Hofmannsthal’s Rose: On Form, Structure, Dialogism — Aashish Kaul

Dec 032015
 

Aashish Kaul

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Les beaux livres sont écrits dans une sorte de langue étrangère. — Marcel Proust

Beautiful books are written in a kind of foreign language. There is already in this adage of Proust the notion of ‘making strange’ that was to be espoused by the Russian Formalists some years later. Proust may or may not be the best example to discuss the Russian Formalists, for he both validates and annuls their thesis, but in this instance there remains a commonality that may, for the time being, be enough to eclipse their differences.

For the Formalists, obsessed as they were to develop a more scientific basis for literary studies and make them an autonomous and specific discipline, it became necessary to exclude all mimetic and expressive definitions of literature. To see a literary work as an expression of its author’s personality led inevitably (and unacceptably) to biography and psychology, while to regard it as a picture of a given society led in turn (equally undesirably) to history, politics, or sociology.{{1}}[[1]]Ann Jefferson and David Robey, eds. Modern Literary Theory – A Comparative Introduction. London: Batsford, 1986. p 27.[[1]] What remained, therefore, was the peculiar nature of a literary work itself, and it was this peculiarity that the Formalists made the basis of literary scrutiny, a peculiarity which could be distinguished from any other material and which lent a literary work its especial aura or quality. The Formalist critic Viktor Shklovsky began with the idea that art refreshes our sense of life and experience. ‘If we examine,’ he wrote:

the general laws of perception, we see that as it becomes habitual, it also becomes automatic. So eventually all our skills and experiences function unconsciously — automatically…. And so held accountable for nothing, life fades into nothingness. Automatization eats away at things, at clothes, at furniture, at our wives, and at our fear of war…. And so, in order to return sensation to our limbs, in order to make us feel objects, to make a stone feel stony, man has been given the tool of art…. By “enstranging” objects and complicating form, the device of art makes perception long and “laborious.” The perceptual process in art has a purpose all its own and ought to be extended to the fullest. Art is a means of experiencing the process of creativity. The artifact itself is quite unimportant (italics in original).{{2}}[[2]]Viktor Shklovsky, Theory of Prose. trans. B Sher. Normal, IL: Dalkey Archive Press, 1991. pp. 4-6.[[2]]

Subsequent developments in theories about literature and the creative process may make Shklovsky’s observation look obvious, but they hardly obscure its truth. And would not Proust give his whole-hearted assent to this idea! — Proust, who poured all his later life into composing a seemingly endless book with the sole aim of granting the reader a few visions of pure perception amidst the deadening whorls of habit, that dull inviolability which Beckett memorably called ‘the ballast that chains the dog to his vomit.’{{3}}[[3]]Samuel Beckett, Proust. New York: Grove Press, 1957. p. 8.[[3]]

The kind of enstrangement that Shklovsky advocates, namely, the one achieved by complicating form, is also at work in Proust, as it is at work in Joyce, in Virginia Woolf, in Faulkner — Borges wrote his stories as if they were expository pieces, while his essays repeatedly adopted styles and themes more suitable for fiction (though Shklovsky’s models are markedly older: Cervantes, Tolstoy, Sterne, Dickens). These formal/technical devices are for Shklovsky and others the very means of achieving ‘defamiliarization’ in a work of literature, and the final triumph of art over dull, automatized life. Literature, as Ezra Pound said, is news that remains news. But what is unfamiliar may become familiar, worn thin, itself automatized, with use and passage of time. So techniques and devices were needed to be perpetually juggled, some foregrounded over others for a period of time, to keep literariness alive across epochs.

Another kind of dialectic is at work here: the opposition between automation and defamiliarization. Having banished the author, having dispelled the biography, psychology, and historicity of a work, the Formalists were left simply with devices, and this could only lead to the astonishing pronouncement that there were in truth no authors, but only literary works (for example, Osip Brik, in ‘The so-called formal method’ (1923): ‘Opojaz proposes that there are no poets or literary figures, there is poetry and literature.’ He claimed rather provocatively that Eugene Onegin would have been written even if Pushkin had never existed, just as America would have been discovered without Columbus.). To be able to make a science of literary scrutiny, it was for them essential to mount a two-pronged attack: to demolish, in one stroke, the Romantic notion of the author as a vessel of divine inspiration and the utterly spurious, if deeply ingrained, distinction between form and content. Now the author was no longer either a visionary or a genius, but merely an artisan who arranged and rearranged material available at his or her disposal. The author’s job was to know about literature, the history of literature, the knowledge and skill in handling devices that made a work literary, and what he or she knew of life or reality was quite irrelevant.{{4}}[[4]]Jefferson and Robey, pp. 31-34.[[4]]

Shklovsky1 PSViktor Shklovsky

But psychology, biography, and the historic situation cannot be subtracted so easily from a given work; they are the very factors which make the rearrangement of material striking and novel in each case. For although a man’s life does not explain his work, the two are nevertheless connected. The truth, says Merleau-Ponty in his essay ‘Cézanne’s Doubt’, is that ‘this work to be done called for this life’. It is therefore impossible to separate creative liberty from the peculiar incidents that shape an artistic life:

If I am a certain project from birth, the given and the created are indistinguishable in me, and it is therefore impossible to name a single gesture which is merely hereditary or innate, a single gesture which is not spontaneous — but also impossible to name a single gesture which is absolutely new in regard to that way of being in the world which, from the very beginning, is myself. There is no difference between saying that our life is completely constructed and that it is completely given. If there is a true liberty, it can only come about in the course of our life by our going beyond our original situation and yet not ceasing to be the same…. In every life, one’s birth and one’s past define categories or basic dimensions which do not impose any particular act but which can be found in all…. Thus it is true both that the life of an author can teach us nothing and that — if we know how to interpret it — we can find everything in it, since it opens onto his work…. We never get away from our life. We never see our ideas or our freedom face to face.{{5}}[[5]]Maurice Merleau-Ponty, Basic Writings. ed. T Baldwin. London and New York: Routledge, 2004. pp. 284-89. See also, Tzvetan Todorov, The Fantastic: A Structural Approach to a Literary Genre. trans. R Howard. Ithaca, NY: Cornell University Press, 1975. pp. 151-53.[[5]]

Then again, the muse was not the invention of the Romantics alone; she visited Homer and Virgil, too, was already Dante’s Beatrice, was the nature-song of the Tang poets in Classical China, touched Rilke in dreams. She is always there because she is not a phantasm, but only the mind’s effort to reify the wonder it feels, in creative, palpable moments, at its own ability to rearrange the lava flow of sensory data toward imaginative and artistic ends. Or perhaps she is but a place of negativity, not belonging to either the mind or language, for, as Giorgio Agamben tells us, ‘muse was the name the Greeks gave to the experience of the ungraspability of the originary place of the poetic word.’{{6}}[[6]]Giorgio Agamben, Language and Death: The Place of Negativity. trans. K Pinkus and M Hardt. Minneapolis: University of Minnesota Press, 2006. p. 78.[[6]]

***

What makes a work defamiliar, that is to say literary or artistic, beyond the play of devices, then, is a certain ‘poeticity’ as Roman Jakobson called it. This poeticity, per Jakobson, was like oil in cooking; it cannot be consumed of its own, but when used as an ingredient in cooking other foods, it changes their taste completely.

In Sanskrit literature, in Indian classical music and other art forms, too, there appears a notion quite similar to Jakobson’s — that of the rasas. Quite literally, rasa means ‘juice’ or ‘nectar’, but what is really hinted at is that quality of a given work which evokes a particular mood in its reader or audience. In other words, it is the poeticity that lends a work its especial charm or atmosphere, and makes it unlike anything else one has experienced, foreign, rare, glittering like a jewel.

It is, then, the atmosphere of a literary work that makes its language feel foreign, unfamiliar, distant. This is the reason behind Proust’s paradoxical assertion. We could, of course, find another resolution, a Bakhtinian resolution, to this Proustian oddity, whereby it is a word’s internal dialogism, separate from its ability to form a concept of its object, that has the power to shape style: ‘The prose artist elevates the social heteroglossia surrounding objects into an image that has finished contours, an image completely shot through with dialogized overtones; he creates artistically calculated nuances on all the fundamental voices and tones of this heteroglossia’.{{7}}[[7]]MM Bakhtin, The Dialogic Imagination: Four Essays. trans. C Emerson and M Holquist. Austin: University of Texas Press, 1982. pp. 278-79, see also, pp. 298-99.[[7]] And so the greater the artistic nuances on the fundamental social tones of a language, the more foreign or unfamiliar will be the prose they generate.

Similar, too, is the belief of the Spanish writer Javier Marías, who once observed in an interview that what counts the most in a novel — and what we remember the most — is the atmosphere, the style, the path, the journey, and the world in which we have immersed ourselves for a few hours or a few days. The prime aspect of a novel, said Marías, is its setting, which of itself is a secondary issue.{{8}}[[8]]Javier Marías, ‘Eight Questions for Javier Marías’, Voyage Along the Horizon. trans. K Cordero. San Francisco: Believer Books, 2006. pp. 175-82.[[8]]

javier-mariasJavier Marías

Roman Ingarden is in agreement. In any literary work, he writes, there are metaphysical qualities or ‘essences’ which can neither be found in objects nor psychic states, but instead are revealed, in complex or disparate situations or events, as the overall atmosphere which penetrates and illumines everything with its light. An essential function, then, of objective situations in a literary work is the manifestation of such metaphysical qualities. Such manifestation, however, does not arise purely from objects or situations, but emerges from the structure of the work, from its organic unity. Metaphysical qualities are merely held in readiness — they are not manifested in the work, but rather in its concretization through the act of reading.{{9}}[[9]]Roman Ingarden, The Literary Work of Art. trans. G Grabowicz. Evanston, IL: Northwestern University Press, 1973. pp. 290-96.[[9]]

Essences, poeticity, atmosphere. These qualities are difficult to segregate in practice since, as Ingarden states, they can neither be found in objects nor psychic states, but emerge from the structure of the work and the act of reading. And so any reader of, say, Wuthering Heights or The Trial is aware of the presence of these qualities, without necessarily being able to draw a tally of all the places in the text where they are made manifest. In Joseph Roth’s late work The Emperor’s Tomb, for instance, the inconsistencies and compositional flaws are redeemed by these very essences that Ingarden speaks of, by the muted melancholy and nostalgia of the novel’s atmosphere.

The Australian writer Beverley Farmer, for example, expertly mixes formal and metaphysical qualities in her palimpsestic work A Body of Water. Early in the book she gives a description of a cove near her house, a description which, because it is so truly phenomenological, creates an effect of both enstrangement and existential depth:

My first summer in this place. So hot and still a day, and I spent it on the sand, the cliff-shadow advancing over me, and now and then went to lie in one of the channels between the pale rocks and was washed cold…. Sometimes at twilight the water in the pools east of the pier went dark with a grey-brown glint, a half-light inside it; and at the same time the rocks at the rim were grey and water-blue. Until it was too dark to see, water was rock and rock water….  Sandstone is honeycomb in this still afternoon sun, pitted with swallows’ nests. All this beach is the same colour — sand, rock and rock pool. The small mouse-shrieks of swallows skim and soar. The wave-shaped, whale-shaped headland is dark in the spray of the western sky…. My footprints flatten the crisp arrowheads left by gulls. At the high tide mark, along the hairline of the marram grass, clumps of feathers, all hollowed out, clench empty beaks and claws.{{10}}[[10]]Beverley Farmer, A Body of Water. St Lucia: University of Queensland Press, 1990. pp. 4-6.[[10]]

***

The emphasis on essences, poeticity, atmosphere in the discourse surrounding literary works is a direct result of the fusion of form and content. Every form produces its own idea, its own vision of the world, observed Octavio Paz. ‘Form has meaning, and in the realm of art only form possesses meaning; content stems from form, and not otherwise.’{{11}}[[11]]Octavio Paz, Alternating Currents. trans. H Lane. New York: Arcade Publishing, 1990. p. 6.[[11]] Tzvetan Todorov, while using an essentially Structuralist vocabulary, makes the same point: ‘Every work possesses a structure, which is the articulation of elements derived from the different categories of literary discourse; and this structure is at the same time the locus of the meaning’.{{12}}[[12]]Todorov, 1975, p. 141.[[12]]

Writing near the later stages of the Russian Formalist and Modernist revolutions in literature, E.M. Forster, in his Aspects of the Novel, first published in 1927, while still lingering over concepts like ‘story’, ‘plot’, ‘flat and round characters’ into which modernist works had bored deep holes, acknowledged that in moving from ‘story’ to ‘plot’, the novel acquired a complexity favourable to the creation of ‘value’.{{13}}[[13]]E.M. Forster, Aspects of the Novel. London: Penguin, 2005. pp. xiv, 86-87.[[13]] Now this ‘value’ cannot be found in plain narrative, but can only arise from the whole complex structure and is dependent on what Forster refers to as ‘pattern and rhythm’.{{14}}[[14]]Forster, pp. xv, 134-50.[[14]] The novel has to be an aesthetic object and ‘rhythm’ helps toward this end. Rhythm cannot be imposed from outside and is not available to writers who plan their books beforehand. It must grow with and inside the narrative. Forster ultimately explains its effects as being analogous to those of music. In the triumph of plot over story, in the musical effects of pattern and rhythm creating value in the novel, we see again the Formalist preoccupation with literary devices, Jakobson’s poeticity, Ingarden’s metaphysical qualities. Julio Cortázar in his novel Hopscotch sums it up beautifully:

Why am I writing this? I have no clear ideas, I do not even have ideas. There are tugs, impulses, blocks, and everything is looking for a form, then rhythm comes into play and I write within that rhythm, I write by it, moved by it and not by that thing they call thought and which turns out prose, literature, or what have you. First there is a confused situation, which can only be defined by words; I start out from this half-shadow and if what I mean (if what is meant) has sufficient strength, the swing begins at once, a rhythmic swaying that draws me to the surface, lights everything up, conjugates this confused material and the one who suffers it into a clear third somehow fateful level: sentence, paragraph, page, chapter, book. This swaying, this swing in which confused material goes about taking shape, is for me the only certainty of its necessity, because no sooner does it stop than I understand that I no longer have anything to say. And it is also the only reward for my work: to feel that what I have written is like the back of a cat as it is being petted, with sparks and an arching in cadence. In that way by writing I go down into the volcano, I approach the Mothers, I connect with the Center — whatever it may be. Writing is sketching my mandala and at the same time going through it, inventing purification by purifying one’s self; the task of a poor white shaman in nylon socks.{{15}}[[15]]Julio Cortázar, Hopscotch. trans. G Rabassa. New York: Pantheon Books, 1986. p. 402.[[15]]

Julio CortázarJulio Cortázar, via Wikimedia Commons

As I have stated elsewhere, Cortázar is hinting at several things here. Among them is the foregrounding of rhythm, form, devices over story or characters. It is rhythm that structures a book, page by page, sentence upon sentence, and not the desire to mimic ‘reality’ or relate a tale that comes to the writer altogether whole from the very start; it is rhythm, too, that word by word creates the story from barely noticeable mental or physical impulses and ideas, and that leaves behind writing which is ‘like the back of a cat as it is being petted, with sparks and an arching in cadence’. Yet another is the notion of writing as a purifying rite, not dissimilar to Shklovsky’s comment above: ‘the perceptual process in art has a purpose all its own and ought to be extended to the fullest. Art is a means of experiencing the process of creativity’.

Cortázar tells us that the search for form enables rhythm to come into play, and that he writes from within this rhythm. For the American Marxist critic Fredric Jameson, this fact alone would be enough to classify Cortázar as a true modern writer, distinguished from those he refers to as late modernists and postmodernists, because, for Jameson, form, in the case of modernist writers, is never given in advance but is generated experimentally in the encounter, leading to formations that could never have been predicted, unlike the late modernists and their successors, to whom the structure of the form was known in advance (since the likes of Cortázar, Proust, and Joyce had already discovered it for them) and to which the ‘raw empiricities of content’ could then be made to submit.{{16}}[[16]]Fredric Jameson, A Singular Modernity. London: Verso, 2012. p. 208.[[16]] Jameson arrives at this observation at the end of a long and nuanced thesis, which is well beyond our scope to explore here, but even assuming that the break modernism signified with an earlier world was anywhere as paradigmatic and total as Jameson would have us believe, I am unsure if it could be applied so readily and consistently to all writers working in the latter period. For barring the more superficial cases, it is difficult to say with any certainty whether form and content arise together or separately in any given work. Indeed, in the more formidable works, they must out of creative necessity arise in unison.

When content fades into form, the fictional reality becomes fluid and dynamic; it is not something given, hard and raw, that a writer need merely ornament and make palatable with his or her craft. Any moral or social purpose, indeed the characters and their story, gives way to the process itself. A book like Forster’s discussing ‘flat and round characters’ would be inconceivable today, simply because, as Todorov states, novels do not imitate reality but create it:

Although we no longer refer to literature in terms of imitation, we still have trouble getting rid of a certain way of looking at fiction; inscribed in our speech habits, it is a vision through which we perceive the novel in terms of representation, or the transposition of a reality that exists prior to it. This attitude would be problematic even if it did not attempt to describe the creative process. When it refers to the text itself, it is sheer distortion. What exists first and foremost is the text itself, and nothing but the text. Only by subjecting the text to a particular type of reading do we construct, from our reading, an imaginary universe. Novels do not imitate reality; they create it…. [Similarly,] the fictional character is a segment of the spatio-temporal universe represented in the text, nothing more; he/she comes into existence the moment referential linguistic forms (proper names, certain nominal syntagms, personal pronouns) appear in a text regarding an anthropomorphic being. In and of itself the fictional character has no content…. But, as soon as psychological determinism appears in the text, the fictional character becomes endowed with character: he acts in a certain way, because he is shy, weak, courageous, etc.…. Character, then, can be an effect of reading; there exists a kind of reading to which every text can be subjected. But in fact, the effect is not arbitrary; it is no accident that character exists in the eighteenth- and nineteenth-century novel and not in Greek tragedy or the folktale. A text always contains within itself directions for its own consumption.{{17}}[[17]]Tzvetan Todorov, ‘Reading as Construction’ in Michael J. Hoffman and Patrick D. Murphy, eds. Essentials of the Theory of Fiction. Durham, NC: Duke University Press, 1996. pp. 259, 266-67. See also, Todorov, 1975, pp. 54, 93-95.[[17]]

It is not a coincidence, then, that as content fades into form, and the fictional reality becomes fluid, the novel sheds its old skin, loses some of its neatness or artefact-ness (although this is not to deny the uniqueness of the fictional world, which is dependent on the uniqueness of the artistic consciousness); its personages abandon their literary rigidity, begin to distrust their own qualities to become, surprisingly, not less but more human and lifelike, as in the case of Robert Musil’s hero Ulrich, in the cunningly titled great modernist work, The Man Without Qualities.

This is the great heritage of modernism. Characters are not described to make them ‘round’ or believable, but to make them contextual in the larger narrative of the work. (Did not Chekhov himself believe that human character is essentially flat, and it is life instead that is complex?) Writing is an attempt to understand one’s position in the world, to find a relevance for one’s past, one’s memories in the forever-becoming present and an impersonal, abstract (or absurd) future. Most modern-day writers emphasize the structure of the work and the unity of its various parts that respond to an internal necessity rather than outward reality. Very often, a writer’s choice of a subject, together with the style and perspective he or she employs to express this subject, is enough to show where his or her affinities lie. And choosing an aesthetic itself amounts to a moral act, for, as Georg Lukács puts it, ‘the ethical intention in the case of the novel is an effective structural element of the work itself.’{{18}}[[18]]Georg Lukács, The Theory of the Novel. trans. A Bostock. London: Merlin Press, 1971. p. 72.[[18]]

As the artistic vision turns more personal, it withdraws from the common ideas of social and moral exchange and the general categories we ascribe to reality, and the more singular it becomes, the closer it comes to defining reality in a clear, specific manner, away from the shared perception of the mass. The creative process in its coming into being and becoming is deeply personal, and needs the gift from the otherworldly, the aesthetic thrust that creates in the receiver a feeling of transcendence. The emotion it produces is a little outside words, even though emanating from them, like laughter. In such cases, the fictive world makes no effort to mimic the ‘real’, but engenders an entirely new, unfamiliar version, in the process defeating it.

But this defeat, or as Lukács calls it, self-destruction of reality, is of an entirely intellectual nature and is not immediately evident in a poetic or sensuous way. Genuine interiority, he writes, turns ideas of life into ideals, and the inability of the outside world, which is a stranger to ideals and enemy of interiority, to achieve an appearance of completeness within the novel can only be overcome when it becomes the focus of the artist’s mood or reflection.{{19}}[[19]]Lukács, p. 79.[[19]]

Hugo von HofmannsthalHugo von Hoffmannsthal

Fredric Jameson, on the other hand, has argued that this ‘enstrangement’ and obsession with form that makes the artefact preferable to reality is the result of late capitalism turning modernism into ideology and the crowning of aesthetic autonomy over life and experience in the midst of humanity, that is to say, history,{{20}}[[20]]Jameson, pp. 176-79.[[20]] but in truth the twin notion that a book is a vision of the world and at the same time a thing added to the world is perhaps at least as old as the printing press. Don Quixote, for example, would not exist in the absence of this crucial theme. Much later than Cervantes but also much before the beginnings of modernism, in a fictional fragment, The Rose and The Desk, Hugo von Hofmannsthal could write:

I know that flowers don’t fall by themselves out of open windows. Especially not at night. But that’s neither here nor there. Briefly, the red rose was suddenly lying on the white snow of the street in front of my black patent-leather shoes. It was very dark, like velvet, still slim, not yet opened, and entirely without scent in the cold. I took it home with me, put it in a tiny Japanese vase on my desk and went to sleep. A short while later I was wide awake. There was a faint glow in the room, not from the moon but from starlight. I felt the scent of the heated rose wafting toward me as I breathed, and I heard a low voice. It was the porcelain rose of the old Vienna inkstand, which had something to say. “He has absolutely no feeling for style anymore,” it said, “no taste at all.” It meant me. “Otherwise he couldn’t possibly have put such a thing next to me.” It meant the living rose.{{21}}[[21]]Hugo von Hofmannsthal, The Lord Chandos Letter and Other Writings. trans. J Rotenberg. New York: New York Review of Books, 2005. p. 49.[[21]]

—Aashish Kaul

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Aashish Kaul completed his doctoral studies at the University of Sydney. He is the author of A Dream of Horses & Other Stories (2014) and The Queen’s Play (2015).

