymous Brigade of Midshipmen and the identical uniforms we wore—his short life became an enduring lesson. From my window, I watched him take his final breaths. Something died in my own heart too. Was it innocence? Was it faith?

I would continue to believe in heroes. I would wear my class ring and feel an incredible pride as the Blue Angels roared over graduation. But I would also eventually leave behind the simplistic codes and the consuming urgency of an organization that esteems martyrdom. I would eventually see through the cracks in the ivory tower, smell the rot in the walls.

As Kevin’s life ran out, right there on the brick sidewalk below me, could he have fathomed how the routines around us continued undisturbed? Was he trying to make a statement?  Was I the only one who heard? The institution had long before turned deaf. His suicide hardly altered the plan of the day. But I felt the mask slip.

And yet we turned away from Kevin, we who claimed to be his shipmates, trusted guardians of each other’s fate. We didn’t even skip a formation for his death. And for twenty-five years I’ve carried a measure of shame about that. Below my window, his navy-blue uniform pants and black shoes were drenched in blood, while I and four thousand other midshipmen simply prepared for lunch, as if nothing had really happened.

Like the ploughman in Brueghel’s painting and Auden’s poem, I bent to my task. I turned away. There simply wasn’t time to listen. Or maybe there wasn’t enough silence. The voices of shouting plebes droned off into a din as the paramedics lifted Kevin’s lifeless body onto the gurney. Sirens began, drowning out the wind, the birds, my own thoughts and feelings. I did what I had to do. I turned back from the window, straightened my belt buckle, and went out to formation.

Self-trust was a tall order, especially for an idealistic young man who wanted the world to make sense. Heroes carried on, even if carrying on was the least heroic thing any of us did that day.

After the fall, Daedalus surely saw the sky as a burden for the rest of his life. Every cloud, every soaring bird, and every star became another reminder of his lost son. Or maybe that’s just foolishness. Maybe I’m still looking towards myths and heroes to explain the world, rather than trusting my own heart. If self-trust perpetuates heroism, what does that say about self-doubt?

I see not any road of perfect peace which a man can walk, Emerson writes, but to take counsel of his own bosom.

It is morning here, and birds are singing and the light is golden. Soon my kids will come bursting from their dreams, hungry, eager for whatever private desires spur them through the day and fill their beings. I want them to soar, of course, though I’m fearful of what they may encounter in flight. But for now, I will make breakfast and oversee showers. I’ll try not to worry about what kind of people they will become, where life will take them, or how it will twist and turn, with its infinite number of ways to break hearts but also to stir passions. We forge ahead on these fragile, corruptible paths, always capable of discovering great joys but never far from sadness either. But I don’t have time to ponder these things much, because my kids are almost awake, and there is so much to be done.

—Richard Farrell

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Richard Farrell collage 480px

Richard Farrell  is a graduate of the U.S. Naval Academy and Vermont College of Fine Arts. He is an Associate Editor at Numéro Cinq and the Nonfiction Editor at upstreet. His work, both fiction and non-fiction, has appeared or is forthcoming in Descant, Hunger Mountain, Newfound, Blue Monday, Dig Boston, Contrary, and others. He is currently writing a collection of short stories and a novel. In 2016, he will be a resident writer at the Ragdale Artist Community in Lake Forest, Illinois. He lives with his family in San Diego.

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Mar 032016
 

BW6

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WINDOW

What we call the soul
the space between out there

& in here—a life
cut itself in two gradually

joins in the middle, a beetle clung
to the grid of the wire screen

clicking merely flesh—

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PROVIDENCE

No experience song enough
like the warm skin of peaches
what we’re marked by
light or the ground beneath
an arcade of trees
holds together precisely
a world neither of us can move