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DFW & I: Reckoning with Infinite Jest — Bruce Stone

Dec 022015
 
DFW credit Flickr Steve Rhodes Salon

David Foster Wallace. Credit Flickr/Steve Rhodes via Salon.com

A gargantuan book wherein all the glinting particulars of an animate metropolis everywhere dissolve in these shadows of the valley of death? This without ever skimping in the effort to speak a score of deeply personal tongues? Plus just the writer’s resolve to stake a substantial chunk of his lifespan in the manufacture of an irksome and unrepeatable nothing? With this stuff I, for one, can like totally Identify. —Bruce Stone

DFW cover

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End of Tour1

Still from James Ponsoldt’s DFW biopic The End of the Tour

Only the most militant fans of David Foster Wallace will find anything objectionable in The End of the Tour, director James Ponsoldt’s eulogy for the writer, who died, at 46, in 2008.{{1}}[[1]]The film’s release caused a minor flap in that the writer’s estate publicly announced its displeasure with the project, but the script deflects charges of foul play by airing Wallace’s anxieties about his celebrity and generally deferring comment on his work. Ponsoldt’s is a smart, bookish film hiding behind an idiot’s grin.†

† These endnotes obviously betoken a superficial solidarity with Wallace’s aesthetic. Roll your eyes all you want. Wallace himself learned the gambit from writers like Nabokov and Nicholson Baker, both of whom I prefer to DFW. But practical concerns persuaded me to fall back here: I wanted a nice deep root cellar in which to stash the worst of the spoilsport disclosures vis-à-vis the novel—someplace cool and spacious and dimly lit, with pacifying damp-clay smells and a large number of tappable casks, where the advanced group might repair for bonus tracks and outtakes. Then again, readers worried about spoilers would probably be well-advised to just click the topside X and duck out now.[[1]] The biographical film has an indie ethos and an all-business cast, though its provenance still begs a double-take. The screenplay is adapted from a 2010 book by David Lipsky, which is itself a reboot of Lipsky’s five-days-long, but never published interview with DFW, this conducted in the far-right margin of the publicity tour for Infinite Jest. So the product that arrived at summer theaters was practically rippled with layers of pre-packaging and spin, but Ponsoldt, for better or worse, just relegates all such abstraction to the dialogue and otherwise keeps his telling as grounded as possible. The loveable schlub Jason Segel plays Wallace, while Jesse Eisenberg does his minimal-affect routine as Lipsky, and Joan Cusack has a bit part as a cartoon Minnesotan. The typecasting alone reflects an earthbound sensibility, so it seems only natural that the film’s real star should be the Midwestern landscape. For tax reasons, western Michigan stands in for Wallace’s central Illinois, and its sprawling flat-earth vistas of thin crusty snow and distant copses dazzle in their sheer ordinariness. Amid those harshly beautiful winter fields, beside a county road that’s dutifully plowed but little traveled, sits Wallace’s house, a long low ranch with cheap-wood finishes and shit-stained carpets (the homeowner keeps two large black dogs), looking improbable and improvised against the elements.{{2}}[[2]]The house’s street address might read “The center of nothing,” Wheelchair Assassin Rémy Marathe’s garbled translation of “The middle of nowhere” in IJ.[[2]] Basically, The End of the Tour is a well-intended mash-up of the Coen Brothers’ Fargo and Cameron Crowe’s Almost Famous, mostly harmless.

By my count, Tour contains just two powerful moments, both of which model in a kind of cinematic negative space the daunting edifice of Wallace’s work. Late in the movie, there’s a shot of Wallace’s cave-dark study, where Lipsky takes a rapid and belated inventory, gathering material for his piece. Threads of nuclear sunlight line the apertures in the room’s heavy-gauge curtains, and the stage is set for a blinding dissolve. Even if Plato’s allegory is the furthest thing from your mind, the sequence reads as an eloquent pantomime of Wallace’s achievement.

The second scene is more indicative of the film’s handling, its careful avoidance, of the work it memorializes. When Lipsky first arrives, Wallace invites him to bunk at the house in a “sort of guest room” space. The room in question is furnished with a futon and an assortment of load-bearing flat surfaces on which Wallace’s many books are arrayed in tall and pristine, as if machine-made, towers, the hulking Infinite Jest conspicuous among them. As neither man comments on the absurdity of the decor, the scene comes off as a sight gag, underlining Lipsky’s physical discomfort and competitive rancor. He beds down for the night with Wallace literally towering over him. But something more disquieting rumbles beneath the surface, as if the film has stepped roughshod on a live nerve. The sheer number of museum copies speaks volumes about Wallace’s chilling solitude (he can’t give this stuff away!). Even worse, those vertically stacked bricks of type-written pages suggest something redundant and wasteful and ultimately futile at the end of the labor of writing itself (he can’t give this stuff away!). The printed book never seems more paltry, less adequate to the teeming world it contains, less consistent with the miseries of its creation, than when it’s replicated in mass quantities and warehoused for distribution, smilingly absorbed by the consumer-capitalist system. This is why chain bookstores and Amazon and the little shelf-lined back rooms of publishers’ publicity offices give me the howling fantods (to borrow Avril Incandenza’s phrase).

Capture

And this is how the film treats Wallace’s work—it’s part of the furniture, atmospheric rather than elemental. Presented with a chance to show Wallace at the lectern, reading from IJ at a Minneapolis bookstore, the camera averts its eye, opting instead to focus on Lipsky, in the wings, quietly eating his heart out. The film’s narrative loyalties lie with Lipsky’s book, not Wallace’s opus, so it strains to contrive a story arc from the shifting relations, a kind of sibling rivalry, between the writers. These tensions feel manufactured, thin and underwhelming, and there’s something prefabricated or too-convenient in the script’s frame-tale design, the whole interview episode recounted as a flashback after Lipsky learns of Wallace’s suicide in 2008. But the film is earnest and sincere—a level-best effort all around—and if it’s a little flat-footed and embarrassing, it’s embarrassing in the way a mother can be embarrassing when she brags about you in public.{{3}}[[3]]This is my conclusion even though I saw the film under snark-inducing circumstances: a primetime screening at a posh mall-theater on the expectably glammed Westside of Los Angeles. A wine bar next door absorbed some of the early-arrival foot traffic, and still the area around the high-tech ticket kiosks, where you can swipe your card to collect pre-purchases,† was crowded with affluent cineastes, awash in secondary sex traits (what with the women in LA prosecuting the sartorial arms-race of a desert climate). The screening chamber itself boasted notably luxurious, boxy faux-leather black recliners, like first-class airline seats that let you kick way back, outfitted with cupholders that could handle those absurdly large theater sodas, naturally. Even if you hadn’t finished IJ just weeks earlier, the signs of egregiously hedonistic spectation would have stood out in bold-face type.

Factor in now that the screening concluded with a Q&A involving Ponsoldt and Segel. Besides bumping up the general rate of crowd effervescence, the principals’ attendance also explains why greeters met filmgoers at the entrances and pressed upon them a sturdy bubble-sheet survey, with a tiny ballpoint, for the sake of audience feedback. Excepting one question about the draw of this particular film, the survey was all about purchasing behaviors, standard market research. I stood the form upright on the floor until the film’s end. When the lights came back on, Ponsoldt and Segel clambered into director’s chairs on the stage. They fielded deferential questions from a host, plus a few, later, from the audience, and though their handlers stood by at attention, overdressed, in the aisle, and though one young woman who had come solo—blond curls bestrewn in a Renaissance braid, simple sundress in a grayscale print—relocated after the credits rolled, the better to record on her smartphone the celebrities’ breathings, it was impossible to judge or resent anybody. Ponsoldt came off as a sweetly ingratiating fanboy (a little self-satisfied, but who can blame him?); Segel, a dapper mensch (yes, he claimed to have read the novel prior to filming; no, he didn’t understand it all that well; no, no one asked him to do the voice of Vector from Despicable Me). I stayed until the Q&A wrapped.

† I held up the queue as I fumbled around, like a true amateur or a bona fide Martian, with a confirmation-page print-out which the machine just sneered at.[[3]] The End of the Tour has nothing urgent or revelatory to say about Wallace or his work, and this silence, admittedly, makes it hard to distinguish between pious hagiography and the mercenary selling of graven images. Even so, viewers should brace for impact when a simulacrum of the man first emerges from his Illinois abode to greet Lipsky in the iced-over driveway. The moment has some of the charge of a Christ drolly exiting a crypt, or a dead relative blinking at you non-confrontationally from a photograph. The sight triggered, for me anyway, a wave of grief, long overdue.{{4}}[[4]]To be honest, the grief was probably as much about me—for me—as about or for Wallace.[[4]]

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Into the House that Jack Built

What forestalls any and all hand-wringing over the film’s portrait of the writer is how inconsequential it feels when placed alongside Wallace’s own work, by which I mean mainly, perhaps exclusively, his Infinite Jest—the novel whose sonic boom, even without the artificial stimulus of Tour, we’re still hearing the echo of. Maybe my perspective is a little skewed: I read IJ for the first time in June, two decades too late (my epitaph, I fear) for Wallace’s proper coronation, but right on time for Ponsoldt’s film.{{5}}[[5]]In my defense, circa 1996, I was in no condition to read IJ or care much about what the world made of Wallace. A brush with linguistic deconstruction, in grad school, left me more or less incapacitated, unfit for public consumption, much less civic participation, for the better part of two years. My pupils stayed dilated the whole time. The crushing irony, of course, is that I had gone to UW-Madison to study literature.[[5]] Call it kismet.

A quick tour of the web reveals how commonplace, even sadly clichéd, it has become to expound, however tardily, on one’s own personal reading of Infinite Jest. Booster-club testimonials, generous vocabulary dumps, anachronistic reviews, the incremental records of reading-group listservs, why-not-to-read-it spoofs as well as why-to-read-it genuflections: these things are everywhere in cyberspace, constituting in aggregate a kind of DIY sub-genre of literary criticism, DFW & I.{{6}}[[6]]Some of these exegeses are duly footnoted. Equally unsurprising is that many of them discuss the basic technics of reading: they note the heft of the book (which left a dimple like a check mark near my navel), the time spent per page (depends), the number of accessories required to cope with the acreage between main text and footnotes (I got by with a single pencil and a kind of clawed grip, involving the pinky, on the book’s spine).

For my own contribution to the genre, I seriously considered writing something first-personal, something between clear-eyed criticism and chronic self-absorption, about the ways in which IJ’s tactics anticipated with surprising regularity my own more daring plays as a fiction writer. Lots of little things, snatches of phrasing (anyone else borrowing the lingo from A Clockwork Orange?), architectural affinities (the tunnels at ETA vs. the tunnels at CU in my not-published novella), etc. Here’s just one substantial example, involving the special kind of unreliable narration in IJ’s first chapters. When Hal Incandenza attempts to speak to the admissions committee at Arizona, though his words, per his report, are calm and lucid, the deans hear only monstrous subhuman noises, accompanied by threatening behavior. The mutual distress is so severe that the deans pin Hal to the floor and have him committed.† In my own story “The Advantages of Living,” written circa 2005, the narrator likewise says apparently innocuous things that conceal a more outrageous reality. He gets his ass kicked, twice, deservedly, for his troubles.

I used this gambit again in “FPS,” clickable here in the magazine’s archives. That story also shares DFW’s appetite for tumbledown phrasing and deliberately tortured syntax (which he got from Pynchon, for anyone keeping score), but “FPS” really bears mention because that story is what propelled me into IJ last summer. Wallace, thinly disguised, has a cameo in “FPS,” his suicide plays a conspicuous role. The treatment might seem a bit glib and unfeeling, but something deadly serious lurks in the subtext, if you care to do a little math. My point being, Wallace and I shared some common acquaintances at Illinois State University—I actually applied, hilarious to me now, for his job when he vacated circa 2002 to take his post at Pomona—and as I was writing the story, his death came to seem less like a historical event and more like a loss in the extended family. This is what drove me, after two neglectful decades, to spend seven weeks or so under the hood of IJ.

Let’s acknowledge too that Wallace’s last words to Lipsky, in Ponsoldt’s film, were “You wouldn’t want to be me.” It would tie things together nicely if I were to think of the IJ synchronicity phenomenon in those terms, but I don’t. Instead, I was thinking that the strange correspondences between IJ and my meager stuff might make it possible to argue for the existence of a literary zeitgeist: that maybe world literature, if configured along certain traditional lines,‡ contained specific potentialities that amounted to almost a playbook of foregone conclusions for any reasonably ambitious young writer. I had planned to quote TS Eliot’s “Tradition and the Individual Talent” and Borges’ “Pierre Menard.” Decided wisely against all of this.

† My theory on Hal’s psychosis is that he’s not at all psychotic. Hal might, by the end of IJ, have experienced a transformation such that he’s no longer an emotionless figurant (see below), but is now for the first time fully human. He could be the poster boy for the kind of sincerity rebel that Wallace imagines at the end of his essay “E Unibus Pluram.” In a world of ubiquitous irony, where everyone is a figurant, such a rebel would have to be perceived as a monster; no one would recognize his utterances as speech because he would be speaking the foreign language of substance. (Notice too how the solution and the problem have identical symptoms.) The book makes this reasonably clear, almost obvious, but you have to splice some widely separated wires.

‡ Meaning the model that once prevailed in the undergraduate curriculum, in that transition moment between a hegemonic Western canon and all-out Canon Wars. For that matter, it’s not possible to talk adequately about IJ’s precursors without mentioning the filmmaker David Lynch.[[6]] Amid the bylines and chatter some distinguished names surface: in 2009 Aaron Schwartz, the digital whiz-kid who ran afoul of the web’s download restrictions, immersed himself unabashedly in the novel’s brain-teasing puzzles, while the Canadian fantasist R. Scott Bakker contributed an elaborate takedown to the archive in 2011. The novel continues to attract casual potshots, as well: Harold Bloom, via Women’s Wear Weekly (no joke), and Bret Easton Ellis, via Twitter, have both lobbed vitriol at Wallace and his readers.{{7}}[[7]]Here’s Bloom: “I don’t want to be offensive. But Infinite Jest is just awful. It seems ridiculous to have to say it. He can’t think, he can’t write. There’s no discernible talent…. Stephen King is Cervantes compared with David Foster Wallace.” And Ellis: “Anyone who finds David Foster Wallace a literary genius has got to be included in the, Literary Doucebag-Fools (sic) Pantheon.”[[7]] Ponsoldt’s film is just part of the vapor trail, in his high-overhead medium, from the novel’s transit. So grant the film safe passage as it lumbers affably from summer cinemas toward DVD-rental outlets everywhere. Meanwhile, the monolith itself, IJ, still beckons, rife with controversy, thick with conundrums, prolix and aloof, meditative and smart and hilarious and searing. If you have to this point, as I did, given wide berth to the beast—if you suspect a lame Pied-Piper fandom in the cult of Wallace—I encourage you strongly to test your scruples against the book itself. With the possible exceptions of heartfelt parenting and excellent sex, nothing is more deserving of your time and attention than Wallace’s Infinite Jest.

This is not to say that the novel is perfect, as in, uniformly without flaw or defect. The givens of the textual world alone range from peculiar to zany: a family saga that conflates Hamlet and The Brothers Karamazov on the grounds of a tennis academy? A North-American map that has been cheekily revised? Calendar years auctioned for naming rights like NCAA bowl games? An army of wheelchair-bound French-Canadians who squeak across the landscape, seeking a doomsday device—in this case, a lethally entertaining videodisc? Most of the novel’s imaginative excesses are entirely palatable, the satire spot-on. But I have to draw the line at, or enclose in squiggly brackets, elements like the Vaught twins, who make a killer doubles team at Enfield Tennis Academy, despite (or because of) being conjoined at the head. Likewise, a few high-drama scenes—an after-hours tryst in the headmistress’ office, a torturous interrogation with some complicated staging, an Inner Infants support group meeting—are insipidly farcical. And the lush filmography of JO Incandenza, one of the book’s ballooning endnotes, is a marvel of erudition, with a number of fine Easter eggs glinting in the bushes; these many films, besides, haunt the whole length and breadth of the big novel, yet I can’t help but imagine their titles voiced by The Simpsons’ Troy McClure: Blood Nun: One Tough Sister, Dial C for Concupiscence, The Night Wears a Sombrero.{{8}}[[8]]Whether this ham-handedness is intentional, crucial to the book’s thematics, is a matter of debate. Some argue that such farcical touches show Wallace aping sympathetically the conventions of pulp entertainments. Others contend that such moments deliberately sabotage the reader’s pleasure, so as to distinguish Wallace’s novel from the lethal Entertainment of the same title. Wallace’s book might be the rumored anti-Entertainment, the narrative antidote to the film’s Medusa gaze.[[8]] Note the exclamation point in Accomplice!

Of course, when visiting a grand cathedral, you can stand outside and count the gargoyles or you can head inside to hear the choir. In the case of IJ, bloopers notwithstanding, every page bears the impress of an obvious and undeniable genius. The book is a cacophonic compendium of millennial voices, and Wallace manages to coax something beautiful from each one. He can lampoon the pretensions of the most esoterically high-brow discourse{{9}}[[9]]One filmic scholar even channels, pithily, Harold Bloom, specifically his more abstruse excrescences in The Anxiety of Influence: “For while clinamen and tessera strive to revive or revise the dead ancestor, and while kenosis and daemonization act to repress consciousness and memory of the dead ancestor, it is, finally, artistic askesis which represents the contest proper, the battle to the death with the loved dead.” Believe it or not, this bloated corpse of a sentence is more than empty blather: a meta-reflection on IJ’s literary ancestry.[[9]]; render the slovenly charms of a smart teenager’s private language (including mathematical geek-outs); lovingly detail the screwy articles, botched possessives, and fouled-up idioms of non-native speakers; and cull a muted poetry from the workaday lexicons of felicidal pimps, reformed burglars, flummoxed psychiatrists, rotten fathers, and transvestite prostitutes. Wallace has an awful lot of fun with catachresis in the book. He does an unforgettable Irish brogue and captures the weirdly crestfallen ecstasy of an overdose in progress, all metastasizing syntax and achingly fine-grained perceptions. More than just reproducing such voices, Wallace textures each with chiaroscuro shadings, catching quirks and nuances, speech tics that slide around fluidly. This virtuoso display is nowhere more evident than in Note 304, a lost-island set piece in which Jim Struck of Enfield Tennis Academy attempts to plagiarize a scholarly work for his term paper in a class he calls “Poutrincourt’s History of Canadian Unpleasantness course thing.” In fact, this endnote encapsulates, in microcosm, the work in all its vastness. Like a slice that gives up the whole loaf, it reveals almost everything you could want to know about the novel: from how to read it or why to bother, to what, if anything, the book has to say to its patient and intrepid auditors.

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The Endnote

In this sub-basement of a chapter, Wallace simulates not just the puff-cheeked oratory of “US academese,” but the off-the-leash, cognitively impaired rhetoric of a narcotized scholar, this one expatiating on Canadian terrorist cults, the initiation rite of the Wheelchair Assassins in particular. For purely ornamental reasons, the scholar also ties in a mention of the feral infants—a byproduct of toxic waste dumping in a geographic region ceded by the US, with love, to Canada—who otherwise writhe and roil offstage, part of the novel’s emblematic marginalia. Here’s a sample of the scholar’s vocal signature: “Almost as little of irreproachable scholarly definitiveness is known about the infamous Separatist ‘Wheelchair Assassins’ … of southwestern Quebec as is accepted as axiomatic about the herds of oversized ‘Feral Infants’ allegedly reputed to inhabit the periodically overinhabitable forested sections of the eastern Reconfiguration.” For long stretches, the Endnote compiles verbatim citations of this impeccable balderdash, yet the mood of grotesque parody never quite extinguishes a stubborn, oddly poignant verisimilitude.

Intermixed with such passages is the sulky and slang-riddled rambling idiom of the plagiarist, who supplies a running commentary on the article, with the occasional sarcastic flourish:

the hardest work for Struck here is going to be sanitizing the prose in this Wild Conceits guy’s thing, or at least bringing the verbs and modifiers down out of the like total ozone, which the Academese here on the whole sounds to Struck like the kind of foam-flecked megalograndiosity he associates with Quaaludes and red wine and then the odd Preludin to pull out of the grandiose nosedive of the Quaaludes and red wine.

The violence of the code-switching might cause whiplash, but it feels almost seamless because Struck himself is so hilariously preoccupied by the scholar’s whacked-out style: “Struck at certain points imagines himself gathering this Wild Conceits guy’s lapels together with one hand and savagely and repeatedly slapping him with the other—forehand, backhand, forehand.” Carrying the sequence to its logical conclusion, Wallace carves still more layers in the vocal palimpsest when he offers glimpses of the plagiarized paper itself, a kind of hybrid voice, Struck’s redaction of the article. After a paragraph from the scholar, outlining the cult’s test of an aspirant’s mettle—a game of Kierkegaardian “Chicken” with a moving train—we read, “Struck transposes clearly nonadolescent uptown material like this into: ‘The variable of the game isn’t so much a matter of the train, but the player’s courage and will.’” And though Struck is an unusually blinkered plagiarist, Wallace grants him enough perspicacity to imagine his teacher’s marginal comments on the resultant paper (“a big red triple-underlined QUOI?” beside a manic transition) and to observe the Doppler shift in Day’s article, as it crossfades from scholarly exposition into full-blown confabulated narrative.

Wallace is clearly a masterful ventriloquist, yet the sheer number of voices in the novel’s discursive field lays it open to charges of logorrhea, as if the book were kaleidoscopic but not cohesive. The terrible truth about IJ, however, is that, at 1079 pages, it isn’t digressive at all. Wallace’s inexhaustible verbal repertoire is matched by an exacting architectural vision. In an interview, Wallace claimed that his book models the fractal form of a Sierpinski gasket,{{10}}[[10]]A Sierpinski gasket:

800px-Sierpinski_triangle.svg

[[10]] but the novel supplies an equally apt metaphor by which to grok its artful structure: that is, the book itself poses as an InterLace Entertainment. InterLace is the name of the telecom company founded by Noreen Lace-Forché, the “Killer-App Queen” who supplanted the titans of network television with her outfit’s NetFlix business model, and the company’s moniker feels like a hard nudge{{11}}[[11]]See also the role, in IJ, of annular fusion, a closed-loop mode of power generation and waste disposal. The whole book can be conceived of as an annular, or ring-like, construct.[[11]] from Wallace to mind the myriad interlacements in the novel’s pages. The raucous polyphony bends toward euphony, after all.

Like a thumbnail enlargement in an art book, Note 304 offers a manageable arena in which to observe the design ingenuity. Most obviously, this endnote identifies the author of the Wild Conceits article as one G. T. (Geoffrey) Day, a character who, a hundred-odd pages after we read the note, will turn up casually among the cast at the Ennet House for recovering addicts. The book doesn’t make this connection explicit for readers; Wallace asks us to splice the wires, to notice the subtle and surprising intersections of the characters’ lives.{{12}}[[12]]Not all of which are easily resolved. In his discussion of the train-jousting ritual, Day mentions the miner’s son who loses his nerve and fails to jump across the tracks. His cowardice becomes legendary, widely known as “Faire un Bernard Wayne,” within the Wheelchair faction. The surname evokes a connection to John “N.R.” Wayne, ETA’s top player, himself likely a double- or triple-agent working for the Canadian terrorist cell. J. Wayne’s family hails from the same mining region in Quebec, but beyond this hint, the genealogical connection is impossible to lock down.[[12]]

The Endnote also makes abundantly clear something that most readers could glean from the main text’s plot: that the predicament of the Wheelchair Assassins is analogous to the plight of the ETA tennis team. Struck reads of the elimination-tournament structure of the Separatists’ train-dodging, just as, later, the novel’s readers will encounter an apposite description of tournament protocols when ETA faces Port Washington. To double-underscore in neon the thematic kinship here, the Note offers this appraisal of the cult’s rite of passage: the train-dodging ritual is “intimately bound up with ‘Les jeux pour-memes,’ formal competitive games whose end is less any sort of ‘prize’ than it is a manner of basic identity: i.e., that is, ‘game’ as metaphysical environment and psychohistorical locus and gestalt.” This disclosure boomerangs and dovetails with the coaching philosophy of Gerhard Schtitt at ETA: unburdening himself to an acolyte, Schtitt explains that in competitive tennis “the true opponent, the enfolding boundary, is the player himself…. The competing boy on the net’s other side: he is not the foe…. He is the what is the word excuse or occasion for meeting the self.” Schtitt’s theorizing might sound like self-discovery; that it entails self-annihilation becomes clear as the players court an extreme inhuman stoicism in order to excel. In fact, all of the characters in the book’s three major plot threads share a common struggle: to escape the cage of the narcissistic I, “transcend the self through pain,” whether it be a hard-core, self-abnegating patriotism, the will-suppressing protocols of tennis practice, or the reason-defying bromides of Alcoholics Anonymous. The novel’s thematic unity couldn’t possibly be tighter.

But these are only the most glaring examples of IJ’s structural integrity. To get a glimpse of the subtlety and pervasiveness of the book’s imbrication, consider another putative digression from Day’s article. Toward the end of the Note, Day turns his attentions to a different Separatist group, the Cult of the Infinite Kiss. This faction’s initiation rite involves the lip-to-lip conjoinment of heterosexual faces, which faces then respire alternately a single lungful of breath until the participants pass out from oxygen deprivation. Day’s exposition includes some pointed commentary on the differences between the two terrorist cells, but it also functions as a hyperlink, reminding readers of Orin Incandenza’s nightmare concerning his mother: her disembodied head is bound by tennis string to his own horrified face. Similarly, the crux of the other ritual, that leap in front of a barreling locomotive, reverberates when Don Gately, the novel’s square-headed hero, sports with a Green-line train while at the wheel of a borrowed muscle car. And Struck’s own ineptitude vis-à-vis the French language recalls the incomprehension of the monolingual terrorist Lucien Antitois (broker of “blown-glass notions” and gray-market entertainments) during a pivotal Francophone interrogation.{{13}}[[13]]This list of examples could go on and on. When Struck imagines Day “utterly strafed … and typing with his nose,” the contact between face and gizmo recalls JO Incandenza’s gruesome suicide (he sticks his head in the microwave) as well as the climax of the Eschaton game in which Otis Lord’s head gets lodged in a computer monitor. And dumb Struck’s plagiarism signifies a figurative voicelessness (see below), which evokes the text-recitation performance art of radio DJ Madame Psychosis, which evokes the literally muted Don Gately, intubated in the hospital, which evokes poor Lucien Antitois, impaled via the throat with his own hand-carved broomstick, which evokes Guillaume DuPlessis who dies of asphyxiation with a dust rag in his mouth, which evokes the catatonic “It” in her Raquel Welch mask…. My personal sense is that none of this is accidental, though all of it might be, for Wallace, Too Much Fun (see below).[[13]] IJ is that kind of book: a massive honeycomb of images and motifs, characters and themes, the whole swarming with so much life that the infrastructure stays mostly concealed. That the novel is, in this way, almost infinitely expandable, is not to say that it’s compositionally loose or entropic.{{14}}[[14]]The density of the book’s interlacements actually reminds me of the mithril shirt, the Dwarvish chainmail from The Lord of the Rings. This reference to Tolkien isn’t entirely gratuitous. In a 1955 letter to WH Auden, Tolkien claimed to possess a kind of sixth sense: an ability to feel, palpably, the beauty of literary forms. “It has always been with me,” he writes, “the sensibility to linguistic pattern which affects me emotionally like colour or music.” I doubt that Tolkien would appreciate the intricate artifice in IJ, but this kind of extra-sensory perception, with a little recalibration, might help readers to experience the often stark, frequently disturbing, and sometimes downright ungainly IJ as something joyful.[[14]]

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Of Figurants and Revenants

For some readers, this peek into IJ’s motherboard might feel anticlimactic, as if its internal circuitry were just a tangle of arbitrarily crisscrossed filaments—as if, despite the endless verbiage, the book had nothing whatsoever to say. As it happens, this crisis of communication—in which words are mere forms, empty of substance—lies at the very core of the novel (both the species and genera). This is the problem of Hal Incandenza, youngest dynastic son, closeted pothead and on-court rising star at ETA. Hal has a gift for language; he’s read the OED and committed most of it to memory. His term papers testify to his high-order brilliance. Yet, he seems incapable of experiencing, much less conveying, authentic human emotions, even on the intimate subject of his father’s suicide. Per the novel’s blunt diagnosis, Hal shapes fine words, but in a figurative sense emits no sound.

Far from being an anomaly in IJ, Hal’s case is typical, even archetypal, as numerous characters observe this existential gag-rule by force, choice, or mere disposition. Among the more lighthearted examples is Jim Struck’s plagiarism,{{15}}[[15]]Note 304 confirms that the endnotes are inextricable from, rather than extraneous to, the novel’s artistic design. However, the endnotes, in aggregate, also point to a major glitch in said design’s matrix: namely, who’s writing them? It’s impossible to locate a central narrational perspective in IJ. The nominees include Hal Incandenza and a smattering of wraiths (JO Incandenza is the most likely choice, and Lucien Antitois’ death, a passing into knowledge of “all the world’s well-known tongues,” feels like a cue). But the wraith theory founders on the fact that Hal sometimes narrates from a first-person point of view; the Hal theory on the fact that he disappears for very long stretches of third-person limited narration.† Even if DFW himself were the implied narrator, the shifts into Hal’s first-person perspective don’t quite compute. This narrational evasiveness isn’t necessarily a defect in the novel.

† Perhaps the most jarring example of IJ’s narrational problem arrives as Don Gately speeds across town in the Ford Aventura. The prose tracks precisely with Gately’s perceptions and thought processes, until, inexplicably, we read, “Has anybody mentioned Gately’s head is square?”[[15]] but for all its goofball comedy, Note 304 also shows how this node of the book goes meta-, constituting an inquest into the nature of writing and reading. Immobilized before his computer (except for “grinding his eye” and picking at his acne), literally engaged in the work of reading qua writing, the plagiarist mouths words parasitically, like an intellectual zombie or prep-school golem for Day’s ideas. The only volitional substance attributable to Struck himself are acts of camouflage, as he converts Day’s prose into “less-long self-contained sentences that sound more earnest and pubescent, like somebody earnestly struggling toward truth instead of flecking your forehead with spittle as he ranted grandiosely.” Struck’s enterprise is pure cynicism: plenty of words, but no sound. Like Hal, Struck has become a figurant.

The novel defines a figurant as a peripheral actor with zero speaking lines in a sitcom (like the anonymous bar patrons in the heavily scripted Cheers!), a visible part of the scenery but existentially muzzled. Against this class of tragic characters, IJ poses another, which would appear to be the figurant’s antithesis: the committed speakers at AA meetings. Such speakers aim to embody total honesty, to tell the truth about their addiction experience, however ugly the truth may be. The listeners, for their part, strive for Identification, a mode of ideal hearing that erases the slash in the classic self/other dichotomy. The book is explicit on this point: “Identify means empathize. Identifying … isn’t very hard to do, here. Because if you sit up front and listen hard, all the speakers’ stories of decline and fall and surrender are basically alike, and like your own.” As a strategy for responding to narratives, identification has garnered some well-deserved abuse over the years; all too easily, identification reverts to simple narcissism in which the reader’s self-interest and prerogative are the ultimate determinants of a story’s value.{{16}}[[16]] Identification strikes me as the gateway to the domain of reader-response criticism,† at one extreme pole of which even Struck’s plagiarism is fully licensed and authorized.

† I once read a student exam in which the writer said, of Frost’s “Stopping by Woods,” only that the poetic speaker reminded her of Santa Claus. A hard-core reader-response critic might argue that there is no such thing as better or worse in responses to literature, thus giving me no basis on which to judge negatively the student’s contention. While I admit that my initial reaction was to find the comparison ludicrous, I could be persuaded to play along—who knows, this reading might even be profound—provided that the student made the case with some kind of rigor, looking closely at and thinking hard about specific features of the poem and the legend.[[16]] Wallace has in mind something less obnoxious, a more sincere merger of selves or communion of souls which appears to be lifted straight out of Tolstoy.

In his ingenuously titled treatise “What Is Art?” Tolstoy rejects the notion that literature exists for the reader’s pleasure. Instead, a true work of art, for Tolstoy, occasions the very Identification that IJ exalts:

the receiver of a true artistic impression is so united to the artist that he feels as if the work were his own and not someone elseʹs — as if what it expresses were just what he had long been wishing to express. A real work of art destroys, in the consciousness of the receiver, the separation between himself and the artist — not that alone, but also between himself and all whose minds receive this work of art. In this freeing of our personality from its separation and isolation, in this uniting of it with others, lies the chief characteristic and the great attractive force of art.

Wallace’s novel sometimes reads as a hard-line dramatization of Tolstoy’s ideas. All forms of pleasure are suspect in IJ, symptoms of a self-destructive addiction, the antithesis of purifying pain. But when the novel portrays individual acts of listening/reading, the proselytizing feels humble and low-key, not at all doctrinaire. See the description of Lyle, the unofficial staff guru at ETA: “Like all good listeners, he has a way of attending that is at once intense and assuasive: the supplicant feels both nakedly revealed and sheltered, somehow, from all possible judgment. It’s like he’s working as hard as you. You both of you, briefly, feel unalone.” The pitch of the advocacy rarely runs hotter than this.

But IJ ultimately breaks ranks with Tolstoy, and its portrayal of literature, reading, and writing (all sides of the same equilateral triangle) turns increasingly ambivalent. To see how, we have to consider another character type in the book: the wraith (yes, wraith). Like Hamlet, IJ has a few ghosts traipsing around the castle, and these wraiths hybridize the traits of speakers and figurants, a reconciliation of opposites with dire implications. A wraith, we learn, “had no out-loud voice of its own [figurant], and had to use somebody’s like internal-brain voice if it wanted to try to communicate something [speaker].” Another stipulation vis-à-vis wraith ontology: because wraiths inhabit “a totally different Heisenbergian dimension of rate-change and time-passage,” they must “stay stock still in one place” for vast amounts of time in order to interface with the living.

In both regards, this vision of the afterlife makes the wraith sound a lot like an author figure: the wraith’s telepathic mode of communication (and otherworldly stillness) unmistakably connotes the act of writing. Tolstoy’s manifesto already describes literature as an occasion for mind-melding, but Georges Poulet, in “The Phenomenology of Reading,” captures the truly haunting nature of the experience. Poulet observes that reading is always an assault on consciousness: it “is the act in which the subjective principle which I call I, is modified in such a way that I no longer have the right, strictly speaking, to consider it as my I. I am on loan to another, and this other thinks, feels, suffers, and acts within me.” The book behaves like a software application installed and running on the hard drive of the reader’s mind, temporarily displacing the self. The experience, for Poulet, ultimately verges on spirit possession—he refers to reading as “this possession of myself by another”—but the wraith that Poulet summons isn’t the book’s author: it’s the book itself. Poulet writes, “so long as it is animated by this vital inbreathing inspired by the act of reading, a work of literature becomes (at the expense of the reader whose own life it suspends) a sort of human being, […] a mind conscious of itself and constituting itself in me as the subject of its own objects.” This vision of the book as a portable consciousness that can roam from reader to reader might sound itself like a Wild Conceit; the “self-consciousness of literary texts,” a well-worn phrase, has never been construed so literally. But Poulet’s ideas do help to clarify the author-function of Wallace’s wraiths.{{17}}[[17]]Zoran Kuzmanovich, in an essay on Nabokov’s “The Vane Sisters” (a famously haunted text), says something apropos: “Every ghost story is an allegory of reading.”[[17]]

Initially, the wraith incursion in IJ serves to reinforce Tolstoyan aesthetics. As with the book’s other author figures, those gifted AA speakers, colloquy with a wraith makes Identification possible, for both parties now, speaker and listener, author and reader (the roles are reversible in wraith-initiated dialogues). The lone character to consciously converse with a wraith, in a fever dream, later reflects wistfully on the experience: “he has to admit he kind of liked it. The dialogue. The give-and-take. The way the wraith could seem to get inside him. The way he said [the listener’s] best thoughts were really communiques from the patient and Abiding dead.” At such moments, IJ does verge on advocating reading as an antidote to self-destructive narcissism. Even Struck, the most hapless figurant, finds himself attaining Identification, however unwittingly, with the “foam-flecked” disquisition of G. Day. Having diagnosed (accurately) Day’s addiction to narcotics, as he reads yet another head-clutching passage, Struck recalls his own father’s disastrous substance abuse, as if he recognizes his own story there in the style, if not the substance, of Day’s essay. Call it Identification, with an asterisk.{{18}}[[18]]Struck’s identification with Day’s article might be a travesty in that Struck isn’t really listening to the substance of the passage; Struck misses, for example, the kinship between the cult’s aspirants and the tennis hopefuls, himself included, at ETA.[[18]] Here, too, under the least propitious circumstances, reading provides an occasion for “meeting the self.”

Because reading IJ is an extraordinarily labor-intensive exercise, it would be at least courteous if the book were to recommend the activity, validate the time spent and pains taken. Instead, the book equivocates. The first killjoy irony here is that, in order to hear a speaker or converse with a wraith, the listener/reader must shut down the voice, cancel the self, become essentially a figurant.{{19}}[[19]]Poulet describes this tyranny of reading: “As soon as I replace my direct perception of reality by the words of a book, I deliver myself, bound hand and foot to the omnipotence of fiction. I say farewell to what is, in order to feign belief in what is not. I surround myself with fictitious beings; I become the prey of language. There is no escaping this takeover.”[[19]] One group of rapt listeners, as they achieve ideal hearing, must “consciously try to remember even to blink”; in this case, identification is tantamount to petrification, the audience turned to statuary, locked in a state of suspended animation. And even under optimal circumstances, with a communicative wraith aiming for honest self-expression and mutual Identification, the inter-mental communion can feel like “lexical rape,” or so the lone experimentee puts it as the wraith floods his consciousness with unfamiliar, seriously uptown words.

The second irony is less local and more pervasive: namely, if the wraith functions as an author-figure, it also models the plucky reader. When the wraith reveals that it can “move at the speed of quanta and be anywhere anytime and hear in symphonic toto the voices of animate men, but it couldn’t ordinarily affect anybody or anything solid, and it could never speak right to anybody,” it offers a description of the reader’s very experience in turning the pages of IJ. Albeit well short of the speed of quanta and/or choral totality, IJ’s readers do slide unimpeded and unregarded from voice to voice, consciousness to consciousness, likewise powerless to impact the world(s) they survey. Don Gately, in whom the wraith confides, acknowledges the tragic paradox of wraith existence:

Gately lets himself wonder what it would be like, able to quantum off anyplace instantly and stand on ceilings and probably burgle like no burglar’d ever dreamed of, but not able to really affect anything or interface with anybody, having nobody know you’re there, having people’s normal rushed daily lives look like the movements of planets and suns, having to sit patiently very still in one place for a long time even to have some poor addled son of a bitch even be willing to entertain your maybe being there. It’d be real free-seeming, but incredibly lonely, he imagines.

Gately pities, more than envies, the wraith’s condition, because, per his description, it has a lot in common with the abject solitude of a figurant. The solution (writing, mobility, Identification) and the problem (voicelessness, immobility, loneliness) are not antipodes, but mirror images. So much for a straightforward endorsement of literary labor, on either end, production or reception.

To return, then, to the paradigmatic industry of Jim Struck, what the Endnote ultimately does, like the book as a whole, is to pose the question, so who’s really the wraith? Day’s article, wraith-like, has colonized Struck’s consciousness. But thus zombified, undead in a sense,{{20}}[[20]]The novel has scads of references to the undead (vampires, revenants, wraiths, the living dead, etc.). One of my favorites is the nickname of Eugene “Fax” Fackelmann, a small-time criminal with a big-time role in the novel’s closing chapters: Count Faxula.[[20]] a model figurant, Struck himself adopts the stock-still pose and vocal cooption tactics of a wraith. And Struck’s predicament, buried in a seemingly inconsequential recess of the endnotes, becomes legitimately uncanny insofar as it anticipates our own. IJ doesn’t so much say as do something to readers: it turns us into figurants, which is to say that it also grants us the status of wraiths. And what is true of the reader is, as a corollary, true of the book: IJ, in Poulet’s sense, is a wraith, inhabiting us and extending the potential for Identification, and it is also a figurant, telling us nothing.

Read in this light, IJ might reflect Wallace’s discontent not just with consumer-capitalist addiction, but with a deep vein of aesthetic theory. Once upon a time, around the Baby Boom era, it was fashionable to excavate the paradoxes inherent in literary texts. With essays like “The Language of Paradox” and “The Heresy of Paraphrase” in The Well Wrought Urn, Cleanth Brooks argued that this structural principle—irony, contradiction, paradox—lies at the heart of all great works of literature.{{21}}[[21]]Viktor Shklovsky, the godfather of Russian Formalism, after a survey of world literature even more exhaustive than Brooks’,† ultimately arrived at the same conclusion: that strategic juxtaposition—contradiction, irony, paradox, antithesis, ambiguity, a god with many names—is the common denominator in all forms of literary art. But owing to historical circumstances (mainly Soviet oppression), Shklovsky’s work remained virtually unknown until after New Criticism, and Shklovsky himself, had been laid to rest: call it a posthumous confirmation of findings.

†Brooks discusses poetry exclusively in The Well Wrought Urn, but Shklovsky observes the same design principles in novels, plays, fairy tales, even movies.[[21]] And during the short-lived heyday of New Criticism, disciplined readers sought only to discover the pathways by which literary texts contrive their stony silences.{{22}}[[22]]Maybe an overstatement. In “The Heresy of Paraphrase,” Brooks labors to explain that poems might deliver some didactic statement, a declarative truth about the world, but he insists that such a statement, to be accurate, would be so fraught with qualifications as to cease to be an actionable proposition. His main contention is that the beauty and/or “meaning” of a poem lies in the interplay of its parts, not in any generic takeaway. Early in the essay, Brooks makes a distinction that proves especially relevant to the case of IJ: the formal juxtapositions in poems don’t cancel each other out like logical antitheses, but rather they constitute a unity, for Brooks an “achieved harmony.” Later, however, when Brooks discusses Keats’ “Ode on a Grecian Urn,” he talks about paradox in such a way that it approaches self-negation: “Keats’ Urn must express a life which is above life and its vicissitudes, but it must also bear witness to the fact that its life is not life at all but is a kind of death.” In its portrait of reading, IJ poses this kind of paradox, which nevertheless remains an “achieved harmony.”[[22]]

In his journalistic writing, Wallace has weighed in, derisively, on the work of Brooks & Co.; he recounts, briefly in “Tense Present,” how subsequent waves of theory exposed the New Criticism as hermeneutic flimflam.{{23}}[[23]]The demise of New Criticism is an old story, and reports of its death are often exaggerated.† Wallace concentrates on NC’s risible pretensions to scientific objectivity, “the stuff of jokes and shudders” for DFW.‡ But Wallace might be hasty to link NC, as he does, to Grammatical Descriptivism, whose executors sought to compile a dictionary in a bottom-up, vox-populi manner. As I see it, the real trouble with NC is that what starts as descriptivism comes out the other side as SNOOT prescriptivism, establishing a universal and maybe arbitrary standard for artistic creation/appreciation. NC tends to work best for an elite body of texts, not coincidentally produced in large numbers by White Male writers. Honestly, though, the politics bothers me less (as a White Male) than something even more basic: the suspicion that artistic principles, once apprehended and codified, are anathema to art itself. (Brooks & Co., in certain lights, seem to me like a kind of literary Penn & Teller act.) Maybe this fear is unfounded. What NC and its Formalist kin prescribe amounts to little more than a plea on behalf of structural unity, an imperative that form and content smartly bedevil each other. Still, the whole project risks devolving into mere routine, and a pall of cliché gathers ominously.† Fitting that Wallace, in IJ, should have harped on the need to recover the awful truth that underlies even the most moronic clichés.

† The close reading prescribed by NC continues to inform all responsible interpretive praxis (excepting Franco Moretti’s controversial “distant reading”), and this method survives too in creative writing programs, which work best when they emphasize craft and composition, not meaning (see, for example, Madison Smartt Bell’s Narrative Design, or even James Wood’s How Fiction Works). At present, NC is mounting something of a cultural comeback; in How to Do Things with Fictions (2012), Stanford’s Joshua Landy argues, once again, that literary works are defined by their structures and techniques, and that the best of these train readers to think in new ways.

When I read passages like this one, from Brooks’ “The Heresy of Paraphrase,” I find it hard to fathom how NC ever went so thoroughly out of style: “the word, as the poet uses it, has to be conceived of, not as a discrete particle of meaning, but as a potential of meaning, a nexus or cluster of meanings.” Another passage resonates with IJ in particular: “the ‘beauty’ of the poem … is the effect of a total pattern, and of a kind of pattern which can incorporate within itself items intrinsically beautiful or ugly, attractive or repulsive. Unless one asserts the primacy of pattern, a poem becomes merely a bouquet of intrinsically beautiful items.”

‡ Another objection is that the “unity” of literary works, prized by New Critics, is just a naïve fallacy, but to say that unity lends itself to a facile kind of deconstruction seems to me to substitute one truism for another. A related complaint, among gender-, class-, and race-minded critics, might be that no book is ever silent. You would have to take this up on a case-by-case basis, but see Note 22 above.

† NC, with its emphasis on pattern-making, might seem ill-suited to discussions of fiction, insofar as it elides less specialized measures of literary craftsmanship: matters of plot and characterization, suspense and transformation, climax and delay (aka, retardation)—all the vertices and dragons’ backs of the standard Freitag triangle (which was devised to explain dramatic design), to say nothing of style’s infinite permutations. However, NC’s principles operate there too, and even where they aren’t readily apparent, the same caveat applies. Writers might exaggerate or truncate the Freitag pattern of rising and falling action, make “inverted checkmark” structures of varying slope and acuity, rightside-up or upside-down, all day long, but they’re still bound by the model. For his part, Wallace tends to prefer the soft ending and anticlimax, among other “nonconfluential” tactics, in IJ (some exceptions include the Eschaton game and the fracas between Ennet House residents and Hawaiian shirt-clad ‘Nucks), but we can still think of the Sierpinski gasket’s interlocking triangles as a giddily Freitagian construct.

Which is to say, I get why some writers would want to take a hammer to convention, abjure every “literary” stratagem in the headlong pursuit of some asymptote of the real, a straighter record of what is. The rebellion has a long history, but David Shields, with his Reality Hunger manifesto, is the movement’s current poster child, and apparently the oral historian Svetlana Alexievich just bagged the Nobel Prize for her scrupulous suppression of artifice. Wallace understood this anti-aesthetic impulse, and its hazards, as well: in IJ, the filmography of JO Incandenza includes eleven works of “Found Drama,” some of which are “conceptually unfilmable,” none of which is released for viewing. Note that IJ is not itself a Found Novel.