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PASTORAL

As bright as each of us stands below the sparrows’ gifted

noon, our being here nothing but time’s abrupt

dissolve however swallowed—I ask you

remember for me how we are able to heal from

everything that pains us

wore down to desire

paid heed—what makes us more aware or grateful for

rain-soaked streets no more vanished than

youth’s certain toll—distance drawn out

over the hand come to rest on our shoulders

replays the handsome music we carry to the dogs—

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FOR THEODORE ROETHKE

If the dead cry out our memory’s voice

thrown down on muddy banks the river itself

skirts, if washed over stones the son recovers

the father shook to rage the son’s smallest song

lay under, say something, said was it light run

over us the way to the greenhouse, was it light

inside goodbye, old stones and the flowers

push their breath through me, went cold

the way it would feel asking for more than

my gorgeous scuttle beneath him, hid

behind rows of elms he planted further from

the roses along the old bed, if the earth was soft

enough, if married his hands, if it was winter

ended through the clear air I could hear him—

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PSALM

The earth turns along the scented irises
along the birches the body moves
nearer the fire in a deep grove
a kind of music each ear bore with it
our hiding our spit our having known
more than evenings sailed against our ribs
other bodies not us against the full light
a mangled bird raises her one speaking wing

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WITNESS

A morning difficult to walk across
the slain crocuses a song
or a silent movie
a memory of a wound
floated out to sea
at the beginning of the war
the fields covered by searchlights
at the edge of a garden before we were born
the shades drawn against
what shook the walls of the house
while the soldiers played cards
moved farther away from the coast
the lid rolled closed over the keyboard of a piano
the facts of history which we do not believe
for a moment we are among friends

—Kenneth E. Harrison, Jr.

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Kenneth E. Harrison, Jr.‘s poems have appeared in Cutbank, Denver Quarterly, Drunken Boat, Pleiades, Sukoon, and other journals, and his essays in PopMatters. He teaches writing and Literature courses at Webster University and Florissant Valley Community College in St. Louis, MO.

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Mar 022016
 

Munro

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In 1998, I was lucky enough to land a job as a book reviewer for the Financial Times under the auspices of the great editor Annalena McAfee. In the 12 months I reviewed books for her, I posted 26 reviews and was introduced to some incredible writers and books. One of those was Alice Munro who, believe it or not, was not that well known then (outside of her native Canada and especially on my side of the Atlantic). This was long before the Nobel Prize win and the universal acclaim she now enjoys (or rather doesn’t). The collection I reviewed for the FT was The Love of a Good Woman (Vintage, 1998). What struck me in particular about Munro’s style was how successfully she mined the interior life of her (largely female) characters. The POV in her stories constantly shifted, too, and time seemed amorphous, easily sculpted by the author to suit her needs. Key dramatic moments in the stories were only mentioned in passing and the endings were highly uncertain and not really endings at all. She broke all the rules and, because of that, her stories seemed remarkably true to life. I knew I had stumbled across a master storyteller.

The one story that especially drew me in was called “Jakarta”. As is the case with so many of Munro’s stories, it is set in the Vancouver area in the 1950s, during the height of the Korean War and the execution of the Rosenbergs. Sonje, who is described as ‘calm’ and ‘Nordic’ and who has ‘thick fair hair’, is married to Cottar who, at 38, is significantly older than her. Cottar teases Sonje mercilessly about her bourgeoise aspirations. Cottar is a journalist who has scandalously travelled to communist China. He believes in free love and encourages Sonje to sleep with other men, the thought of which makes Sonje unhappy and so she doesn’t follow through.

Sonje and Cottar are on vacation in a rented cottage for the summer when Sonje meets and befriends a woman called Kath, who lives in the area permanently with her husband Kent. They quickly realise that they both used to work at the Vancouver Public Library at the same time although they didn’t know each other. Kath, who is darker and taller than Sonje, strikes Sonje as a free spirit and she compares herself unfavourably to Kath. During their days on the beach with Kath’s one-year-old daughter Noelle, Sonje and Kath discuss the relationships in the books they are reading—including DH Lawrence’s “The Fox”—but the subtext of their discussion is their own attitudes towards their husbands and marriages. Kath is shocked when Sonje says, ‘My happiness depends on Cottar’ and is struck by how Sonje is overly eager to please Cottar. Kath hints that she finds her own husband, Kent, conservative and stuffy. Kent disapproves of ‘pinko’ Cottar and the wild parties Cottar holds at his and Sonje’s summer cottage and Sonje can tell that Kath is attracted to that lifestyle and has a longing to be much more bohemian than she is.