Strangely, it would be possible to cite both Tolkien and Nietzsche (the philosopher’s dread becoming that smears the edges off of being) to allay these anxieties over artifice. Both writers hint at an upbeat conclusion: that the discovery of structural commonalities does nothing to exhaust the mystery and singularity of creation. You might as well resent having to write in English.[[23]] The essayist Wallace also decries irony as an intellectual pose, and figurant-class, say-nothing literature in particular. In “Fictional Futures,” discussing reportorial hipster fiction of a bygone era, Wallace calls out writers for describing problems without posing solutions, reducing, per Wallace, “interpretation to whining.” His big-picture verdict affirms his faith in revolutionary art: “What troubles me about the fact that Gold-Card-fear-and-trembling fiction just keeps coming is that, if the upheavals in popular, academic and intellectual life have left people with any long-cherished tradition intact, it seems as if it should be an abiding faith that the conscientious, talented, and lucky artist of any age retains the power to effect change.” Similarly, in “E Unibus Pluram,” Wallace tilts at irony,{{24}}[[24]]Brooks himself finds the terms “irony” and “paradox” aggravating. He treats them as loose synonyms in “The Heresy of Paraphrase,” but Brooks’ “paradox” might be viewed as a remedy for Wallace’s debilitating “irony.” For further discussion.[[24]] imagining the cultural rebellion later dubbed the New Sincerity: “The next real literary ‘rebels’ in this country might well emerge as some weird bunch of ‘anti-rebels,’ born oglers who dare to back away from ironic watching, who have the childish gall actually to endorse single-entendre values.” All of the Tolstoyan energy in IJ reflects Wallace’s well-documented aversion to intellectual and spiritual nihilism.

But the self-negating turn in Infinite Jest, the turn that converts speakers into figurants, makes both of them wraiths, suggests that Wallace, in his greatest book, could embody but not transcend this artistic crisis. The novel virtually ratifies New Critical principles. What’s a Sierpinski gasket, after all, if not an incredibly well-wrought urn? Readers past and future, of all critical persuasions, figurant filmmakers included, might well balk at this conclusion, which has the dubious distinction of being both revelatory and obvious. But Wallace’s skepticism of art’s hermetic beauty? A gargantuan book wherein all the glinting particulars of an animate metropolis everywhere dissolve in these shadows of the valley of death? This without ever skimping in the effort to speak a score of deeply personal tongues? Plus just the writer’s resolve to stake a substantial chunk of his lifespan in the manufacture of an irksome and unrepeatable nothing? With this stuff I, for one, can like totally Identify.

—Bruce Stone

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Bruce-Stone3
Bruce Stone is a Wisconsin native and graduate of Vermont College of Fine Arts (MFA, 2002). In 2004, he served as the contributing editor for a good book on DG’s fiction, The Art of Desire (Oberon Press). His essays have appeared in Miranda, Nabokov Studies, Review of Contemporary Fiction and Salon.  His fiction has appeared most recently in Straylight and Numéro Cinq. You can hear him talk about fiction writing at Straylight Magazine. He’s currently teaching writing at UCLA.

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Paris in Black and White / 1973-74 — Gary Garvin

Nov 052015
 

1 circus closeup 2

HE STILL STARES AT ME after forty years, the man holding the rope, with a look that even at this poor resolution can only be violation. And the woman with the lithe body, seemingly naked in her light-colored tights, frozen in the moment of lifting a knee and raising both arms in air, preparing for flight, for ecstasy, or for some other abandon, still has her back to me, as does the man beside her, touching, guiding, helping in some way.

2 Circus

They are rehearsing for a circus somewhere in a court or square in Paris—I’ve forgotten where—and the sight was something interesting, behind the scenes, which, walking by and finding an opening in the tent, I thought I should take a picture of. The woman is practicing for a leap—onto a passing horse circling the ring?—that she will perform one night alone without the help of the two men or the safety of the rope, effortlessly, flawlessly, for our breathless wonder. This must be my violation. The supports and imperfect attempts, diminishing, distracting, meaningless, must be kept hidden and not be exposed.

I was 20 and had taken a year off from college. My expectations were bright but empty, undefined yet blinding. I had no good reason for being there and no idea what I would do next. Taking pictures itself was a matter of reluctance and indecision. I didn’t want to appear the tourist so seldom carried my camera. Nor could I find convincing purpose. I had slight knowledge of the city, little insight, and superficial experience, all that my pictures could reveal. Besides, everything had been photographed many, many times before by practiced journalists and artists with a better eye. Or I could just buy postcards. Still there were days when I gathered resolve and went on random expeditions throughout the city, firing away with stuttering abandon.

Paris itself was having a rehearsal of sorts, and there were tents, scaffolds, ropes, safety nets, and helping workers everywhere. The city was in the last stages of the Malraux plan to restore its historic buildings and clean its face to the world.

3 Scaffold 3

4 street scaffolding

Demolition of Les Halles, the centuries old market, was nearly complete, leaving a pit—le grand trou—the city debated how to fill.

5 Les Halles 2

Paris was the setting for Touche pas à la femme blanche!, Marco Ferreri’s farce that appropriated our history to portray the influence of power and money, the decline of native ideologies. I saw it when it came out. In the climactic scene Custer’s last stand is staged in the pit, a failed performance.

6 Les Halles Pit

It was 1973 or 74, a stalled time without much to distinguish it. France was adjusting to its declining influence and, like the rest of the western world, was in recession. The passions of May ’68 had calmed, though there were still some protests in the streets, many against our involvement in Iran and elsewhere. Last Tango in Paris and La grande bouffe were also playing in the theaters, movies sounding contemporary ennui and excess, two terms of the stall.

My pictures themselves were subject to accident and corruption, resulting in images that were excessive or indeterminate, all boring, imperfect attempts without any hope of spectacle. I bought an inexpensive, used manual rangefinder for the trip and an exposure meter, also cheap, which I didn’t know how to use well. I shot 400 ISO black and white film so I wouldn’t need a flash for interior shots and only had the negatives developed. But also the shutter was faulty, which I didn’t discover until it eventually broke, so exposures decayed gradually, erratically. I didn’t know what I had until I got home and enlarged the negatives—grainy photographs with blurred or dim or dark images, underexposed or overexposed, with excessive sharpness or faltering contrast.

I could ascend heights to get the larger view and gain perspective

7 vista 3

and see the vast, reasoned grid of ministries, French bureaucracy, revealed in sharp outline, and the labyrinth of narrow, old alleys released into wide boulevards, the plan of Baron Haussmann, its argument between the state and its people.

8 vista 2

The suspicion has been leveled that Napoléon III wanted to broaden the streets to make it easier to bring in troops. Paris is an open encyclopedia of a millennium of debates between rule and chaos, between the passion for order and the order of desire. Read a history of Paris and the streets fill with shouts of protest and run with blood.

But I could only see the order of order, not its basis, nor the life it might contain, and the relationship of the present order, newly freshened, to past and present disorder or to anything else was hazy.

9 vista 1

Fragments from the distant past were preserved but, eroded by the centuries, only revealed rough figures and uncertain structure.

11 Cluny thermes

Everywhere, well preserved, the buildings of faith. The structures that held them up and allowed the light to enter

12 buttresses 1

faith’s entry, its sharp contrasts of dark and light, right and wrong, up and down

13 dark church exterior

its followers

14 Apostles chartre?

its overarching beliefs.

15 churchover door

Inside, however, current practice came out only vaguely mysterious or dark, absent

16 church dark windows

or was flickering, wavering.

17 candles church 1

Faith’s monsters, though, still interest us.

18 pair of gargoyles

I did feel safe, however, walking the streets at any hour. And I did have some exposure to all walks of life, from the derelict to working class to the upward rising, even to an established family who traced its roots back to Roman days, but in all cases I saw an economy and tentativeness I hadn’t known growing up in the U.S. More unsure were the faces of the immigrants from beyond France’s borders, lured to the city during better times with better chances of employment.

Contrast my black and white pictures with pictures of Paris now, their confident display, their bright colors. Compare them with what we see in Paris itself, the sharp, clean lines of its monuments and buildings, the polish and refinement of the restored neighborhoods. But look, too, at the neighborhoods where it may no longer be safe to walk, most on Paris’s borders, where the immigrants now mass in simmering dislocation and disaffection, where there are breaks into violence, what you see in the movie La haine. And watch Entre les murs, where cultural conflict erupts in a middle school classroom.

It’s what cities have become, spectacles for our wealth and containers for our contradictions and exclusions. The decay and violence of the latter, however, can divert us and give our lives texture. Paris has its policier Engrenages—Spiral. We have our own, The Wire, etc.

There were intimations of the future, towering abstractions, void of past reference.

19 tour Italie

La tour Super-Italie. It was the Montparnasse tower, however, just completed in the heart of Paris, that most broke the city’s low skyline and raised the most protests. Pomidou, however, looking forward, wanted his towers, and more were on the horizon.

20 vista from park

It’s what our cities have also become, platforms for rising skyscrapers of soaring ambition, solid yet ethereal, forward gazes that look past us, past themselves, past anything we can see.

Not long ago I digitized the negatives and stored them on my computer. Processing them raised problems and questions about purpose and procedure. How could I bring out what wasn’t materially there? How could I soften total black or bring contrast to the chemically faint or still the blurred motions? Should I edit the imperfections in the negatives or the dust spots gathered from years of storage? Make adjustment for the shifts brought by electronic transfer? I had no guidelines and couldn’t decide, so left most the way they came out on my screen.

21 boatSeineLight

22 blur

What is the relationship of my pictures to reality? There are the realities of time and place and light—when I took them, where the sun was, what was in the sky—none of which can be easily determined or precisely defined. There are also the realities of my imperfect skills and uncertain motives. Add to those the mechanical reality of my failing shutter and the reality of chemical reactions in the film and the reality of electronic translation. These are all realities, defined by human nature and natural laws. How do they add up? Which takes priority? What relationship do they have with any larger picture? Why are my pictures any more or less real than any others?

There are no answers to these questions.

There are no pictures of me standing next to anything as I never asked someone else to take my camera. Here’s me, here’s Notre Dame. What is the purpose? What is revealed or qualified by the juxtaposition either way? I can’t imagine what pose I might have made and even now don’t want to strike one. Nor are there pictures of the people I met, though I remember many well, most with fondness, and I have written about them. Capturing them unannounced might only have exposed moments of reserve or indecision had they dropped the mask they showed the world to protect themselves. Taking a picture of the mask would have been pointless as it tells nothing. Pulling a camera out before them would have forced them to make a face and represent a relationship with me that may not have been well defined, or may not have existed. Or, worse, coerced a smile when they may not have wanted to give one. And if a moment of joy escaped or closeness emerged, why take the life of either and freeze it on film?

Yet what I most saw in Paris without notice or reflection, what my pictures most show, what I have added to in the decades since, is that our lives are largely spent in motion, the stall of going somewhere and being put on hold, the arrow that comes between a and b

23 trains

or in mere process, employment that may not engage us, that wears without renewal, where we are absorbed without thought

24 quai?

or in idle ways to pass the time

25 boules

or in gray repose

26 park fountain

or in random movement without relationship or interaction.

27 Street scene 2

28 Street scene 1

We are not rehearsing for anything. The French have a saying to express the tedium, métro, bureau, dodo—subway, work, sleep—that countered liberté, égalité, fraternité or left it hanging in air and dissolved any distinction one might make in time and place. Yet still we practice and try to perform, to fly and project beyond ourselves, or think we are trying. Our attempts at rehearsals are eternal, but eternal only in the sense that the spectacle they might lead to or we think they might lead to always lies beyond us and flees us everlastingly. Yet we can always count on this eternity, and also on this article of belief: it leaves our options open.

Most of Paris was still close to the ground, however, and the mansard roofs with their many attachments still capture our imagination and encourage us to look up.

29 roofs 1

And this is my revelation at last, after forty years: it is the spectacles that are illusory and in them we get lost.

But the place that most comes back to me really wasn’t anywhere. I lived in a working class neighborhood in Arcueil, a commune on the southern border of Paris. The landlord and his family lived on the first floor and rented out the second, where I had a room and others came and went. One day, for no reason, I pulled out my camera took this picture of the backyard

30 Backyard

about which I have written:

I am sitting at the kitchen window with a bottle of wine, looking out. The small plots behind the houses on my street and the houses on the next are enclosed by a grid of rough block fences, squaring the backyards and joining them. Each yard has something that distinguishes it, and the rural influence remains here, just outside Paris—a vegetable garden, pens and sheds for animals. Someone has chickens, someone else a goat. Also sheds for storage or some personal labor, hidden. In my yard, a swing set the owner’s daughters no longer use, a rusting memory of childhood. There is nothing else to see, other than a high-rise apartment building in the distance, modernish and sterile, not even the setting sun, off to the side and behind several houses. There is no streaking light in the sky, no dramatic break of clouds, no place for saints or angels to sit or stand, no chariot on which to descend, nor the lurid glare from war or revolution, just a pale blue diminishing into grayness. The world is silent, save for an occasional ratcheting cry from the goat, the flutter and coo and cluck from the hens. As the sky darkens, cats come out and negotiate the grid of walls and climb the roofs of the houses in their liquid, feline stealth.

I have no thoughts of leaving the window. I feel I have found a place, feel myself in place, but it is not a place I can name. I think about nothing, don’t even think to think, have no thoughts of that day or of the past months or the years coming, of who I am or what I want or what I am supposed to do. I do not feel depressed. I do not feel anything. I only feel alive, and all I am aware of is the quiet hum of existence in the lingering light.

I was not alone. I am not alone. I will never be alone.

To put yourself in this moment is not an act of humility, or contrition, or the backward arrogance of denial. It isn’t anything, and being there is doing nothing. To try to locate it is to get lost, as it isn’t anywhere and everywhere at the same time, perhaps to realize the error of trying to find, of location.

We could use what this moment reveals to build a philosophy, even a religion, but could just as easily use it to tear apart all thought and faith. It is only by tearing the self apart and seeing what is left, however, that we can start again and rebuild and try once more to think, and wish, and believe.

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—Gary Garvin

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Notes

Some of the cathedral pictures are of Chartres. Parts of the text, the quotation, and several pictures come from my essay “Above the Roofs of Paris, a Non-Memoir,” which appeared in Fourth Genre, Vol. 17, Number 1, Spring 2015. It is available at JSTOR, is excerpted at Project Muse, and can be found here.

George Packer, in “The Other France,” The New Yorker, with the Charlie Hebdo slayings in mind, recently provided an update on immigrant dislocation in the suburbs of Paris, specifically Department 93:

For decades a bastion of the old working class and the Communist Party, the 93 is now known for its residents of Arab and African origin. To many Parisians, the 93 signifies decayed housing projects, crime, unemployment, and Muslims. France has all kinds of suburbs, but the word for them, banlieues, has become pejorative, meaning slums dominated by immigrants. Inside the banlieues are the cités: colossal concrete housing projects built during the postwar decades, in the Brutalist style of Le Corbusier. Conceived as utopias for workers, they have become concentrations of poverty and social isolation.

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Gary Garvin lives in San Jose, California, where he writes and teaches English. His short stories and essays have appeared in Fourth Genre, Numéro Cinq, the minnesota review, New Novel Review, Confrontation, The New Review, The Santa Clara Review, The South Carolina Review, The Berkeley Graduate, and The Crescent Review.  He is currently at work on a collection of essays and a novel.

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Telling Tales: Four Variations on a Theme — Victoria Best

Oct 082015
 

Victoria Best small photo

 

IN HIS SHORT STORY ‘The Liar’, Tobias Wolff’s narrator is a 16-year-old boy who can’t quite confine himself to the truth. Most upset by this is his mother, a woman who ‘did not consider originality a virtue’ and whose healthy existence is frequently rewritten in her son’s hands. She finds she’s been reported as coughing blood, or suffering from leukemia; there are people ‘stopping her in the street and saying how sorry they were’. The doctor and family friend she turns to tells her he’ll grow out of it. ‘What if he doesn’t grow out of it?’ his mother asks. ‘What if he just gets better at it?’ James is her last son at home, his father has died, his siblings are dispersed, and he makes her feel ‘like a failure.’ So James is sent to his brother, Michael, in San Francisco. Naturally he lies to his mother, and takes a different bus to the one she expected.

This bus goes on a long circuitous route, and when it breaks down, the passengers start to chat. James moves effortlessly into a performance. He says he works with refugees from Tibet (his parents, until their death, being missionaries out there) and, in possession of his audience’s rapt attention, he mesmerises them all with his rendition of the Tibetan language. His lies clean of criminality in the moment, James is transformed into an entertainer, an oracle. The liar has become a storyteller.

The term ‘fiction’ looks two ways at once, its products both legal and illegal. People who make things up compulsively often become writers as often as they become law-breakers. There is a difference, some may insist, between a lie and a story, for with the former there is intent to deceive. And yet, fiction writers often intend to mislead and startle their readers; they play their cards close. The real difference is in reception, with readers seeming to know instinctively that lies in the form of stories are necessary. If we need fiction, it makes more sense to ask ourselves, what’s good about lying?

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The Talented Liar

Tobias Wolff is, by his own account, someone who just got a lot better at it. The theme of deceit and its consequences recurs across his works, and is exquisitely elaborated in his memoir of childhood, This Boy’s Life. It’s the story of a young boy who dreams up a life of wealth and adventure to write to his penpal, who refuses the blame for graffiti in the school toilets which he most certainly put there himself, who grows into an adolescent who makes it into a fancy school on the basis of an entirely faked application and letters of support. You can’t help but admire the persistence, the tenacity with which he hones his skills, the innovation with which he finds new outlets for them.

Of course the paradoxical beauty of such a memoir is that it remains transparently honest to the narrator’s dishonesty. The story of a liar’s career can only be told truthfully. The young Tobias (or Jack, as he prefers to be called, after his hero, Jack London) lives with his divorced mother, and he loves her very much, though her bad luck with men frequently gets them into trouble. His father, who we learn elsewhere was a consummate liar himself, is sorely missed by his neglected son, who is forced to make him up ‘out of dreams and memories’. His stepfather, Dwight, is violently abusive. In the midst of this mess of absent and over-active fathering, the stereotypes of the daredevil alpha male lassoe Jack’s imagination. He likes to dress up in the army greatcoat of one of his mother’s boyfriend and lie across the sofa, aiming his rifle through a gap in the blinds. He hangs out with male friends at school, breaking windows, throwing eggs at convertibles, smoking in the toilets and exchanging ‘interesting facts not available to the general public about women.’ He is a stud, a rogue, an outcast, though really, he likes The Mickey Mouse Club.

‘Because I did not know who I was, any image of myself, no matter how grotesque, had power over me’, Wolff writes. And it’s a common thing, this rehearsal of possible roles, this testing of reality against the imagined options. Jack gains a friend, Arthur, who is ‘a great storyteller’. Arthur ‘refused to accept as final the proposition’ that his ordinary parents were his real parents, attempting to convince Jack he was adopted and descended, in fact, from the followers of Bonny Prince Charles. Jack then decides he comes from Prussian aristocrats. ‘We listened without objection to stories of usurped nobility that grew in preposterous intricacy with every telling. But we did not feel as if anything we said was a lie. We both believed that the real lie was told by our present unworthy circumstances.’

But what, then, if he didn’t grow out of it but just got better at it? As he turns adolescent, so he becomes ever more unmoored, unhinged, unanchored. His carefully practised ability to evade the law reflects a world that won’t prevent him from indulging his worst flaws. The idea of faking an application to a prestigious school starts with the ridiculous ease of doctoring his sinking grades. ‘The report cards were made out, incredibly enough, in pencil, and I owned some pencils myself.’ And the stakes in the identity games just get higher. As the gap between his reality and his ambitions increases, he finds himself ‘wanting, at any price, the world’s esteem’, and feeling ever more reckless and desperate.

The problem is that he keeps getting away with it. In his essay ‘On Getting Away With It’, psychoanalyst Adam Phillips recalls Freud’s remark that the child’s first successful lie is both the moment when s/he realises that s/he is not in fact the subject of omniscient deities who read minds, a eureka of freedom; and also the point when s/he realises s/he is alone, abandoned, adrift. ‘If you get away with something,’ Phillips writes, ‘you have done well and you have done badly. You are released but you are also unprotected. You have at least provisionally freed yourself from something, but then you have to deal with your new-found freedom.’ What will Jack Wolff do with his? There is a logical progression for those who limbo under the bar of morality, Phillips says: ‘The Good Person would be replaced by the Impressive Person.’ And this is precisely Jack’s aim, and the destination his exquisite memoir confirms. The liar, who must keep his lies a secret to evade punishment, becomes the storyteller, whose command of fiction is both impressive and protected, made viable, worthwhile, enviable. He’s found a way to get really good at it.

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The Compulsive Liar

A compulsive liar goes to see his psychoanalyst and recounts to him a typical event. That morning, he had been late for work because of a row with his wife, who was threatening to leave him. When his boss asked him what happened, the liar said he would scarcely believe it. His car was pulled over by the police and he was handcuffed and shoved into the back of a van. From there he was taken to the local precinct and placed alone in a cell, indignant, afraid, but also curious. After about an hour, a plain-clothes detective arrived and apologised for the confusion; he was free to go. Talking to his analyst, the liar is astonished at his boss’s gullibility. ‘I don’t know why I said what I did. I could easily have said I had a flat tyre. But instead I chose this outlandish story. And the poor fool believed me. He believed me. You see, as long as I can do this and get away with it, then I have no worries whatsoever. What is reality if I can do this?’

The analyst is Christopher Bollas, the patient called Jonathan, the case history is called ‘The Liar’, and the question is indeed, what is reality?Yet if the liar has to tell an analyst about his behaviour, there must be some desire to reconnect with the real world, to stop getting away with it quite so convincingly.

Bollas says that Jonathan is more truthful than he at first seems; the trick is to read the lie as a metaphor. Had Jonathan said his journey to work had been like a horrible incarceration, it would have been quite sane and negligible; a story without impact. Instead he said that it was a horrible incarceration, arousing a much more vivid response in his listener, and expressing an encoded truth. Bollas knew that Jonathan was afraid of how he might react if his wife actually left him; in many previous sessions he had expressed fear of his desire to kill her and keep custody of their children. He knew such actions would likely end in his arrest. But in the story he told, although he played with the possibility of arrest, he was then set free, innocent and absolved, by a plain-clothes detective. His fear had been soothed by the fantasy of a different kind of escape. On hearing the story, Bollas understands that the plain-clothes detective, the man to set him free, must be Bollas himself.

The metaphorical lie is a way of accessing a far more powerful and intriguing reality than bald facts suggest. Bollas recounts how: ‘Jonathan’s lying brings him to life and coheres him in a way in which his narration of actual lived events does not. He lies, he often tells me, because lying is living. It is only by lying that he remains alive.’ Jonathan does not like to tell the kind of lies that are the stuff of normal social living, the lie that hides a little secret, that protects another person. Such lies make him almost as anxious as the thought of telling the truth. No, Jonathan likes the big, complex, entirely unnecessary lie, the ongoing saga that can be sustained and exaggerated over weeks. His lies are not to protect his self and his truths, but to create his self and his existence; they are grandiose and extraordinary. He doesn’t want to be a Good Person; he wants to be an Impressive Person.

What could have caused him to behave this way? Jonathan’s background was a secure and moneyed one. His parents were ambitious intellectuals who had met with much success in their careers, and so his early childhood was divided between various members of household staff: a housekeeper, a maid and a rather sadistic nanny, with brief visits from his mother at each end of the day. His father he never knew very well, as he was busy and didn’t have much time for him. It’s not a very impressive genesis for a pathological liar, with no abuse or trauma to awaken a ready sympathy in the listener, nothing, on the face of it, that will explain or excuse. As a story, it lacks impact.

In one ‘particularly intense period’ in analysis, Jonathan asked Bollas about the nature of confidentiality in their relationship. He wanted to know what circumstances would cause him to disclose protected information. After much discussion on this topic, Jonathan admitted that he was planning the murder of someone he knew well. Bollas was not at first convinced, but as Jonathan provided ever more elaborate detail as to his methods and strategies, Bollas began to fear that he might have genuine intent. The situation quickly became intolerable, as he was not sure what to think, what to do. Eventually he took the problem to a colleague who suggested he tell his client that he would certainly inform the police if he did murder anyone. Bollas was relieved to have this solution and then baffled at his own inability to come to it. It was, he felt, because he had been in such confusion over what was truth and what was fantasy.

Having told Jonathan of his intentions, the murder plot was not spoken of again. And Bollas had a particularly provocative experience of how it felt to be on the receiving end of a lie that has been exposed as such. Like others who had caught Jonathan out, he felt betrayed. He wondered if he would ever manage to achieve a proper relationship with him. His trust was shattered. He felt anger at his own gullibility, and sadness that whatever made Jonathan behave this way was not about to stop any time soon. And Bollas realised he was caught up in the experience of a powerful, extended metaphor. He felt, in short, the turbulent and bewildering emotional responses of a child repeatedly abandoned by his parents: the loss of trust, the sense of betrayal, the anger against his own hopeful beliefs, the sadness that he could not prevent it happening again.

Jonathan had created for his analyst a situation that illuminated his feelings of extreme inadequacy and insecurity, and which could help Bollas to understand the ‘crime’ of the lie: here was a child who was never with a parent long enough to create a real relationship, who had to fall back on his own fantasies time and again until the fantasies themselves seemed more solid, more enlivening, more realistic than the truth, which was only anxiety-inducing. Telling the lie gave Jonathan a safe place to be, hearing the lie, when revealed as a lie, put the listener in the place that Jonathan could never find the words to explain to another, in the midst of the emotions that had created him.

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The Confused Liar

For just about seven years, between the autumn of 1998 and the winter of 2005, I was a compulsive liar. I gave an account of myself to everyone outside my immediate family that was very far from the truth. I said that I was fine, when in fact I was suffering from a debilitating chronic illness.

I had fallen ill with viral pneumonia over the Christmas of 1997. At that point in my life I had a three-year-old son and an almost-completed doctoral thesis. I also had a post to take up at a Cambridge college in the autumn of 1998. When the illness dragged on for the best part of a year, and there was no explanation for why this should be, or any obvious cure on the horizon, I began to understand that the illness had become unacceptable. I was not cured, yet there was no reason why I was still ill. For this situation, I understood that I was at fault. The term ‘chronic fatigue syndrome’ did not have much currency back in 1998, and what it did have was of an outlawed and reprehensible nature. There had been cases among the students and I had heard how they were described. They were malingerers, cowards, or just plain lazy. Now this was not someone I wanted to be. I was a hard worker, a reliable friend, and a person who kept her promises; I wanted very badly to be a good mother and an admirable academic. These were truths in desperate need of preservation from an illness with the power to wreck them; I never even felt I was lying, just keeping the faith with what I knew above all else to be true.

About a year after the pneumonia, I found I could appear like my normal self in public for a while. The fact that the symptoms of chronic fatigue – racing heart, low blood pressure, nausea, dizziness, headaches, sore throats, muscle ache – were all invisible was extremely helpful. The trickiest problem was that I felt energetically like a leaky car battery. The longer I acted myself, the quicker my vitality drained away, and in no time at all I would be running on empty and afraid, knowing the symptoms would steadily increase in severity. But no matter how ill I felt, I still got away with it. Does that sound implausible to you? Well, people are ridiculously easy to fool when there’s nothing much to see, and I was good at self-discipline, a natural dissembler.

But I admit I was confused. As the years went by, and I kept on pretending and getting away with it, it became harder and harder to distinguish my own reality. I was strung out between two contrasting images of myself that held mortal sway over me: an Impressive Person, who was good and reliable and held down a demanding job while bringing up a child. Lots of ticks in boxes there. Or a Weak Person, who gave in to a nameless, invisible illness that most people didn’t believe existed. My mother often told me with loving exasperation that I was ‘doing it to myself’. My mother-in-law told my husband it was ‘all in my mind’. I felt like the worst placed person to figure out the truth. Most of the time I was too busy sustaining my façade to have any energy left over for philosophy.

Seven years. Everyone wanted so badly for me to be well; that helped prolong the lie. But what the experience felt like is so hard to explain, I can’t do it without metaphors. When I forced the symptoms out of my way, I could attain a sort of cruising speed, which was a lot like driving without brakes, propelled by momentum itself, exhilarating in its way but fraught with the imminent danger of a crash. In those cruising moments I was alive in a grandiose way, against the odds, but when I crashed and was too ill even get myself out of bed, I wondered what the hell I thought I was playing at. What exactly was I doing to myself? This was an illness where I could never clarify my role as either culprit or victim, but was constantly a mind-bending amalgam of both.

Eventually, I developed a symptom that was non-negotiable. When I struggled through brain fog to recall the details of the texts I was teaching, a moment of reckoning came. I went to see my doctor – something which in its futility I had abandoned as helpful years ago – and described my condition as truthfully as possible. It was the scene for my final lie. ‘How long do you think you’ll need to take off work to recuperate?’ he asked me. And I said, ‘Two weeks.’ It was in fact three long years before I would be well enough to return.

During that time, my perception of myself executed a radical u-turn. Whereas before I had never breathed a word about chronic fatigue, now I told everyone upfront, far too often, that this was what I had. Which meant: this was who I was. In the first year or so, when I spent most of my time in bed, it did indeed wreck the identity I had so carefully – and at such cost! – preserved. I was just an invalid, with an illness that still carried a great deal of stigma. But I was functioning at the level of what was undeniable and issuing a big, bold bring it on. Let them call me malingerer, coward, sloth. I was sick and tired of lying. Finally I could tell the truth and be bad.

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The Playful Liar

Readers tend to be picky about the truth content of the memoirs they read, especially after the furore that greeted James Frey’s admission that A Million Tiny Pieces was somewhat embellished and embroidered. So what to do with a memoir that states its intention to be dishonest and tricky from the outset? Lauren Slater’s creative non-fiction memoir, Lying, recounts her experiences with an unusual form of epilepsy, unusual in that it may not be epilepsy at all. But to describe what she suffers as epilepsy provides a powerful extended metaphor for the deepest, most twisted realities in her life, and a way into a story that has been ‘eluding me for years.’ The book begins with an introduction written by Hayward Krieger, professor of philosophy, that is also a warning:

‘[U]sing, or suggesting, the use of metaphor as a valid vehicle to convey autobiographical truths – thus her insistence that this book is, indeed, a nonfiction memoir – is a new and unsettling idea. Perhaps more unsettling and exciting is the writer’s insistence on not revealing to us which aspects of her disease are factual, which symbolic, which real, which fantastical, and by doing so asking us to enter with her a new kind of Heideggerian truth, the truth of the liminal, the not-knowing, the truth of confusion, which if we can only learn to tolerate, yields us greater wisdom in the long run than packaged and parceled facts.’

Naturally, Hayward Krieger doesn’t exist.

But in the afterword to the memoir, where Slater acknowledges the reader’s desire for the ‘real facts’, she points out that her diagnoses through the years have been ridiculously varied, from borderline personality disorder, to epilepsy, to Munchausen’s, depression, OCD and autism. ‘All I know for sure,’ she writes, ‘is this. I have been ill for much of my life. Illness has claimed my imagination, my brain, my body and everything I do I see through its feverish scrim. All I can tell you is this. Illness, medicine itself, is the ultimate narrative; there is no truth there, as diagnoses come in and out of vogue as fast as yearly fashions.’ Not that this cuts much ice with some critics. Janet Maslin in her New York Times review said the reader could be ‘forgiven for wanting to throttle the narrator’, and the memoir could be considered as ‘either postmodern fun and games or pure exasperation between hard covers.’ Yet what about that Heideggerian truth of confusion that the fictional Krieger mentions? Is there a better way for readers to understand it than to experience it?

When she was still a child, Slater claims, she developed a form of temporal lobe epilepsy which is described in a medical paper included in the memoir as ‘both a seizure and a personality disorder. A significant number of patients, although by no means all, display a series of dysfunctional character traits that include a tendency towards exaggeration and even outright disingenuousness (mythomania)’. At first glance, the personality disorder seems to belong more to her overwhelming, attention-seeking mother. On a holiday in Barbados, Lauren’s mother embarrasses the hotel audience with her loud criticisms of the piano player, who then invites her to take his seat and do his job better. Lauren is well aware her mother can’t play the piano at all, but her mother allows her bluff to be called, seating herself at the keyboard for a while before finally saying, ‘I suppose not,’ and walking away. That night is the first night Lauren has a seizure, as if it were the first serious faultline opening up in her mother’s powerful grip on the family.

Her mother is ashamed of the illness and determined not to take it seriously. ‘“If you pay attention,” my mother said to me, leaning in close, “if you try very hard, you’ll be able to stop these seizures.”’ But as puberty comes around, everything gets worse – her seizures, her relationships, her sense of self. Finally she is sent to a specialist who operates upon her brain, leaving her with just the powerful auras she experiences before a fit, no longer the fits themselves. She’s also left with a personality disorder – the tendency to lie or exaggerate or dissemble. Unable to find her place in school and missing the attention her epilepsy brought her, Lauren takes to staging fits in hospital emergency rooms, fascinated by the effect she can produce.

And at this point, the narrative begins to dissolve, as Lauren starts to lie more openly – in front of her readers, that is. In late adolescence, writing takes on a major significance in her life, and she writes a short story about falling out of a cherry tree when she was a child, an incident her mother (not too strong on the truth herself) denies outright. When an unhappy affair with her writing tutor ends, leaving her in turmoil, she goes to her college counsellor who takes her life story – and the medical paper on her epilepsy – apart. The epilepsy she describes does not exist, he says, no such operation would be performed, there is no specialist called Dr Neu. When he asks to see her scar, Lauren accuses him of sexual misconduct and leaves, never to return.

So what are we to believe? Slater regularly calls a halt to the narrative to tot up the balance sheet so far. Maybe this is an orthodox narrative, 99% true except for the odd memory glitch. Or maybe it’s the epilepsy that causes her to lie and exaggerate. Or maybe she is just her mother’s daughter, brought up to have a fluid relationship to the truth. Or maybe the story she is telling is a metaphorical one, designed to get to grips with an experience for which she has no other words. In a letter to her editor, entitled ‘How To Market This Book’, she argues ‘I am giving you a portrait of the essence of me.’ And what if ambiguity really is the essence of Slater’s life? What if she is more honest than most of us about the half-truths we live with, the uncertainties we turn into firm convictions, the character flaws that we iron out for our personal self-inspections?

What if all our identities were composed of a mix of half-remembered events, powerful and distorting emotions, memories, fantasies and dreams? What price truth then? Storytelling and its metaphors would be the only honest expression we had left.

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The thing about lies – or we can call them stories if you prefer – is that they are just too essential to our survival to be given up. They hold cherished parts of ourselves that have been driven out of sight; they allow us to express the truth of experiences that no facts can convey; they are often the repositories for realities that no one really wants to face. We want the lie to be a unit of genre fiction, a nice, clear readable chunk of badness, when really it is a highly complex literary construct. A thing of layers and implications and irresolvable paradox. And in the desire to master our lives, to be the people we want to be, and to explain ourselves as best we can, we all get really good at them.

—Victoria Best

 

Victoria Best taught at St John’s College, Cambridge for 13 years. Her books include: Critical Subjectivities; Identity and Narrative in the work of Colette and Marguerite Duras (2000), An Introduction to Twentieth Century French Literature (2002) and, with Martin Crowley, The New Pornographies; Explicit Sex in Recent French Fiction and Film (2007). A freelance writer since 2012, she has published essays in Cerise Press and Open Letters Monthly and is currently writing a book on crisis and creativity. She is also co-editor of the quarterly review magazine Shiny New Books (http://shinynewbooks.co.uk).

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Too Many Starbucks: Review of Chris Hedges’ Wages of Rebellion—Tom Faure

Sep 072015
 

Chris Hedges

The election of President Obama and the economic policies of his administration play like “trickle-down justice.” But, whether he has a choice or not, he is just a puppet to the corporate state, just as any other president would be in today’s polarized, cynical, economically fixed electoral system. —Tom Faure

hedges-cover

Wages of Rebellion: The Moral Imperative of Revolt
Chris Hedges
Nation Books, May 2o15
304 pages, $26.99

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Drones, the Patriot Act, stagnant real wages, failed public schools, a compliant press, the state’s shutdown of the Occupy movement, Citizens United, Stand Your Ground laws, stop and frisk, Ferguson, fracking, wiretapping, and the continuous mistreatment, often violent, of minorities, women, and particularly trans people. That’s just the tip of the U.S. iceberg. Then you’ve got the rest of the Earth: poverty, hunger, slavery, and injustice—compounded by the effects of global warming.

We’ve heard it all before, and the liberal mainstream has given up due to cynicism and lack of imagination. The lack of a simple solution dispirits idealists. The politics may be boring, but the situation is dire.

Chris Hedges’ Wages of Rebellion, published in May by Nation Books, reminds us of just how dire, chronicling a litany of anti-constitutional practices undertaken by the U.S. government, often in service of what Sheldon Wolin called “inverted totalitarianism,” a state run by corporate interest. Hedges does not offer any policy-based panacea, the absence of which will disappoint those looking for quick fixes. Indeed, this important book is more a mix of genres. Over his years of international reporting, Hedges has spoken to rebels like Axel von dem Bussche, Julian Assange, Mumia Abu-Jamal, guerrilla fighters, hackers, defense lawyers, Occupy members, and others who toil in the name of social justice. By way of the theories of Gramsci, Havel, Mandela, Baldwin, Paine, and Kant, the book is a series of portraits of these dissidents and rebels, exploring whether a true revolution is in the offing and who the main agents of change would be.

Hedges’ central thesis is that revolution cannot be purely intellectual. He examines the character trait Reinhold Niebuhr called “sublime madness.” Hedges quotes Niebuhr’s declaration that “nothing but madness will do battle with malignant power and ‘spiritual wickedness in high places.’” Liberalism is too rational, fearing the emotional component necessary, Hedges and others argue, to revolution. The possessor of sublime madness has foregone the mores of the state in favor of universal moral laws—embracing Kantian dignity and duty despite public ridicule and, frequently, violent retribution.

If there’s one thing you can count on in mainstream political discourse today, it’s that it will be dismissive of unquantifiable notions such as truth, love, passion, and fairness. Probably, this is because political discourse is so widely corrupted by neo-liberal ideology, which looks down on these notions with impatience or, sometimes, an embarrassment born out of, I think, fear and insecurity. Liberalism too often allies itself with one of humanity’s more exploitable capacities: rationality.

These abstract notions and their emotional cousins that receive this lazy derision are precisely what those yearning for revolution must not overlook, according to Hedges. An emotional force is the true catalyst—a force born out of misery but also frustrated expectations. Herein lies a major obstacle to any potential New American Revolutions. The masses are placated because their expectations are not frustrated to a large enough extent. They are sipping caloric Starbucks Frappucinos, commoditizing their digital avatars via the strict norms and algorithms of Facebook, freely handing over to corporate interests their valuable political and commercial data. The poor are angry, yes. But the middle class is sedate.

At Columbia University—a bastion of fascist anarchism, if you believe Bill O’Reilly—a standard introductory macroeconomics course includes on its syllabus, as would be expected, the vastly influential thinker John Maynard Keynes. Bravo, Columbia, you lefties! But Keynes makes up perhaps 2 percent of the syllabus, and he is the only economist featured who offers any critique of the supply-side economics pipedream known as the trickle-down effect. As an 18-year-old student, I was shocked and confused by the lack of rigorous critique of neoliberalism initially offered to undergraduates.

As Hedges notes, faith in the trickle-down effect plays an important role in the global takeover of corporate interests in politics, policy, and culture. The idea that the rise of the elite will benefit the weak is very compelling, for multiple reasons. There’s only one problem. The people “benefiting” from the elite’s exploitation of labor and resources are not the weak who can’t help themselves. They are the middle class—those hanging on by a thread as real wages decline and citizen rights become hollowed out. The weak? They’ve already been eliminated.

A similar dynamic is in play with regard to race. The election of President Obama and the economic policies of his administration play like “trickle-down justice.” But, whether he has a choice or not, he is just a puppet to the corporate state, just as any other president would be in today’s polarized, cynical, economically fixed electoral system.

trickle

The result is the totalitarianism of the invisible hand. Real wages have not increased in decades, millions of people, especially minorities and especially African Americans, are incarcerated thanks to Bill Clinton’s easy-plea-one-two-three, and even if Black Lives Matter takes off, the Keystone XL Pipeline will probably contaminate millions of people’s water on its way to contributing catastrophic greenhouse gases to the environment.

Hedges posits that revolutions happen, not when the people are subdued by total abjection, but rather when they have had a glimmer of hope. Raised expectations follow technical innovations and a rise in the standard of living—this is when the failings of the state, and its all-too-frequent efforts to smother dissent, fuel the fire of rebellion. Much of the battle is invisible, residing in the language and metaphors of the people. Organizing and community-building facilitate the evolution and sharpening of a language necessary to articulate the emotion awakening in the people.

Another key factor, Hedges writes, is the use of nonviolent civil disobedience. Descending into violence or property damage legitimizes the state’s violent response in the eyes of the masses, whose emotional reaction is so key to the success of the revolution.

The growth of social media might offer a beacon of hope. However, Hedges writes, even in this relatively promising domain, dissident leaders fear the state’s ability to infiltrate and control virtual space:

It is only through encryption that we can protect ourselves, Assange and his coauthors argue, and it is only by breaking through the digital walls of secrecy erected by the power elite that we can expose power. What they fear, however, is the possibility that the corporate state will eventually effectively harness the power of the internet to shut down dissent.

Hedges’ book is a multidimensional, somewhat scattered, consistently incisive exploration of the psychological and linguistic margins upon which any revolutionary fervor might explode in the coming decades. Its critics have rolled out the hackneyed rebuttal: “well, if not global capitalism, then what?” Their claim is that Hedges does not offer any new ideas, dismissing as recycled his calls for civil disobedience and labor organizing. But, just because he doesn’t offer a structural alternative to neo-liberal ideology, that does not make the status quo acceptable.

Besides, the main weakness of Wages for this reader is that it’s simply not terrifically written. Too many instances of awkward syntax break rhetorical flow. Hedges is very thorough—the bibliography offers a comprehensive education on the anarchist critique of both capitalism and communism, as well as on the litany of injustices perpetrated by the U.S. government against its people and those abroad—but he also has a tendency to repeat himself, which can be challenging to a reader seeking the next step of the argument. At other times, Hedges does the opposite, veering into hyperbolic leaps of logic without sourcing data—odd, given his assiduous sourcing otherwise—or leading the reader step by step through the argument.

But these are quibbles, because the book is a political manifesto of sorts, not, say, a piece of literary fiction—yet they do matter, because the book could have been more ambitious. It flirts with cultural criticism at times, elevating the discourse on fanatical capitalism to the metaphorical and literary levels—notably, drawing analogies to Moby Dick. But then Hedges either pulls back intentionally or loses interest in the metaphorical thread, I can’t tell which.

Herman Melville’s odd masterpiece is an ode to the ocean and, though his narrator Ishmael warns against viewing the tale as an allegory, a frightening portrait of capitalism as seen through the whaling industry. Captain Ahab, a fanatical sea wolf, is hell-bent on killing the eponymous great “white whale” that took his leg. Ahab is prepared to forego the massive profits of the whaling expedition as he focuses his energy and his men on finding and destroying this one whale. His language contains sublime madness, which is unfortunate for the crew, all of whom will drown because of Ahab’s charismatic quest. Starbuck, the first mate, is one of the few who expresses doubts about Ahab’s plans for the Pequod.

Ahab's white whale has become a popular metaphor.

Ahab’s white whale has become a popular metaphor. Cartoon by Dave Granlund.

The crucial moment comes in Chapter 36 when Ahab enthralls his poor, exploited crew with glorious visions of killing Moby Dick. Ahab notices Starbuck’s uncomfortable look. He invites Starbuck to respond, in full view of the crew. The first mate initially expresses his worry over consigning the entire enterprise to his “commander’s vengeance.” Ahab rebukes this swiftly, using revolutionary language (my emphasis added):

How can the prisoner reach outside except by thrusting through the wall? To me, the white whale is that wall, shoved near to me. Sometimes I think there’s naught beyond. But ’tis enough. He tasks me; he heaps me; I see in him outrageous strength, with an inscrutable malice sinewing it. That inscrutable thing is chiefly what I hate; and be the white whale agent, or be the white whale principal, I will wreak that hate upon him. Talk not to me of blasphemy, man; I’d strike the sun if it insulted me. For could the sun do that, then could I do the other; since there is ever a sort of fair play herein, jealousy presiding over all creations. But not my master, man, is even that fair play. Who’s over me? Truth hath no confines.

Starbuck folds. He lacks the sublime madness (which, interestingly, Ahab does possess, as Hedges acknowledges) or language of rebellion to mutiny against his commander. He bemoans that Ahab has “blasted all my reason out of me!” Hedges writes: “Starbuck especially elucidates this peculiar division between physical and moral courage. […] Moral cowardice like Starbuck’s turns us into hostages. Mutiny is the only salvation for the Pequod’s crew. And mutiny is our only salvation.” Hedges makes a compelling argument that today we have too many Starbucks.

Much of Wages focuses on cataloguing the injustices meted out by the state, only reserving a portion of its energy for portraits of rebels and an exploration of this sublime madness. Hedges does not explore with sufficient force how the quality might develop and how those possessing it will harness their passions and wake the masses out of their slumbers. What does emerge, though, is a compelling spotlight on those who are in the trenches today.

“You can’t fight power if you don’t understand it,” says Abu-Jamal from prison. Better understanding can only aid the cause—but until the corporate state trips up in its successful smothering of the will to understand, there’s little chance sublime madness will penetrate the middle class; without this, any real wages of rebellion will continue to stagnate against the inflation buoyed by mainstream narratives of capitalist ideology.

—Tom Faure

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Tom Take 4

Tom Faure received his MFA in Fiction from Vermont College of Fine Arts. His work has appeared in Waxwing Literary Journal, Zocalo Public Square, and Splash of Red. He lives in New York, teaching English and Philosophy at the French-American School of New York.

Contact: tomfaure@old.numerocinqmagazine.com

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Secretariat: A Personal Memoir — Patrick J. Keane

Sep 062015
 
Secretariat via Wikipedia

via Wikipedia

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[youtube]https://www.youtube.com/watch?v=74Usj3K4oZ0[/youtube]

Kentucky Derby 1973

[youtube]https://www.youtube.com/watch?v=eV89InWOENc[/youtube]

Preakness 1973

[youtube]https://www.youtube.com/watch?v=V18ui3Rtjz4[/youtube]

Belmont Stakes 1973

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TRIPLE CROWN WINNER American Pharoah’s recent loss in the 2015 Travers Stakes has, I’ve noticed, occasionally been accompanied by the erroneous remark that the greatest of all Triple Crown champions, the incomparable Secretariat, had also lost that race in Saratoga, the fabled “graveyard of champions.” This misstatement, coupled with the off-hand comment by Donald Trump a week earlier that “Secretariat wasn’t one of the best,” have combined to propel me back to the summer of 1973, to recall at least some of my memories of Secretariat, and to finally record something of the impact he’s had on my life.