At a beach party one night, Sonje cooks and looks after her guests. She is the perfect hostess. Kath gets drunk and dances flirtatiously with a stranger, with whom she exchanges a fumbling kiss, while Kent stays at home looking after Noelle. At the end of that summer, Cottar and Sonje move to Portland, Oregon, so that Sonje can take care of Cottar’s blind mother while Cottar is off on another journalistic junket to the Far East.

Suddenly, we shift 30 years later, to when Kent visits Sonje in Portland, where she is still living in Cottar’s mother’s house, although Cottar’s mother is long dead. Kent and Kath have long since been divorced. Kath lives on her own beside a small lake near Toronto, her second husband recently dead, while Kent is married for a third time, to a much younger woman, Deborah, who is younger even than his own daughter, Noelle. Sonje explains to Kent that, while Cottar was away in the Far East, she received word that Cottar had died suddenly of an insect bite while he was in Jakarta. ‘Jakarta used to be called Batavia, did you know that?’ she asks, to which Kent replies, ‘Vaguely.’ She goes on to say that she has a theory that Cottar didn’t die at all, that he is still alive. Sonje can’t explain why she would think that, and neither can Kent, but she does, and she tells Kent that Cottar’s mother also believed that he was still alive. In an uncharacteristic moment of candour, Kent says to Sonje, ‘They got away. Both of them. Cottar and Kath.’ That’s where the story ends.

The tenses and time schemes in the story are all mixed and fractured. Part 1—about Kathy and Sonje’s friendship—is told largely from Kathy’s POV. Set 30 years later, Part 2 is told from Kent’s POV when he visits Sonje in Oregon. Part 3—the night of the beach party—is told mainly from Kathy’s POV but also from Sonje’s. Finally, Part 4 is again from Kent’s POV while he visits Sonje. The story explores the fault lines of marriage—the personal struggle either to adhere to conventional notions of marriage or to find alternatives to it. The argument Kath and Sonje have about DH Lawrence’s “The Fox” illustrates this perfectly. Kath and Sonje can’t admit it to themselves, or each other, but they have married the wrong people. What is left so beautifully understated in the story is that, deep down, they both know it.

A few years later, I came across a diagram called the Semiotic Square, originally devised by A. J. Greimas. It was defined as ‘A structuralist-inspired model for the visual representation of a semantic logic which describes a narrative’s elementary structure of signification’. It’s one of those ideas in narrative theory that is much better understood as a diagram than a verbal definition:

Greimas Semiotic Square

When I saw this diagram, something immediately clicked. An inkling, a recognition, that had always been there in the back of my mind became articulated by this diagram and I understood straightaway what Greimas meant.

In the diagram, Greimas was trying to map the possible permutations of relationships between four people in a story. He labelled these relationships ‘contrary’, ‘contradictory’ and ‘implied’. The difference between something that is ‘contrary’ and ‘contradictory’ is one of degree—something contradictory is a direct opposite whereas something contrary is along the same lines but not as strong. For example, the opposite of love is ‘hate’ whereas ‘indifference’ implies the same thing in kind but not degree. Another example would be ‘truth’—the contradiction of which is ‘lies’, whereas ‘white lies’ would be merely a contrary idea —‘white lies’ is along the same lines as ‘lies’ but is not as extreme.

One of the things I had been particularly drawn to in “Jakarta” was the shifting POV between the main characters and the fact that there were four of them. Many great novels are studies of single characters—loners, outsiders or outcasts—e.g., Madame Bovary, The Outsider, The Bell Jar. Then you have novels that are dissections of the symbiotic/obsessive/co-dependent relationships between two people (usually in a marriage)—e.g., Paula Fox’s Desperate Characters, Paul Bowles’ The Sheltering Sky, Somerset Maugham’s The Painted Veil. And then there are those stories about love triangles, usually two men in love with the same woman—e.g. Anna Karenina, Thérèse Raquin, The End of the Affair. But Greimas’ square was picking out the relationships between four people. It dawned on me that Greimas’ square described very well what was going on inside Munro’s story.