In terms of direct, visceral experience, my relationship to Secretariat is reducible to a furtive touch and a mere breath. Yet a similar experience with the great California-bred Swaps—winner of the 1955 Kentucky Derby (his owner ignored the other two Triple Crown races) and 1956 Horse of the Year—so affected Bill Nack that it led him to a career that resulted in, among other accomplishments, the writing of the definitive biography of Secretariat, the basis of the widely-viewed 2010 film. Bill and I have become friends, discovering that we have at least two things intensely in common. He is, I quickly learned, an informed appreciator, and public reader, of poetry, not least the poetry of Yeats, the poet whose work I happen to know most about. But Bill is also, of course, not merely enamored of Secretariat, but the world’s leading expert on the horse. That brings us back, again, to that annus mirabilis, 1973.

Though Secretariat had been the phenomenon of that summer, just as The Donald has been the rather-less-glorious phenomenon of the summer of 2015, Big Red had competition for the nation’s attention in 1973. That was also the summer of the Watergate hearings, which I watched on television in the recreation room of Helen Hadley Hall at Yale University. At the time, I was a participant in a National Endowment for the Humanities seminar taught by Harold Bloom, already as spectacularly outstanding, indeed unique, in the world of literary criticism as Secretariat had swiftly become in the world of thoroughbred racing.

The national malaise attending Watergate and the dismal winding-down of the tragedy of the Vietnam War had, for many in the country and not only sports fans, been alleviated by the brilliant performances of “the People’s Horse.” It was not only his power, dazzling speed, and breathtaking come-from-behind style that made Secretariat so popular. He was extraordinarily intelligent and curious, with a playful personality almost as noticeable and appealing as his sheer physical beauty. Magnificently muscled, the “perfect horse” or “horse that God made” had a chestnut coat that shimmered like copper in the sunlight. The photos of him that appeared on the covers of three national magazines in a single week have become collectors’ items. The June 11, 1973 Time cover, one of four framed portraits of Secretariat hanging in my home, shows him looking directly at us, eyes alert, ears pricked. The words to the right of the picture say it all: SUPER HORSE.

Time cover

In a curious parallel on the personal level, my despondency in the summer of 1973 over the painful breakup of the most passionate relationship of my life had been relieved by the exhilaration of working with Harold Bloom and, even more, by the thrill of watching Secretariat win the first Triple Crown in a quarter-century. Of course, he not only won; he set records in all three races. Those records still stand more than four decades later; and his culminating performance in the last and longest leg, the Belmont Stakes—winning by 31 lengths in an almost miraculous 2:24 flat—is almost impossible to imagine ever being matched let alone beaten.

But back for a moment to those remarks made in 2015, first Trump’s.

The author of The Art of the Deal brazenly claims that his exaggerations and outright falsehoods are “innocent” utilitarian untruths; the end justifies the means, he argues, and hyperbole is effective salesmanship. His art of the deal continues in the current presidential campaign, with the media-savvy huckster playing fast and loose with facts, while touching, with uncanny insight and precision, more than a few nativist nerves and appealing to a much larger Washington-weary constituency, alienated and frustrated by political polarization and dysfunction.

But, to extend to Trump the fairness he seldom extends to others, his remark about Secretariat was not directed at the horse’s legendary performances on the track but at his lesser performance as a stallion: a testosterone-centered category in which the supermodel-collecting billionaire has always flaunted his own prowess. At the overflow August 21 rally in Mobile, Alabama, where Trump made the casual reference to Secretariat, it was in the context of his characteristic boasting about his own brilliance. On this occasion, referring to his “family’s intelligence,” he announced to the crowd that he “believes in the gene thing.” It was thought, he continued in his usual teleprompter-free stream of loose association, that Secretariat “couldn’t produce slow horses. But Secretariat wasn’t all that great, if you want to know the truth.”

[youtube]https://www.youtube.com/watch?v=ZevFDr_6n24[/youtube]From the documentary Penny & Red: the Belmont Stakes extended cut

The slur, as usual with Trump, was a half-truth. It’s true that Secretariat never produced a horse of his own caliber (what sire could?), thus disappointing the unrealistic expectations of some who had invested in that expensive $6 million syndicate and were dreaming of miraculous progeny. But he did in fact sire some stakes-winning colts and a series of remarkable daughters, most notably, the 1986 Eclipse Horse of the Year, Lady’s Secret, who won many Grade 1 races and dominated the field in that year’s Breeder’s Cup Classic. She is one of the few fillies ranked among the 100 top thoroughbreds. Another of Secretariat’s daughters, Terlingua, became the dam of Storm Cat, the most successful sire (his breeding fee at the peak of his stud career was $500,000) in thoroughbred history.

Though it is as a broodmare sire that Secretariat has left his most enduring mark on breeding, he did produce several fine colts as well. His son Tinner’s Way had lifetime earnings of over $1.8 million. Another, Risen Star, was beaten (along with all the other boys) in the 1988 Kentucky Derby by the sensational filly, Winning Colors, who ran wire-to-wire. But he came back in the remaining Triple Crown races, taking The Preakness and then romping to victory in the Belmont, in what was then a time second only to that of his daddy. Another son of Secretariat, General Assembly, won a number of stakes races, most dramatically the 1979 Travers, in which, on a sloppy track, he set a new record, 2:00 minutes flat: a mark that still stands, both for the Travers and for that distance, 1¼ miles, at Saratoga.

I was there that wet day, cheering on General Assembly in the performance of his life, but also in what I saw as an act of poetic justice: payback for the medical fluke that, a half-dozen years earlier, had prevented his father from adding to his Saratoga legacy following his Triple Crown triumph earlier that summer.

[youtube]https://www.youtube.com/watch?v=QtuEoiYiqZw[/youtube]

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I had been in love with Secretariat from the first time I saw him in the flesh and, in fact, actually touched him. That was in Saratoga in early August, 1972, in the minutes leading up to the Hopeful Stakes. I was at the paddock rail when a man standing to my immediate right pointed his camera at Secretariat. With Ronnie Turcotte in the saddle, the beautiful two-year-old, already a camera-conscious star, strode to the rail. I instinctively raised my hand, then thought better of it; after all, he would be on the track competing in just a few minutes. However, Turcotte, with a resigned and understanding nod, gave me the green light. When I stroked that muscled crest of a neck, Secretariat turned and looked right at me with those intelligent eyes. I felt the warmth of his breath on my bare forearm.

[youtube]https://www.youtube.com/watch?v=Ux87nv_dBOM[/youtube]1972 Hopeful Stakes

The young colt then went out and ran the most dazzling Hopeful Stakes in the history of a race often thought of as a preview of the following year’s Triple Crown competition. He broke languidly, then, in a sudden, breathtaking move, surged past eight horses, exploding from dead last to first in little more than a furlong. He would do the same thing the following year, in The Preakness, making the other horses look as if they were standing still as he rocketed by. But by then he was a mature three-year-old. When he made that huge move in the Hopeful, I was jumping up and down, yelling to everyone near me that we were watching the future Triple Crown champion. My friends laughed at my premature enthusiasm, but I wasn’t just responding to that unprecedented burst of speed; I was still conscious of having stroked him, still feeling his breath on my arm. Bill Nack has said that he can still remember the life-changing moment when Swaps, the first horse he loved, breathed on his hand as he was stroking him. From the day I touched Secretariat and he breathed on me, I was similarly smitten for life.

The other half-truth I referred to was a claim made in the aftermath of American Pharoah’s failure on August 29. Secretariat, too, we were told, had lost at Saratoga, with the implication sometimes explicit: that he had “lost” the Travers.

American Pharoah did indeed lose the Travers. Bill Nack, recently asked to contribute to a special American Pharoah issue of the horse magazine Equus, told the editor that he was not the right contributor since he could not bring himself to rank the horse among “the greatest in history”; the editor invited him to write instead about a few of those he did so rank. Pharoah’s performance in the Travers may confirm Bill’s skepticism, conveyed to me in an email full of wonderful anecdotes about the golden age of racing.

Prior to the Travers, not even that email could steer me off Pharoah. I was at the track and noticed, from about 40 feet away, that he was sweating as he headed out for the big race, and it seemed clear, even though he led for almost the entire trip, that he was running tired. As his trainer, Bob Baffert, observed even as he graciously complimented the winner, his horse “did not bring his A-game.” No wonder—having been flown back and forth across the country in a matter of three weeks. Following his Belmont win, capping the first Triple Crown in 37 years, Pharoah had won the Haskell Stakes at Monmouth handily, with his jockey, Victor Espinoza, coasting in the final stage of the stretch, saving his horse for what we all hoped would be the Travers. It was well known that Baffert didn’t like Saratoga, whose track-surface he considers deep and demanding; and Saratoga’s reputation as the “graveyard of champions” had been painfully demonstrated to him in past attempts to win the Big One at the Spa. Baffert had saddled five strong horses in previous Travers Stakes, winning only once, in 2001, with the great Point Given.

It was probably the combination of a dazzling work on August 22 at Del Mar, Pharoah’s home track in California, coupled with the NYRA decision to sweeten the Travers purse by $350,000 to $1.6 million in an attempt to lure the colt back across the country, that convinced the owner, Ahmed Zayat, and a more reluctant Baffert to run their horse in the Travers.

On top of the cross-country travel, Pharoah was not given sufficient time, less than three days, to acclimate himself to Saratoga. In the race, even in the lead, he did not seem his usual smooth self. Challenged at the head of the stretch by Frosted, he struggled, but regained the lead. That was the moment to close the deal, and many of us thought he was about to. But having beaten back the challenge by Frosted, Pharoah could not hold off the late rush of Keen Ice, who had also closed on him in the Haskell, cutting his lead from 5 to 21/2 lengths. But, with that race won, Espinoza had eased back. In the Travers, in sharp contrast, he was whipping Pharoah hard. But the horse was spent; Keen Ice passed him in the final seconds, to win by a full length.

His schedule may have been mismanaged, but the 2015 Triple Crown champion had his shot at the Travers and was beaten fair and square. In 1973, Secretariat had never gotten his chance. After easily winning the Arlington Invitational in Chicago, Secretariat was scheduled to run in both major races at Saratoga, the Whitney and the Travers, and was overwhelmingly expected to win both. Coming back to the scene of his triumphs as a two-year-old in the Sanford and Hopeful Stakes, the Triple Crown champion was welcomed as a returning hero. The Saturday of the Whitney Stakes, August 4, was declared Secretariat Day; the town was festive, draped in his blue and white colors, and—he lost!

In an astonishing upset, he was beaten by Onion, trained by Allan Jerkins. When those of us watching in growing dismay finally realized that Secretariat, who came in second, wasn’t going to storm past Onion in the stretch, a shockwave of disbelief spread through the grandstand, stunning an adoring crowd that had come to see the triumph, on his way to the Travers, of the greatest thoroughbred since Man o’ War—whose only defeat came as a two-year-old in the 1919 Sanford at (of course) Saratoga, losing to a 100-1 longshot unbelievably but aptly named Upset.

In the eerie silence that followed my hero’s defeat, I left the track in tears. It turned out that Secretariat had not simply been the victim of Jerkins as “giant killer” or of Saratoga as the graveyard of champions, however well-earned both those reputations were. Secretariat had failed to fire in the stretch because of a virus he had been incubating, a low-grade fever that—salt in the wound—also prevented him, as he further sickened, from competing in the Travers.

His son would help make up for that by winning the Travers in the fastest time ever recorded. But that would be six years in the future. The immediate compensation for the numbing disappointment of the Whitney came just a month later, and I was there to see Secretariat’s astonishing recovery. What was originally intended to be a match race between Secretariat and his stablemate, Riva Ridge, had been cancelled when both horses unexpectedly lost. Instead, a star cast was assembled for the inaugural running of the Marlboro Cup Invitational.

Along with Riva Ridge and Onion, the talented field included Annihilate ‘Em (the actual winner of the 1973 Travers), Canadian champion Kennedy Road, and the 1972 three-year-old champion, Key to the Mint. I was at Belmont on that September day when, with his stablemate coming in second, Secretariat galloped to victory in 1:452/5, setting a new world record for 11/8 miles on dirt. Once again, I left the track after the feature race—again in tears, but this time tears of joy.

Secretariat via Zenyatta

[youtube]https://www.youtube.com/watch?v=tTC5yrGX39k[/youtube]Secretariat in retirement, running for the fun of it

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Such tearful reactions may seem excessive to those who don’t share the passion some of us have for truly great horses. So let me try one more story involving tears and Secretariat. This one takes place not long after 1989, the year Secretariat, suffering from incurable laminitis, was humanely euthanized (yes, I wept that day, but that’s not the tale of tears I’m about to tell). I was visiting Saratoga, to see friends and to take in some races. Walking on Union Avenue, I noticed that one of the great houses was serving temporarily as a museum. I went in and was immediately struck by a splendid bronze in the middle of the room.

Secretariat statue

Perhaps two-thirds life-size, it depicted Secretariat immediately after winning the Kentucky Derby. Having just broken the old Derby record (Secretariat’s 1:592/5 still stands), the horse is pumped. Turcotte is in the saddle, gripping the reins, but one feels the strength pulsing under him. Even Eddie Sweat, his groom and the man who knew “Big Red” best, can barely restrain him. Fluent in bronze, Secretariat’s muscles are sharply delineated, his eyes dilated with excitement. The sculptor had caught perfectly the stunning surface beauty of the horse and the flexed power throbbing beneath that rippling coat.

via Horseguru

Noticing me admiring it, the curator walked over and asked if I had a minute for a story involving the sculpture. Unsurprisingly, I did. She told me that the piece was not commissioned but a labor of love, begun by the artist on a much smaller scale, but gradually possessing him until this seemed the minimum size to convey his sense of the horse. When it was exhibited, the sculptor arranged for Eddie Sweat to be flown up from Florida, where he was still working with horses.

When Eddie arrived, the sole black man in a white world of brie and chablis, he walked directly to the sculpture. He proceeded to circle it, slowly and repeatedly, without saying a word and with no discernable facial expression. At last the sculptor, concerned (the curator told me) by the lack of overt response on the part of the man who knew Secretariat most intimately, walked over to him.

“What’s the matter, Eddie,” he asked nervously, “You don’t like it?”

His eyes never leaving the sculpture, Eddie said simply:

“That’s him; that’s him.”

The sculptor, so overwhelmed with emotion that he had to leave the room, later told the curator that lavish praise from the most distinguished art critic in the world could not have meant as much to him as those four words from Eddie Sweat.

Eddie Sweat and SecretariatEddie Sweat and Secretariat

The artist was internationally renowned equine sculptor Edwin Bogucki, who had first conceived of a tribute to Secretariat after seeing the horse in retirement at Claiborne Farm, just months before his death. Later, to reproduce the horse in his prime, he examined photos, made sketches, and took measurements. Ron Turcotte was always to be included in the piece. But when Bogucki saw a photograph of Eddie Sweat, alone and in tears, having just surrendered his beloved “Red” to Claiborne to begin his retirement, he knew that no depiction of Secretariat would be complete without the man who knew and loved him best.

The magnificent life-size version of this sculpture is now on permanent display in Lexington’s Kentucky Horse Park, the entrance to which is guarded by a statue of Man o’ War, its pedestal resting on the transposed grave of the only horse in thoroughbred racing history that can be considered Secretariat’s equal.

Secretariat’s own grave is nearby, at Claiborne Farm. Traditionally, even a champion thoroughbred’s body is cremated; only the symbolic head, heart, and hooves are buried. Secretariat was given the rare honor (shared only, as far as I know, by Man o’ War and the greatest of all fillies, beautiful, doomed Ruffian) of being buried whole. Even the oxygen-crunching organ that powered him to records—revealed in the necropsy to be the largest equine heart ever measured—was returned intact to his body. Visitors to that grave who also happen to love poetry may be reminded of the opening and closing lines of Wordsworth’s sonnet evoking immense power at rest: “Dull would he be of soul who could pass by/ A sight so touching in its majesty…/ And all that mighty heart is lying still!”

[youtube]https://www.youtube.com/watch?v=6oyQPvoXMvs[/youtube]Last video of Secretariat

—Patrick J. Keane

September 2, 2015

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Patrick J Keane 2

Patrick J. Keane is Professor Emeritus of Le Moyne College and a Contributing Editor at Numéro Cinq. 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 (2007).

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Death by Fire: The Secret of the Wilde Sisters — Julian Hanna

Sep 012015
 

V0048935 Women wearing crinolines set on fire, ca. 1860, lithograph Crinolines on fire, 1860, Creative Commons Image

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THIS STORY HAPPENED when I was in my mid-twenties. Like most sensitive young men I was full of romantic notions about all sorts of things. Especially famous writers: most fascinating to me at the time was Oscar Wilde. I was also curious about my family roots, in this case in Ireland. Given these preoccupations I was in the completely wrong place (the cornfields of Iowa), doing the wrong thing (studying for an interminable degree in god-knows-which obscure American modernist poet). I was feeling isolated and claustrophobic in the fishbowl of Iowa City – which was pretty enough and even cool enough thanks to the Workshop students, but which was neither sufficiently old nor charming. Added to this my father had just died unexpectedly at 49. I mourned his death by making rash, unpredictable choices.

So one frosty Iowa spring morning, seized by the desire to abandon my sensible, funded graduate program and pursue my unfunded obsession with Wilde in Ireland, I acted. I withdrew from all my courses and forwarded my small inheritance to the financial department of Trinity College, Dublin. I remember having in mind a particular epigram of Wilde’s, something about lying in the gutter and looking at the stars. Even the gutter part sounded romantic. I was confused, as I say, and overrun by the fever of romance. But that’s how I found myself enrolled the next autumn at the university attended by Wilde (and Samuel Beckett, and Bram Stoker, and many other writers I admired), specializing in Wilde, at a research centre bearing Wilde’s name, in the very house where Wilde was born. (Let’s forget for a moment what happened later: when Ireland and I, having squandered all our money, were subjected to the meanest form of austerity.)

My first term at Trinity had its highs and lows. Academically speaking, it was an inauspicious start: mostly spent in smoky Northside pubs, listening to moody Irish ballads, falling prey to infatuations, drinking too much, lying spread-eagled among the cigarettes and broken glass on the pub floors of Nighttown – that sort of thing. I was attending very few lectures, and still fewer sober.

Yet somehow I soaked up, along with the beer and whiskey and gin, more literature than I ever knew existed. I read voraciously, either in my green leather nook at the back of the Stag’s Head or, like the feckless student narrator in Flann O’Brien’s At Swim-Two-Birds, in bed all day while I nursed a hangover: not only Wilde but Joyce and Behan and O’Casey and Yeats, Elizabeth Bowen and Edna O’Brien, Jennifer Johnston and Eavan Boland, Seamus Heaney and Brendan Kennelly (who was one of my teachers). I waded through the mystical mire of Yeats’s A Vision and read the notorious Black Diaries of Roger Casement, the colonial civil servant turned human rights activist and gay Irish revolutionary, who was caught running guns from Germany to Ireland and executed by the English for treason in 1916. My blood ran black and white, and my eyes puffed up from the strain of reading fifteen hours a day.

It was a grand time and I was enjoying myself immensely. But something still nagged: I wanted to stake a formal claim on my ancestry. So I went down to the Passport Office in Molesworth Street near the National Library to obtain my hereditary citizenship. A kind and maternal woman in her fifties named Maebh took my case. She told me what to do and I brought her all the necessary documents, culled from the detritus of my dead relatives and carried across the Atlantic: certificates of birth, marriage, and death. There was one yellowed piece of parchment written in a calligraphic hand that predated the Irish Republic itself. She stamped all her stamps and scurried back and forth from her window to the ancient photocopier while I stood by and watched. Then my application was complete: the last thing she said before she rang the bell to call the next in line was “Welcome home, son.”

By that time St. Patrick’s Day was drawing near, and feeling now exceptionally Irish I decided to write to my great aunt and arrange a visit. Edna, my grandfather’s sister-in-law, was an ancient woman from Sligo whom I’d never met and who lived alone on a farm in County Monaghan just south of the border. I wrote her a proper letter, straining to remember my cursive script, and a few weeks later she wrote back. She invited me to come up for the long weekend. Leaving the party behind I walked down to the Bus Éireann station on Friday morning and caught a bus going to Belfast. I got off a few hours later in the small town of Clones – where Neil Jordan’s The Butcher Boy was filmed – and found the place respectable enough, if a bit cold and grey. My first thought was: No wonder they left. But one of my grandfather’s brothers had stayed, and now his wife Edna, a robust widow in her eighties with thick glasses and gumboots, was standing there waiting for me. She said hello without offering a hug, and drove us in a battered Mercedes back to the farm at Smithboro, the place where my grandfather was born.

I knew by now not to expect much of the legendary family farm, and in this lack of expectation I was not disappointed. There had once been a larger house, Edna told me, the one where my grandfather lived until he was nineteen, but it had been torn down in the sixties. In its place was a small and sensible two-storey stucco house. There were a few crumbling outbuildings to add a bit of romance, several sheep on the front lawn that Edna called “pets,” and some large enclosures behind the house which held five bulls and two or three horses. Edna said that although she lived alone there were a couple of local men who worked the farm, and her niece Ruth, my father’s cousin, stopped by almost every day. Inside the house was a mix of the very old – sombre furniture that, having survived the long journey, would never leave – and the strikingly new, including a huge television positioned directly opposite a sleek black leather lounger.

On Friday night Edna served fish fingers and boiled potatoes and milk for dinner. Since it was just the two of us we ate in the kitchen, and afterwards we retired to the living room. There we sat, Edna in her lounger and me on the lace-covered sofa, watching The Quiet Man with John Wayne and saying very little to each other. I was beginning to realize that, unlike the Dubliners I had met, Edna was a woman of few words. I remember trying to ignore the silence by focusing on the film, and noticing that John Wayne’s trousers were pulled up higher than any trousers I’d ever seen on a man.

But eventually during a long advertising break we started to talk. She told me the history of my family, once prosperous “gentlemen farmers” now reduced by emigration and economic crisis to this lonely widow living in a few rooms of a modest country house. We touched on education – Edna surprised me with the news that she had attended Wesley College, a Methodist boarding school once situated on the edge of St. Stephen’s Green – and then about particular Irish authors (Shaw was a graduate of Wesley). I asked Edna if she had seen any famous productions of the plays of Wilde or Yeats or Shaw or Synge at the Abbey or the Gate. She indulged me as much as her failing memory would allow: she had definitely seen something scandalous by Shaw.

But I also learned another, more shocking family history – one that was loosely tied up with my own. It was the story of Oscar Wilde’s two illegitimate half-sisters. Wilde’s father, William Wilde, was a notorious philanderer, and he had children hidden away in houses up and down the country. Two of these children, Mary and Emily, had lived on the farm, or “estate,” next to ours. They had died together – shortly after Oscar’s seventeenth birthday, though it is unclear whether he even knew of their existence – in a tragic fire in that very house. On October 31st, 1871, during the last dance of a country ball, the hem of one sister’s – Emily’s – crinoline evening gown had suddenly burst into flames. Crinoline was notoriously flammable: so much so that this sort of death was not uncommon. Hundreds of young women seem to have died in similar fires during the nineteenth century. In this case the other sister, Mary, tried to rescue her, but she was also wearing a crinoline gown; both sisters received mortal burns. William Wilde, Edna told me with a sideways glance, had been spotted at the graveside in the weeks after the funeral, wailing openly in his grief. He never recovered, she said. He died a few years later, a broken man. Not unlike his son after prison, I thought. What a tragic family.

The story came up completely by accident. Not long after I arrived, I had noticed a dust-jacketed copy of Richard Ellmann’s biography of Wilde sitting primly on a doily-covered china cabinet. Ellmann, the American son of a Jewish Romanian immigrant father and a Ukrainian mother, was Goldsmiths’ Professor of English Literature at Oxford University from 1970 to 1985. (He also passed through Trinity College, Dublin.) Ellmann wrote the definitive biography of James Joyce in 1959 and a dozen other books on famous Irish authors. He also published an anthology in the 1960s that strongly influenced the study of literary modernism – especially its slant towards Irish writers. Along with The Pound Era by Hugh Kenner, a fellow Yale graduate and Hibernophile, Ellmann’s The Modern Tradition shaped the modernist canon for decades afterwards.

I had taken down several of Ellmann’s books from the stacks at Trinity library during my first two terms. In particular I recalled spending a week in bed around Valentine’s Day, sick with a humiliating case of adult chicken pox, reading his edition of Joyce’s fascinating and filthy letters. I guessed he might have written about Wilde reluctantly, being unsure what to do with him: Wilde was modern, but not exactly a modernist; he was gay, which Ellmann seemed to have difficulty talking about; and unlike Joyce or Yeats, he seemed to have left his Irishness behind when he left Ireland. In fact, as I later learned, Ellmann struggled with the biography through the last two decades of his life. As fate would have it, Wilde was not only Ellmann’s last subject, but also his crowning achievement. Ellmann died in 1987, the same year the book was published, and Oscar Wilde was posthumously awarded both the Pulitzer Prize and the U.S. National Book Critics Circle Award. (The book was later used as the basis for Wilde, the biopic with Stephen Fry giving his uncanny performance as Oscar incarnate.)

I knew most of this at the time, and I was delighted to find an object of common interest, so I asked my aunt about the book. Edna was dismissive at first, saying it had been sitting there for a decade gathering dust. After some gentle prodding, however, she told me the story of how the book had found its way into the house. Ellmann had come to Ireland to research the book, and one of his stops was Monaghan to investigate the story of Wilde’s sisters. As Edna told it, he had lain in wait outside the local church on a Sunday, and when the congregation emerged Ellmann started asking if anyone knew the story of the sisters’ death. Someone pointed to my great uncle and said, “Ask him, he’ll know.” So Ellmann interviewed my uncle about it, and when the book came out he sent a signed copy as thanks. And there it sat, long after Ellmann and my uncle had gone.

The story of Wilde’s sisters that my uncle told Ellmann is a sensational one, reminiscent of something Gwendolen Fairfax would read on the train. The first published account of the story appears in a biography of William Wilde by T. G. Wilson in 1942. Yeats’s father recalled the sisters’ death in a letter in 1921 – so the story was probably familiar to the small world of Dublin society. At the same time, some of the obscurity surrounding the events stems from discretion on the part of the authorities when dealing with sensitive matters involving people of significant social standing. From reading several accounts, including the one my great uncle gave to Ellmann, I learned that the births of Mary and Emily Wilde were indeed out of wedlock (that antiquated yet evocative phrase) but they predated the marriage of Oscar’s parents. At the time of their death Mary and Emily were wards – like Cecily Cardew in The Importance of Being Earnest – of William Wilde’s eldest brother, the impeccably named Reverend Ralph Wilde. The Reverend Ralph, who christened Oscar, was rector of St. Molua’s, Drumsnat: the parish church that my family attended in Monaghan. The neighbour’s house, where the party took place, belonged to a local bank manager named Andrew Reid. Reid was the man who had taken the last dance with Emily and then tried in vain to extinguish both sisters when their dresses caught fire.

The night itself, October 31st, seems to have been a party to celebrate All Hallow’s Eve, or Samhain in Ireland. It was most likely attended by the well-to-do landowning families in the area, from neighbouring estates like ours. (I asked whether it was likely that anyone from our family had been present, but Edna just shrugged indifferently.) There was plenty of alcohol, and the party went on late into the night. Accounts of the event differ, with some even calling it a Christmas party. Some accounts also describe there being snow on the ground: Reid is said to have rushed Emily outside and rolled her in the snow to put out the flames, while Mary ran around screaming frantically until she collapsed. There is no mention of snow in the official inquiry, but then the inquiry also gives the family name not as Wilde but “Wylie.”

The aftermath of the tragedy was, if possible, even more gruesome than the terrible accident itself. The sisters remained in the house, as was the custom at the time, where they were treated for the severe burns they had both suffered. To die on Halloween night would have been merciful: instead they lingered on for days and weeks at Drumaconnor. Mary, the younger sister who had tried to help, died first, on November 9th. Her death was kept a secret from Emily, who was also near death, to spare her the shock; nevertheless, three weeks after the accident, on November 21st, Emily also died.

Oscar Wilde, that pioneer of camp sensibility, was not one to respond to tragedy with too much sentiment. One of the most famous remarks attributed to him is the one about the death of Nell Trent, the angelic child in Dickens’s The Old Curiosity Shop. Wilde is said to have quipped: “One must have a heart of stone to read the death of little Nell without laughing.” (The child’s death in the popular serial story took everyone by shock: before it was revealed, people were said to have lined the docks in New York, shouting to sailors arriving from England, “Is Little Nell alive?”) In The Importance of Being Earnest, the supremely unsentimental Lady Bracknell, on hearing that Algernon’s friend Jack Worthing is an orphan, declares: “To lose one parent may be regarded as a misfortune; to lose both looks like carelessness.” The same could be said of sisters.

It is hard to say with any certainty what happened that Halloween night, at the end of the party when most of the guests had left. Events were intentionally covered up, and details were kept to a minimum to avoid scandal; the story that was passed down in the neighbourhood, and that my great uncle told Richard Ellmann outside the church, was likely filled in and smoothed around the edges with the passing of time. Was there really snow on the ground in Ireland on October 31st? Was it Emily who danced with the host, or Mary? Who else was in the room? How much had been drunk?

The story ends in the tiny churchyard of St. Molua’s, Drumsnat parish, two miles from Smithboro, County Monaghan, where I drove with Edna that Sunday to visit the graves of our ancestors before catching the bus back to Dublin. In the car on the way Edna repeated a story I had already read in Ellmann’s biography. It was the local legend of the “woman in black” – thought to be the girls’ mother – who visited the graves regularly for twenty years after the tragedy. Oscar Wilde also used to tell the story of a woman in black. Wilde, who was still a teenager at the time, recalled an unknown woman’s visits to his house during his father’s last illness. The woman would come into the house and kneel by William’s sickbed, while Oscar’s mother stood by watching without interfering, apparently knowing that her husband and the woman, who shared a tragic bond, had loved each other deeply.

We entered the churchyard through the wrought iron gate and explored separately in silence. Edna’s hands were clasped behind her back, her head bowed. Right away I noticed that among the names on gravestones that I could read – Arthur Brady; Henry and Anne Finnegan; Robert John Bole and his wife Charlotte, who had emigrated to Alberta and whose bodies had been returned for burial here; Martha Brown, Ruth’s mother – at least half were marked by my family name. There was Thomas Hanna, and Stephen, who died in 1835, and his brother James, and their sister, whose name I couldn’t read. Edna pointed out the grave of another great aunt, Amy Elizabeth, whom my sister was named after. I knelt in the grass and took some pictures. The grave of Mary and Emily was there too, and I photographed it. In contrast to their younger brother, whose famous tomb I had seen once in Père Lachaise cemetery, the sisters were all but anonymous, their gravestone untended and overgrown and lost to time.

Years later I went back to Smithboro and the churchyard of St. Molua’s. Things had improved. The Oscar Wilde Society had erected a new monument beside the old one to mark the Wilde sisters’ final resting place. The simple stone read:

In Memory of
Two loving and beloved Sisters
EMILY WILDE aged 24
and
MARY WILDE aged 22
who lost their lives by accident
in this parish in Nov 1871.
They were lovely and pleasant in
their lives and in their death they
were not divided
(II Samuel Chap. I, v 23)

Emily & Mary - half sisters of Oscar Wile. Original stone on right.Julian Hanna photo

—Julian Hanna

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Julian_pic

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.

Trolling for the Fisher King: Starting in Gloucester — Paul Pines

Aug 072015
 

15th Cen. St Brenden, stranded whale, B. Museum15th Cen. St. Brenden & The Stranded Whale, British Museum

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There shines in us, though dimly in darkness, the life and the light
of man, a light which does not come from us, which however is in
us, and we must therefore find it within us.
Gerhard Dorn – Philosophia specuativa

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“As the dead prey upon us,
they are the dead in ourselves,
awake, my sleeping ones, I cry out to you,
disentangle the nets of being!”
Charles Olson

1 – Pedrolino

WOKE THIS MORNING in the house where the poet Vincent Ferrini lived and wrote for decades, now the Gloucester Writers Center.August 17th, 2014, at 7:30 AM, newly risen light washes purple drawstring shades, which I keep half-shut. Perched on the shoulder of East Maine Street, a two lane coastal road that runs between downtown Gloucester and Rocky Neck, traffic up and down the hill sets up a constant rush of sound. The front door opens on a gas station/ convenience store at the far side of a parking lot. In back workmen level ground to pave a narrow alley. People walk close to the windows. There’s a small kitchen at one end, and a bathroom off the main room. I’ll be the poet-in-residence here for a week, which ends with a reading from my latest collection, Fishing On The Pole Star.

Last night, after a chicken/vegetable stir-fry dinner, I turned on the overhead fan, moved a lamp to the side of the vintage pull-out bed and perused a book case lining the wall stacked with copies of Vincent’s collection, Know Fish. Among them I found a copy of Charles Olsen’s Collected Works and fell asleep reading his signature poem, “The Kingfishers.” This morning I dimly remember a dream in which I’m standing in a rowboat fishing from the stern with a child’s rig. I understand the implication that I am still developing as a fisherman, but have no doubt that knowing fish has brought me here.

Framed poems hang on white walls beside images of Ferrini and his friend, larger than life poet Charles Olson, who mythologized Gloucester as Joyce did Dublin. Standing 6’8”, aka Maximus, and former rector of Black Mountain College, Olson played a major role in the dynamic changes that drove mid-20th Century American poetry. Ferrini appears small beside him, but no less haunting.

Vincent & MEVincent Ferrini, (monoprint) by Jain Tarnower @ The Gloucester Writers Center

I work on a table facing a print of Ferrini outlined in white on a black field—an image dominated by his white face and hands. He wears a domed hat, like a novitiate in an obscure Italian order, but might as easily be Pedrolino, the moon-faced dreamer out of the comedia dell’arte. His smile is enigmatic. It reads like a confidence, an intimate whisper in my ear:  Pay no attention to what is going on outside and around you. Do as I did. Listen for what comes through the inner doors and windows.

I follow the instruction, submit to the inner sensorium.

What enters is as much shape as sound, ideas like iron filings on a magnetic field. The field becomes an ocean, the magnet a star. Fish swim below or break the surface. Constellations in space dance without touching. This ghost in the room I think of as Pedrolino has awakened a ghost in me. I see myself standing beside Amfortas, the Fisher King, in the Pole Star watching a king fisher dive. How did Amfortas end up in my boat, both of us in the stern waiting for Parzival or his equivalent? Olson’s poem, “King Fishers,” which influenced me as a young poet, has set up an inexorable call to the obsession of my later years, the wounded Fisher King!

Amfortas drops his line next to mine, and with it the orderly content of my inner world breaks down. I can’t predict what will emerge from this matrix, what looks like a massa confusa, but is possibly the first stage of important work.

Pedrolino nods.

“Yes,” I tell him. “I accept.”

I’ll take the risk, go where the currents lead. I am a navigator with faulty maps and a ragged compass. But there is a mystery on the tip of my tongue waiting to be revealed, a series of linkages I had not suspected before that will pull valuable information out of the shadows into the light of day—if only I will engage the journey.

Pedrolino is pleased. His smile deepens.

I let him know that in addition to my reading I will give a talk, because the title just popped into my head like a mackerel: “Trolling With The Fisher King.”

That is, after all, what this about. Whether alone in the boat, or with Amfortas trailing in Charles Olson’s wake, fishing is what connects us. It is as though now all three of us were working the same line after the catch we were all hoping for—the wisdom that whispers, “What wounded thee will make thee whole.”

I email my host Henry, old Ferrini’s nephew, proposing the talk and its title and suggest it immediately follow my reading.

Almost instantly, I get a reply: “You’re on!”

Pedrolino likes this.

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2 – Spreading the Net

The Fisher King figure in its present form appears prominently in Wolfram von Eschenbach’s 13th Century epic, Parzival, set in a landscape devastated by war. Armies returning from the Crusades, and mercenaries hired by expansionist nation-states, have pillaged the countryside. Against this backdrop, knights governed by the archaic laws of chivalry kill each other in the name of love and honor, leaving a trail of widows and fatherless children in their wake. Parzival’s mother, stricken by the loss of her heroic husband, takes their son into the woods vowing he will not perish in this way. She raises Parzival in a state of nature ignorant of his lineage and his real name, which means piercing through. One day at an age when most young men leave home, he sees a brace of knights in armor riding through the woods and mistakes them in their shining armor for gods. Parzival follows them to King Arthur’s court, where he gains entry by killing the Red Knight who blocks the entrance with a lucky throw of his lance through the eye-slit in the seasoned warrior’s helmet. Still innocent (unconscious) but triumphant, the fledgling sets out to prove himself, and becomes what his mother feared most, a man who kills in the name of love and honor.

Riding past a lake one evening at dusk Parzival spies a man fishing from a dingy who directs him to a castle where he can spend the night. He doesn’t recognize that the fisherman is Amfortas (without strength), keeper of the Grail. Under the banner of AMOR, Amfortas killed a Saracen warrior in single combat, and ever since that time has carried a piece of the Infidel’s lance in his groin. Because his pain is greatest in the presence of the Grail, Amfortas can no longer function as Grail Keeper. He now sits with a line in the water to ease his pain waiting for one pure in heart to ask the question that heals his wound, and restore the Waste Land.

In some versions, the question is, “Whom does the Grail serve?” in others, “What ails thee?”

The innocent (unconscious) Parzival doesn’t recognize himself as the one for whom Amfortas and all attendant on the Grail are waiting.He follows directions to the Castle and is welcomed by attendants who bathe and dress him. In the Great Hall he witnesses the procession of the Grail that once held Christ’s blood, and the lance used by the Roman soldier Longinus to pierce His side. Joseph of Arimathea, who prepared Jesus for burial was said to have brought these sacred objects to England.

Galahad_grailGalahad, Bors, and Percival achieve the Grail. Tapestry woven by Morris & Co.. Wool and silk on cotton warp, Birmingham Museum and Art Gallery

From his divan in the Great Hall, Parzival watches robed acolytes parade with the spear that pierced Christ’s side. After this another set of acolytes carry the Grail, which fills the tankards, bowls, goblets, trenchers, platters and baskets with all manner of delicacies, from fowl, and mutton to cheeses, fruits, breads and wine until everyone at the banquet is provided for. There appears to be no limit to what nourishment the Grail can bestow. In the right hands, such abundance might feed the world.Seated across from him Amfortas writhes in pain waiting to hear the question that will deliver him. But Parzival has been taught that it’s impolite for a guest to question his host, and so he fails to ask the question. He wakes next morning to find the Castle empty except for spectral voices jeering from the battlements. The drawbridge slams shut behind him. Slowly, it dawns on Parzival that he has failed to recognize this opportunity.

It’s a bitter pill.

All of his assumptions, the received wisdom given by those in authority, dissolve in the first light of consciousness. He will spend the next twenty years wrestling with this failure. In the end, confronting his own wounded pride, he is able to “pierce through” to the recognition of his true identity as heir in that lineage as Grail Keeper.

Two details must be noted: after recognizing his role, Parzival rejoins his wife in true union, a Holy Marriage (heiros gamos); and, finally, he encounters his dark brother, Fierfize, (piebald), the son their father, Gahmuret, sired with the black Moorish Queen Belcane, in the North African Kingdom of Zazamanc, on his way home from the Crusades. Concealed by their armor, they face off without knowing the identity of the other. Just before delivering the death blow Parzival sees his brother’s face free of the helmet, recognizes him, and the once embattled knights embrace.It begins as a reprise of the battle in which Amfortas was wounded, and ends with a resolution. Parzival welcomes his dark Muslim brother as a part of himself. He can heal the wounded Fisher King by asking the question which he now embodies. Amfortas, free from pain, dies in peace. may be a cipher and a prescription for our own time..

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3- Mare Nostrum

The reading at the Gloucester Center for Writing from Fishing On The Polestar is scheduled for later this week. The poems record my experience trolling the out islands of the Bahamas, exploring obscure inlets, crossing the section between Eleuthera and Columbus Point known as “the tongue of the ocean.”

What would the tongue of the ocean say if it could speak?

I recall last night’s dream, and reel it up from my store of memories.

As a child I hooked crappies (small sunfish) in Prospect Park. In the 70s , I hauled in snapper on a hand-line from a dugout off the coast of Belize. Later, I trolled for bill fish in a 42’ Bertram from Ft. Lauderdale to Crooked Island. In time it dawned on me that as a poet and psychotherapist drawn to the unconscious, my lures were set to bring up something concealed in my own depths. I have come to understand the Fisher King wound and why a line in the water brings relief.

Olson’s Collected Works lies on my bed open to “The Kingfishers”. I read: What does not change / is the will to change…

He woke, fully clothed, in his bed. He
Remembered only one thing, the birds, how
When he came in, he had gone around the rooms
And got them back into their cage, the green one first,
She with the bad leg, and then the blue,
The one they had hoped was a male.

Since the poem was published in 1949, no one has been able to give “The Kingfishers” a definitive reading. Those who engage it are drawn or repelled; few are indifferent to its movement. Some critics call it a dreamscape, and there is reason to treat it as such. Others cite it primarily as a response to post-Holocaust trauma.But what’s most haunting about it is less historical than psychological. “The Kingfishers” occupies a limbic space, that threshold between sleeping and waking where the conscious and unconscious are open to each other. This is also where we locate the Grail Castle that appears and disappears, a quantum space beyond fixed coordinates. Here, Charles Olson drops his lures.

MarillDialogue at Five (Provincetown) – Herman Maril

Lines from “The Kingfishers” float through dream-time into morning light trailing brightly colored green and blue feathers from two caged birds. Still in bed, I hear seagulls outside squawk and cry. Sea-birds have trailed in my wake for hundreds of miles, like my golondrina. As a merchant seaman crossing the Pacific I watched a tiny swallow hitch a ride from the Golden Gate to Subic Bay on our United Fruit ship. Even through the roughest storms. When I thought it had been blown away, there it was the next morning perched on a boom. Long after I returned from the South China Sea, the swallow haunts me. Like Olson’s kingfishers, my golondrina, exists as an ache in the present—an unhealed wound.

I follow my ghost bird into the poem.

Neither “The Kingfishers” nor the Fisher King is primarily concerned with the act of fishing, but each links deeply wounded cultures, lacking coherence, to fishermen, fish and fishing birds. A lost but crucial piece of psyche must be restored. I fish for the clue in Olson’s paradox: everything changes but the will to change.

What is the lure attached to this line?

unnamed paul pinesWayne Atherton – Mounting The Bounty

It isn’t change that carries the charge, but the “changeless will,” and what that implies.We are drawn to what is concealed in changeless will. Calculations will not reveal it. Otherwise discourse—words, ideas and numbers alone would heal the Fisher King wound.Better to follow the kingfisher into limbic space, watch it circle, dive, and emerge with a fish in its beak. Reason will not tell us what lies beyond it, like the sublime—or how to locate “changeless will” in the wound, the fisherman, or the fish.

Better to follow a ghost bird.

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4 – Fixing the Colors

Olson’s narrator wakes fully clothed from a dream. Seated at my computer, under Pedrolino’s watchful eye, I recall that seabirds following a school will mirror the behavior of the fish, then feel a tug, rock back and forth as if I were in the fighting chair. What I bring to light surprises me, a dream fragment from last night. I enter a room where people dressed in blue and green are waiting to hear my talk, “Trolling with the Fisher King”. Olson’s birds are blue and green. This is not insignificant. He quotes 16th Century Belgian alchemist/psychologist Gerhard Dorn: “Color/ is the evidence of truth.”

I agree. Color is important.

As an eight-year-old fishing for crappies in Prospect Park, I watch my cork bob on a bed of light that splinters when the float sinks. As I reel in a sunfish, brightness falls from the air (a line James Joyce borrowed from Thomas Nash). The brilliance of its scales fires my imagination. These sparks are evidence of an underwater rainbow I might pull up whole as all those other kids marvel. It will give me super powers, change my life by calling forth the power inside of me.

Years later, at sixteen, reading Freud’s Future of an Illusion, I understand that fishing my dreams is more likely to yield that life-changing catch. The flashes of color I glimpsed as a child were aspects of myself yet to be identified.I’m still waiting for a vision to break the surface like a marlin.

“Color…fixes the statement,” (Olson via Dorn).

What shall I say about “The Kingfishers” to my dream audience in kingfisher colors?

“We trail lines defined by the color of our lures.”

ArthurDoveSunSun, Arthur Dove, the Smithsonian

The first thing Olson does in “The Kingfishers” is to pluck color from dream-water, the green female bird “with the bad leg,” and the blue male returned to their cage by someone named Fernand who “ had talked lispingly of Albers & Angkor Vat,” and subsequently leaves the party that is taking place…

When I saw him he was at the door, but it did not matter,
he was already sliding along the wall of the night, losing
himself
in some crack of the ruins. That it should have been he
who said, “The Kingfishers!
who cares
for their feathers
now?”

Fernand dissolves like a shadow in “some crack of the ruins.” He points to what we otherwise can’t see, and seeing, turn away. No wonder the poet regrets that it should have been Fernand who poses the question: who cares? The shadow’s voice, peripheral to awareness,delivers a message that draws us down, even as it hangs in the air like an accusation. The poet wishes the question had been his to ask.

Parzival also begs the question; the part of him that would ask it remains buried in his split-off shadow. He must become fully conscious to ask the healing question: What ails thee?

Fernand’s question points to, rather than discloses the disconnection, and so rings both as desperate and ironic: Who cares?

Outraged, Olson raises a more pressing question: Who is Fernand anyway, this shadow that speaks what must be said, then vanishes, leaving behind him a cloud of regret? Fernand’s question, “Who cares?” exists as a statement yet to be understood by those at the party, including the poet.This Post-Parzival situation finds us in stagnant waters.

Bright blue and green sparks in the kingfisher feathers at the opening of the poem disappear into the rapidly deteriorating natural world. Observing from the shadow’s point of view, Fernand comments.