Square for Munro

Each character in “Jakarta” has a relationship of differing strength with each of the other three characters. The story is a working through of each of these relationships, beginning with the strongest—the most contradictory—and working down through the layers, ending with the implication that there might have been a connection between Cottar and Kath all along. The other ‘implied’ relationship that we are left with is that between Sonje and Kent. The edges and cross hairs of Greimas’ square are a visual representation of the themes of the story—they are the story —and “Jakarta” as a whole is a working through of this set of relationships.

When I thought about Greimas’ square in light of Munro’s story, everything fell into place. Greimas’ square helped me to understand the nature of “Jakarta” and, as with the great studies of individuals, marriages and love triangles, this four-way split (usually two sets of couples) was another universal deep structure, which continues to pop up everywhere in books, movies—any form of narrative storytelling.

Another, very similar, North American exploration of modern love revolving around the four-way split between two couples is the three novellas by Andre Dubus (“We Don’t Live Here Anymore”, “Adultery” and “Finding a Girl in America”) gathered together into one volume entitled We Don’t Live Here Anymore (Vintage, 2004). The three novellas explore two marriages—Hank’s to Edith and Jack’s to Terry. Each of the novellas is told from a different POV—“We Don’t Live Here Anymore” from Jack’s, “Adultery” from Edith’s and “Finding a Girl in America” from Hank’s. Again, taken together, the novellas are an exploration of the kind and degree of the bond that each of these people has with the other three.

Square for Dubus

In common with Dubus’ novellas, Han Kang’s The Vegetarian (Portobello, 2015) is a collection of three stand-alone parts, each told from a different POV and set around two couples. Set in Seoul, Part One, entitled “The Vegetarian”, starts in the first person from the POV of a man whose wife, Yeong-Hye, one day announces that she is now a vegetarian. Her husband finds this intolerable, as does her father and mother, and they seek to force her to eat meat. Yeong-Hye resists so strongly that she cuts her wrist in protest. Her family have her committed to a psychiatric hospital, where she stays for several months.

Part Two, entitled “Mongolian Mark”, is set two years later and is told in the third person from the POV of Yeong-Hye’s brother-in-law, a visual artist who has formed a secret desire for Yeong-Hye ever since her attempted suicide. Yeong-Hye is now living on her own in an apartment and her brother-in-law begins to visit her. He asks for her help with an art project. He paints large flowers on Yeong-Hye naked body, then his own, and films them having sex together. This part ends with Yeong-Hye’s sister finding out about their affair.

Part Three, entitled “Flaming Trees”, is in the third person and told from the sister’s POV. Yeong-Hye has been committed to a psychiatric hospital again and, as her sister travels to visit her, the sister thinks back to when she first met her husband and to when her and her sister were young girls. It transpires that their father used to physically abuse Yeong-Hye, about which her sister has feelings of shame and guilt. While in hospital, Yeong-Hye tells her sister that she has completed her metamorphosis from animal to vegetal and is now a tree. The book ends with a vision of some trees on fire.

Square for Han Kang

As the novel progresses, so we shift around the edges of the square, or across the square, exploring the strengths and weaknesses of the human relationships in the book. The sister, who was barely mentioned at the start, evolves into a main character. Her husband, also hardly noticed at the start of the book, comes forward to have his own voice before then disappearing from the narrative altogether. By the end of the novel, Yeong-Hye’s ex-husband (the entry point into the novel) has long since been forgotten. The men disappear, the women remain. Both marriages are shattered, one by a refusal to eat, the other by an act of sex, and there is an implication that Yeong-Hye and her sister’s huband would have been a far better match, as would Yeong-Hye’s sister and Yeong-Hye’s ex-husband. The only constant is Yeong-Hye herself, although she doesn’t have a voice or her own vantage point in the narrative. She remains an enigma from start to finish.

Another recent novel that is fascinating to consider in light of Greimas’ square is Julian Barnes’ The Sense of an Ending (Cape, 2011). Barnes’ novel is divided into two parts, both of which are narrated by Tony Webster when he is retired and living alone. The first part begins in the 1960s with four intellectually arrogant school friends. Towards the end of their school days another boy at the school hangs himself, apparently after getting a girl pregnant. The four friends discuss the philosophical difficulty of knowing exactly what happened. One of the friends, Adrian, goes to Cambridge while Tony goes to Bristol. Tony acquires a girlfriend, Veronica, at whose family home he spends an awkward weekend. Their relationship fails in some acrimony. In his final year at university Tony receives a letter from Adrian informing him that he is going out with Veronica. Tony replies to the letter. Some months later he is told that Adrian has committed suicide, leaving a note saying that the thinking person has a philosophical duty to examine their life, and may then choose to renounce it.   At this point Tony’s narration of the second part of the novel begins many years later with the arrival of a lawyer’s letter informing him that Veronica’s mother has died and bequeathed him £500 and two documents. These lead him to re-establish contact with Veronica and after a number of meetings with her, to re-evaluate the story he has narrated in the first part. The revelation is that Adrian had an affair with Veronica’s mother, and so the young Adrian is Veronica’s brother, not her son, as Tony had assumed. The reason Veronica keeps saying throughout the book that Tony ‘doesn’t get it’ is because he never understood this link. The reason her mother had Adrian’s diary and said he had been happy in his last few months is because he had been with her. Tony feels guilty because his spiteful letter drove Adrian to Veronica’s mother, which led them to produce a son, which led to his suicide. As Tony says, ‘I looked at the chain of responsibility. I saw my initial in there.’

Square for Barnes

Those relationships that seem logical and likely to succeed—between Tony and Veronica, for instance—are the quickest to fail, whereas those most unlikely ever to come about often prove the strongest—between Adrian and Veronica’s mother, Sarah, for instance. As soon as Adrian starts his relationship with Veronica’s mother, the dynamic in the novel shifts and the two longest surviving relationships—between school friends Tony and Adrian, and the mother-daughter relationship—are severed forever. And, lastly, the hint of sexual tension between Tony and Veronica’s mother when Tony spends the awkward weekend at Veronica’s home hints at a relationship that might have worked.

After thinking about this square structure in relation to Munro, Dubus, Han Kang and Barnes, I started to see this pattern everywhere: Andre Gidé’s Strait is the Gate, DH Lawrence’s Women in Love, Scott Fitzgerald’s The Great Gatsby, Max Frisch’s Homo Faber, Renée Knight’s Disclaimer, to name but a few. All these novels, so wildly different in style and tone, all shared a foundation built on the four corner stones of two sets of relationships and all were explorations of the four sides and crossways of these squares.

But then something struck me. Looking again over the Munro, Dubus, Han Kang and Barnes, I realised that they all shared something else in common—all these narratives had a ‘black hole’ in it—i.e., that one of the four characters in the story were, in some way, not present—either they had gone missing, or died, or didn’t have a voice in the narrative. In “Jakarta”, Cottar is the only character whose POV we are never aligned with at all. He then disappears from the narrative altogether and it is precisely this disappearance that forces the other characters to review their connection to him and each other and, in the end, brings about the possibility of the ‘implied’ relationship. He is the ‘black hole’ in the story, the fall guy who must suffer and be sacrificed in order for the others to survive or change.

In Dubus’ We Don’t Live Here Anymore, Jack, his best friend Hank, and Hank’s wife Edith, all have their own voices when retelling their versions of the same set of infidelities. Hank and Edith’s POV might not be first person, like Jack’s, but their narrative POV is very close third person and the narrator continually uses free indirect style to allow us to hear what Hank and Edith are thinking and feeling, so their voices feel very like first person. Terry, however, is not allowed her own voice. She is the last to transgress her vows of marriage and it is this final transgression that finally brings about the collapse of one marriage and the re-evaluation of the other. After sleeping with Hank on two consecutive nights because she was unhappy, ‘Terry told Jack about Hank. Then, desperate and drunk, Jack told Terry about Edith.’

Dubus’ trilogy of novellas is a detailed, intimate account of his belief that marriage is the beginning and discovery of emotional conflict, not its resolution. Hank and Edith’s marriage breaks down and they both move on to other lovers, while Jack and Terry’s choice to stay married initially emphasizes the misery in their decision. By the time we get to Hank’s POV, however (which is set many years later when Hank is now with a much younger woman), the survival of Jack and Terry’s marriage takes on an unexpectedly sanguine tone.

In Han Kang’s The Vegetarian, Yeong-Hye is again the only character whose POV we never move to. We hear from her husband, her brother-in-law and her sister, all of whom talk about Yeong-Hye, but she has no voice of her own in the narrative. This is the point of her story. In order to fulfill her desire to move from an animal to a vegetal state of being, she makes the Bartleby-like decision not to engage with those around her on their terms, terms which she finds intolerable. She sacrifices herself in order to move to another realm of understanding and this move is what horrifies her husband and parents but is what her brother-in-law and, finally, her sister come to love and accept, admire even.

In Julian Barnes’ The Sense of an Ending (Cape, 2011), it is Adrian’s suicide that is the bomb dropped on the set of relationships in the novel, but this suicide was brought about by Tony’s hateful letter, which is the source of Tony’s guilt. This knowledge is what forces Tony to reassess and recount to us his role in the lives of Adrian, Veronica and Veronica’s mother (whom he only met once). Adrian’s suicide is a black hole down which he falls, down which Veronica and her mother also fall, albeit for different reasons and in different ways.

All these magnificent stories are highly organised, intense studies of humans interacting and behaving oddly with each other. They throw light on sublimated desires and warped motives. Ultimately, however, in all of these stories, it is some kind of lack, absence or failure of one corner of the square that triggers catastrophic change and collapse in the other three. There must be a black hole, a sacrificial lamb, for the story to work and it is these black holes that are the secret keys to the stories. Through them, we slip down a wormhole and emerge at the story’s end with fresh understanding of just how weird and wonderful human beings can be.

— by Richard Skinner

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Richard Skinner

Richard Skinner is the author of three novels, all published by Faber & Faber. He has also published three books of non-fiction, including a book of essays, reviews & interviews entitled ‘Vade Mecum’ (Zero Books). His work has been nominated for prizes and is published in seven languages. Richard is Director of the Fiction Programme at Faber Academy. Website address: http://richardskinner.weebly.com/

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Mar 012016
 

self-portrait through a keyholeSelf-portrait through a Keyhole: Digital, Pearl Metallic Paper, 7.5″ x 10″

 

 

LateafternoonhawkLateafternoonhawk: Digital, Pearl Metallic Paper, 18″ x 12″

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nude with 3-urinal chastity beltNude with 3-urinal Chastity Belt: Digital, Pearl Metallic Paper, 5″ x 17″

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§Medium walking the Sea of SerenityMedium Walking the Sea of Serenity: Digital, Pearl Metallic Paper,11″ x 11″
(Kind of an homage to Chagall)

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Succubus Dragging a Shitstorm into the Rear View Mirror FinaleSuccubus Dragging a Shitstorm into the Rear View Mirror:
Digital, Pearl Metallic Paper, 7.5″ x 10″ (1 of 2 versions)

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Museum of Victorian and Ancient ArcheologyWelcome to the Weingarten Museum of Victorian and Ancient Archeology:
Digital, Pearl Metallic Paper, 12″ x 18″

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PasodoblePasodoble: Digital, Pearl Metallic Paper, 4″ x 7.5″

—Roger Weingarten

Roger Weingarten and another NC poet/artist Kate Fetherston are having a two-person show opening this Friday, March 4. The event kicks off at 6pm with reading at Bridgeside Books, 29 Stowe Street, Waterbury, VT, then moves downstreet to Axel’s Gallery, 5 Stowe Street, for art opening—Friday March 4.

See Weingarten’s poems on NC here.

See Kate Fetherston’s poem  & paintings here.

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Roger Weingarten, author of ten collections of poetry, and co-editor of eight poetry and prose anthologies, has lectured, taught and read at writers’ conferences, poetry festivals, and universities nationally and internationally. He founded and taught in the MFA in Writing and the Postgraduate Writers’ Conference at Vermont College. His awards include a Pushcart Prize, a Louisville Review Poetry Prize, a National Endowment for the Arts Award, and an Ingram Merrill Foundation Award in Literature. Stranger at Home: American Poetry with an Accent: co-edited with Andrey Gritsman, Interpoezia Press, was published in 2008, Premature Elegy by Firelight by Longleaf Press in 2007, and Open Book: Essays from the Postgraduate Writers’ Conference, co-edited with Kate Fetherston by Cambridge Scholars’ Press in 2007.

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