His last words had been, “The pool is slime.” Suddenly everyone,
ceasing their talk, sat in a row around him, watched
they did not so much hear, or pay attention, they
wondered, looked at each other, smirked, but listened,
he repeated and repeated, could not go beyond his thought
“The pool the kingfisher’ feathers were wealth why
Did the export stop?”

Those at the gathering are confronted with the degraded pool at their center, evidence of unconsciousness. They are unmoved, look but don’t see, listen but don’t hear—remain in a peculiar state of indifference, partying in a Waste Land. Part one of “The King Fishers” ends here, with Fernand’s unanswered question.

It was then he left.

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5 – Consciousness / The Wound

How did we become deaf to the voice that reminds us to wake up? Mother earth calls from the depths, warns us to pay attention. This was the purpose of the Great Mysteries. The Dying and Reviving Gods like Tammuz, Dionysus, Attis, Adonis, Ba’al and Jesus demand we remain conscious. Their myths and ceremonies of wounding and healing model the birth, death and resurrection of consciousness, a transformative experience open to those who understand it. In her study The Language of the Goddess (1989), Marija Gimbutas points out that wine and bread were revered as sacraments in Neolithic cultures because they represented the inherent potential for transformation produced by fermentation and yeast. Early Egyptians drank beer and tasted Osiris wafers to partake of an eternal blood and body. The Pyramid Text, dating back to the 5th Dynasty (2,400 BCE), instructs the king to rise from his tomb

Take your head, collect your bones,
Gather your limbs, shake the earth from your flesh!
Take your bread that rots not, your beer that sours not…

unnamedUnnamed, Matt Daly

The same text, perhaps the world’s earliest known religious document, records the worship of Osiris, Egyptian lord of the Underworld. Depicted with green skin, a pharaonic beard and ostrich feathers on either side of a conical crown in later hieroglyphs, Osiris is the poster boy for death and resurrection. Dismembered by his jealous brother, Seth, and re/membered by his sister/wife, Isis, Osiris knits worlds above and below into a seamless whole, just as the wounded Fisher King embodies the potential to restore the Waste Land. But there is a shift in this mythos between Dynasty V and the 12 Century AD, and again into our Post-Internet culture. The drama is no longer the provenance of the Gods. The transformation requires human participation. Parzival must become conscious of his own wound before he can heal Amfortas and accomplish his mission.

We are dealing in symbolic terms with human development, the ordeal through which split off material in the unconscious is brought to light and integrated. Carl Jung found in Alchemy a compelling description of transformation applicable to the totality of the psyche. For him, the writing of adepts like Gerhard Dorn revealed in symbolic language the relationship of the unconscious to the conscious as the agent of psychological transformation. Jung recognized in Alchemy an intuitive iteration of Psyche’s drive to realize itself. Olson also quotes Dorn suggestively: “Color is important.”

the blackeningCombat, Marc Shanker

The Alchemical Work broadly speaking unfolds in four stages, the first of which is a condition of decay, the “blackening” known to practitioners as nigredo. It is analogous to the initial wounding, the early call of the unconscious to become conscious. Olson’s poem locates it in Fernand’s recognition of the pool become slime. He points it out to those gathered but no one hears him. Only when there is some acknowledgment of the condition can the Work move on to stages known by their colors, white, yellow and the reddening, rubedo. Here, the transformation is realized in the body of the “Philosopher’s Stone”, or as Parzival beholds it, the lapis exilies, another name for The Holy Grail.

Olson’s poem can be read as the search for materials in anticipation of the Alchemical Work, which is increasingly difficult as we are blinded by distractions. Psyche’s drive toward transformation, the hidden telos in Olson’s “will to change,” calls out to us. His poem, “The King Fishers” is an attempt to hear it, a plea for us to open our ears or suffer the consequences. Riding the stern of his work, feathered lures in the water, I see Charles Olson become the Fisher King. It’s not the nigredo alone he fears, but that he (we) will get stuck in it, and stay that way—trapped in

a state between
the origin and
the end, between
birth and the beginning of
another fetid nest

Phylogeny recapitulates ontogeny: the principle states that each of us in our development recapitulates the evolution of the species, and possibly the entire universe, from chaos to cosmos. If true, there is a moment when that movement becomes conscious of itself, a shift (or fall) from undifferentiated “time before time” into time as we experience it—antiphonal, polarized, and fleeting. In a number of myths, the creation of cosmos from chaos involves horrific violence, a wounding and dismembering that becomes embedded in nature.

For the Aztecs creation begins with a many armed female monster, a hungry mouth at the juncture of each arm. In this myth, the agents of “the will to change”, Quetzalcoatl and Tezcatlipoca, become serpents, wrap themselves around the insatiable matrix and twist until she comes apart. From her parts they construct the ordered world which remembers the pain and exacts tribute in blood. Sumerian hero-god Marduk does the same to the complaining sea-serpent Ti’amat. The mother of us all, pre-conscious chaos incarnate, must be torn apart. This process, essential to creating and sustaining order, also produces the consciousness that re/members that pain.

The wound requires appeasing. Host cultures enacted blood rituals of reparation to a matrix that might exact revenge if disregarded. If we forget or cease to feel the pain inherent in becoming conscious, degradation of the psychological and natural worlds follow as surely as slime on the pool. Numbed and disconnected, we dismiss Fernand’s warning, whisperings from the shadow in the wings.

kingfisher-3Kingfisher hovering, Royal Society for the Protection of Birds

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6 – Re/member Me

In Greek mythology the wind god, Aeolus, intervenes when his daughter Halcyon attempts to follow her mortal husband drowns in a storm. Aeolus prevails on Zeus to turn them into birds. Zeus does this, but requires that she nest on the shore for two weeks in mid-January ever year during which he stays the waves and winds to let her young hatch in safety. These become known as Halcyon Days; we know these birds as kingfishers.

It is true, it does nest with the opening year, but not on the waters.
It nests at the end of a tunnel bored by itself in a bank. There,
six or eight white and translucent eggs are laid, on fishbones
not on bare clay, on bones thrown up in pellets by the birds.

I have observed riverine kingfishers nesting in the muddy banks of the Sibun River in Belize. We steered our canoe through an uncharted stretch that flowed between the Pine Ridge and jungle low-lands. I noted anhinga, heron, hummingbird and toucan—among other exotic avian life—but the kingfishers where most memorable. They darted in and out of tunnels in which they built their nests. I think of them as I read Olson’s description of that process, how they construct those nests of decomposed fish bones—evidence of which was visible and odiferous as I passed them on the river bank.

Mostly it was the sea-birds I followed.

swallowHieroglyph Swallow, a.frostly.com

E.H. Gombrich tells us in his Little History of the World: “If you want to know where Egypt is, I suggest you ask a swallow.” That’s where they fly every autumn, over the Alps to Italy, across the sea, to the Nile valley. My golondrina: the swallow, for centuries the talisman of seamen—square riggers manned by seamen with barn swallow tattoos on their arms and chests. The swallow delivered a lost sailor’s soul safely to the Underworld. A Pharaoh tells us in the Pyramid Texts he has “gone to the great island in the midst of the Field of Offerings on which the swallow gods alight; the swallows are the imperishable stars.”

Poems in my book, Fishing On The Pole Star, describe birds circling or diving into weeds banked on shoals where small fish are feeding, larger ones under them, and at the bottom tier great creatures with silver fins that break the surface, incarnate beams of light. Aloft on the tuna tower of our boat, a small seat on top of a ten foot ladder rising from our bridge, I admired the weave of worlds from Bimini to the Planas. For years the sun drenched waters appeared to be as they had always been. Then the veil fell from my eyes. I’d been like those Fernand addressed at the pool-party, unaware of the slime.

The Waste Land referred to in Parzival, and revived as a theme by T.S. Eliot, links the mythic to the ecological narrative. The state of the physical world is a reflection of the psychological one in which we live. Our willingness to read and understand it depends on our ability to tolerate the pain in that recognition, and our desire to heal it.

Changes in Bahamian and Caribbean waters have been incremental, but can be measured in bleached reefs, diminishing schools of tuna, the paucity of local catch, and marlin moving further south to Piñas Bay. Sea birds—cormorant, frigate, pelican, heron, and kingfisher—that dive with satellite precision, are the unifying connection of above to below. What becomes of them as the fish populations dwindle? “Who cares for their feathers now?”

Changes in temperature provide a breeding ground for stinging mites that make it impossible to swim in certain locations without a wet suit.

Cays with white sand beaches that held no footprint are now virtual stages where Bahamians set up a fake village for Holland American Line cruise ships, where tourists buy folk art, drink rum punch, and dance to a reggae band before cruising on, unaware they’ve been in Disneyland. It might’ve been a protected beach for halcyon birds to hatch their eggs, but who can protect them from cruise ships?

We’ve come a long way from the Pharaoh’s great island tenanted by imperishable sparrows. All assumptions about endlessly resilient Mother Nature are no longer tenable. NASA photos reveal we live on a frangible sphere wrapped in atmospheric lace. We are now cognizant of five previous extinctions.
Where does the extinction of our species fit in?

In addition to species, we are also aware that words and feelings can become extinct, the once rich chords on the emotional scale reduced to simple notes. Awe, a word once a referring to a transformative experience, has been reduced to a trivial response in every day speech.

What happens to us, and to the natural world when we remain unconscious and therefore unable to address the wound?

Olson puts it another way: What happens when only the feathers are left?

Tomb of Nebamun, Thebes, ca. 1350 BC, British Museum

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7 – Focusing on the Feathers

Olson’s emphasis on the bird and its feathers makes me think of ancient Egypt. In the Ur-myth Isis re/members the severed parts of her husband Osiris thrown into the Nile by his jealous brother, Seth. With the help of Ibis-headed Toth, she retrieves all but his phallus, swallowed by a fish. This doesn’t prevent Osiris from fathering an only begotten son, Horus, his representative on earth. We might call Horus, the falcon: Consciousness Fathered by the Wounded One.

Osiris takes his place as Lord of the Underworld (Duat) where he presides over the fate of souls after death, depicted in hieroglyphs as birds that fly into the underworld. Osiris guides the soul, dis/membered by death, in a transformation through which the wound is healed and the soul restored in the body of Osiris—fulfilling what will be articulated in the Great Christian Mystery: “my father and I are one.”

baNerfertari as Ba, Tomb Painting, 3,200 BC

The Pyramid Texts of the Old Kingdom clearly tell us that souls in the Duat are “regularly and continually” challenged to undergo transformation.  The union of the ba (embodied soul) and the ka (vital spark), form a third, the akh (the effective one). The akh, as the pure light of consciousness, is represented in hieroglyph by a crested ibis, bird of the wise god Toth. The Pyramid Text stipulates that should the ferryman refuse to transport King Unas’ soul to the other side: He will leap and sit on the wing of Toth.

Papyri and tomb walls exhibit images of birds and feathers everywhere. For the world’s oldest high culture, birds embodied distinct intelligences essential to specific gods and goddesses. Amon, the “hidden source” or uncreated creator is a feathered crow.  Amentet, the setting sun, who prepares souls for rebirth, appears with wings and holding a hawk’s feather. Shu, god of the atmosphere, wears ostrich feathers. Isis, wife of Osiris, mother of Horus, sports a vulture head dress and the rainbow wings of a kite. Horus is a falcon. Osiris wears white feathers on either side of his crown. Ra, the Sun and first Pharaoh, has a hawk’s head. Kephri, at sunrise, becomes the Bennu, or risen Phoenix. A single feather belonging to Ma’at on the scale in the Hall of Two Truths determines the fate of all souls. Souls lighter than her feather become Akh and are welcomed to paradise. Those less fortunate are devoured by the crocodile jaws of Ammit.

ostrich wingsGoddess of Balance, Ma’at spreads her ostrich wings over gods and humans.

Sea-birds also link the world above to the one below. Their feathers are talismans. Olson’s kingfishers vanish into the shadows. Their feathers are evidence of a forgotten unity that calls to us unheard. Birds, visible by day, accompany Ra’s solar barc on its Night Sea Journey through the underworld, as did the golandrina, which I failed to recognize as my ba-bird. Birds, especially the swallows, become the vehicles for souls in the underworld, and for their transformation. The Bennu, the Egyptian phoenix, rises and sets with the sun.

The Osiris Mystery, as both myth and ritual, marks the early intuition of an objective intelligence in the unconscious. The drama of transformation in the Underworld describes the potential that takes place in our own psychological depths. Olson’s representation of the soul as kingfisher, a force precipitating the unchanging will to change, and its loss, constitutes more than his own gloss on the old myth, but a new one for our time. Perhaps the de-potentiation of mythology itself, the loss of any symbolic narrative that gives culture coherence and the way of enlarging individual consciousness.

Parzival’s healing question can only be asked by one who has been weighed in the balance of Ma’at and become an akh. Olson’s poem, “The Kingfishers,” is an 11th hour cry for help!

“The pool the kingfisher’s feather were wealth why
Did the export stop?”

When the symbolic links disappear, we are left with lassitude. Anything more is difficult to grasp, certainly the world as a coherent whole. Fernand speaks from the shadows about the devalued kingfisher feathers. He addresses those who sit mindlessly around the stagnant pool full of slime. In the end what he asks is rhetorical, not so much a probe as a hook.

Drawn by the potential for transformation, the changeless will to change, Parzival becomes an embodied soul and asks the healing question. But what happens when Parzival, the Fisher King and the Grail itself disappear from consciousness altogether?

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8 -Rubedo, The Reddening

Olson loved to dig among stones. Indecipherable Mayan Glyphs spoke to him of buried intelligence in images of serpents and birds, heads dressed in woven feathers, the rise and fall of a high civilization incised on clay tablets. These elusive messages held valuable if undisclosed information: how do advanced systems decline into devalued plumage, slime in the pool.

I pose you your question:
Shall you uncover honey / where maggots are?
I hunt among the stones

In the coastal Mayan ruins of Dzibilchaltun, and rubble of “Dogtown”, the Gloucester settlement abandoned after 1812, Olson was drawn to the haunt of civilizations that carved the clues to their demise in stone. He knocks on the door of the unconscious.

b8899ccb1dcf17ffe1cdcfddad9775edCourage, Dogtown, Gloucester/Cape Anne

Olson asks, Shall we find honey where maggots are? He might be speaking of the alchemical work which begins in the decomposing nigredo. He may be referring to the condition of mythological structures that once supported these high civilizations now sinking into the earth, and our own, on the way to becoming a Waste Land.

Olson begins Section 2 of “The King Fishers” with the self-mythologizing Mao, who forbids the centuries old custom of binding women’s feet, while proclaiming the risen sun, la lumiere,” as the symbol of a mythless society. In 1934 he will lead his followers on a long march toward l’aurore, and later, in 1949, as leader of the Peoples’ Republic of China, mount a cultural revolt outlined in his Little Red Book to entirely erase the past. After considering Mao’s position, the man who hunts among the stones weighs in.

He thought of the E on the stone, and of what Mao said

la lumiere”
mmbut the kingfisher
de l’aurore”
mmbut the kingfisher flew west
est devant nous!
mmhe got the color of his breast
mmfrom the heat of the setting sun!

In search of a myth for a mythless world, Olson’s avian avatar flies west, redness baked into its breast. He invites us to ride Ra’s Sunship into the underworld accompanied by swallows. In the Egyptian narrative the sun is totally eclipsed and for a moment faces the danger of total extinction. This happens every night. It appears to be what Olson wants us to consider.

8892_originalRa in the Sun Ship, Egyptian tomb painting, 1,200 BC

There are twelve houses one must pass through on the Egyptian Night Sea Journey corresponding to hours between sunset and sunrise. Each hour presents its own dangers. A Coffin Papyrus shows three ba-birds in the 5th hour there to protect Ra against devouring chaos, the serpent Apophis.

Temple at OptetRa uniting with Osiris, Temple of Optet, 1,200 BC

Ra grows darker and weaker as the hours pass; even his guardians are afraid. There is no guarantee that chaos will not at some point swallow Ra’s light. At the darkest hour, when it appears all may be lost, Osiris, “the Hidden Soul”, meets Ra face to face. In that moment, the high-voltage transformation takes place. In the Mystery of the Two become One, both are renewed. In the Duat souls are continually transformed into enlightened akh.

light_core_darkness_jungLight at the core of darkness, The Red Book, C.G. Jung

On a cosmic level this takes place nightly when wounded Ra consciousness is united to the Osiris intelligence in the unconsciousness. The union gives birth to a third in Kephri, the newborn Sun. This is also the end result of the Work, the red which alchemists call the rubedo. The transformation which starts with the blackening nigredo, moves through the bright white albedo, to Kephri’s light. Both the Egyptian Night Sea journey and the Alchemical phases can be viewed as the movement from despair, through understanding, to enlightenment.

A Hymn to Osiris states: “Thou risest in the horizon, thou givest light through the darkness…”

220px-Theatrum_Chemicum_Vol_I_page_1Theatrum Chemicum, Gerhard Dorn, 1661

Gerhard Dorn, the 16th Century alchemist prized by Charles Olson and Carl Jung, speaks of a “hidden third” arising from the two as “the medium enduring until now in all things…” Jung refers to this as a “synthesis of the conscious with the unconscious,” as a unio mystica. Ra’s transformational connection to Osiris can be compared to Parzival’s to the Fisher King; both describe this underlying unity in the alchemical marriage. Ironically, this was also observed by Chinese alchemists in antiquity and recorded in The Secret of the Golden Flower, which survived Mao’s “cultural revolution.” What the Egyptians called Akh, Western alchemists like Dorn the “philosophical stone,” the Chinese text refers to as the “Diamond Body”.

warhol-maotse-tung-seriesChairman Mao, Andy Warhol

Mao wasn’t interested in hieroglyphs or alchemy. Symbolic thought of any kind became anathema. His demythologized Revolution reduced civilization to a simple surface. Hence Olson’s open question: What happens when only the feathers are left?

He answers it in “The King Fishers” by attempting to re-mythologize the wounded cultural psyche, to locate the place in which the archetypal transformation enshrined in the sacred traditions of all cultures can occur. Even so, Olson feared that it might be beyond reach at the beginning of a period which he was the first to call “Post-Modern.”

Olson asks: Where do we find what we have lost?

“The Kingfishers” is a fragmented psychological treasure map missing that piece where X marks the spot. We are given clues: the changeless will to change, the king fishers, and in the absence of the seabirds, their lore and feathers—representations to challenge us in the absence of a living mythology. Of course there is always the possibility that what Mao did by coercion in China, we are doing in a Post-Internet world by attrition. We may be losing the ability as a species to bring the latent intelligence to light.

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9 – The Alchemical Nest

Chaos stalks our hi-tech lives more powerfully than ever; one inspired hacker-child could send our infrastructure into a tailspin. The same holds true of our personal infrastructure. The Underworld is no longer the place in which souls are weighed or balance restored by Ma’at’s feather. Our psychology is haunted by forces denied, degraded, or disguised as ideologies, religious and political, that set us at odds. Fundamental religious beliefs fused to nationalist politics are fueled by thanatos, an unconscious death-wish. The ecology deteriorates while gods past and present disappear beneath the waves.

untitled colourPacal Descending to Xibalba, Tomb at Palenque, Mexico

In his study The Fisher King and The Handless Maiden Robert Johnson paraphrases Jung: “We no longer have Zeus but we have headaches instead. We no longer have Aphrodite and her noble feminine realm but we have gastric upsets. To dethrone anything from consciousness to unconsciousness is to diminish it in stature to a symptom.” Just so, the wounded Fisher King, split off from ourselves, becomes a hive of symptoms. T.S. Eliot’s Wasteland is inhabited by hollow men.

Will you leave it there? Pedrolino’s question is rhetorical. What will you tell them?

From his post on the wall, this black figure in his domed hat outlined by a white line on a black field gazes down from a moon face that glows like polished silver. He is the soul of old Ferrini, author of Know Fish. His words crawl through my mind.

“Tell whom?” I protest.

Pedrolino doesn’t answer, but I know. He is referring to those who will come to hear me read from Fishing On The Pole Star, directly followed by my talk, “Trolling with the Fisher King.”

It occurs to me that when only feathers are left, we must use them as lures.

Olson does just that; he uses feathers and stones the way a shaman employs a single bone to re/constitute the entire body. He builds the poem as king fishers do their nests with the remains of rotting fish bones. By gathering the “rejectamenta,” decaying bone splinters of myth, personal, and historical memory he builds to re/member.

…it does nest with the opening year but not on the waters.
It nests at the end of a tunnel bored by itself in a bank. There
Six or eight white or translucent eggs are laid, on fishbones
Not on bare clay, on bones thrown up in pellets by the birds

I’ll describe to my audience the scene I witnessed on a bank of the Sibun River. I could smell the rotting fish bone chips from my canoe. Warmed by the heat of that decaying mass kingfisher eggs hatch on the bones of their prey. Future generations will rise from this matrix of remains. From its heat, words are born, take flight, hover and dive. It suddenly strikes me that Olson’s poem about the process is itself a nest of decaying bone chips.

Pay attention, whispers Pedrolino. “You’re close.”

I stop and listen. An idea comes in an open inner window—an insight. Not simply a piece of information, but an epiphany. I must instruct my audience not simply to see what is being described here with the mind’s eye, but to bring all the senses to bear—to hear the birds chatter, feel the river flow beneath the craft, touch the oars, the gunnels, smell the decaying bone chips, let the sulphurous odor of the nests sting the nostrils. Instead of solving the mystery he presents in the opening of “The Kingfishers”, Olson gradually shifts the emphasis from product to process. We must be in it totally to realize what is going on here. The question of what happened to the kingfishers is never answered in the poem—but by the poem. What fledges from it dives like a sea-bird into the unconscious.

Contemplating-the-Origin-of-Thought-An-Exercise-from-The-Secret-of-the-Golden-FlowerContemplating Mind Before Thought, Secret of the Golden Flower, 1668

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10 – Parsing (Parsivalizing) the Question

In his Holocaust memoir, Night, Elie Wiesel describes the secret teaching received by his young alter-ego, Elie, before the entire shtetle was transported to Auschwitz. Bare-foot Moshe the Beadle, who cleans the synagogue, instructs his young protégée, “At the end of your life God measures you by the depth of your question.”

In this teaching, authority isn’t captured by the answer. The deepest question answers itself by deepening. The mythos lies too deep for words but can be alluded to in a myth. Such is the wisdom imparted at the beginning of Wiesel’s narrative that portrays the naked depravity under the veneer of civilization capable of destroying ancient cultures and turning cities into rubble.

Olson asks, “The Kingfishers! / Who cares/ For their feathers/Now?”

Holden Caulfield, in Catcher in The Rye, wants to know, “Where do ducks in winter go?”

Chretien de Troyes’ Perceval inquires, “Who does the Grail serve?”

Von Eschenbach’s Parzival wants to know, “What ails thee?”

From Isis to Olson, we are challenged to re/member what has been left to languish in the dark. In every case, the healing power of the question is measured by the depth of the one who asks it. But what if the question itself is forgotten, lost, out of reach—or, more to the point, there is no

one to bring it full voice into the world?

25Parzival on journey lighter72_900Parzival, from the Feirefiz Project, Liz Neilson

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11 – Spreading the Word

Olson’s vanished kingfisher constitutes a loss of myth, and with it our connection to the unconscious, its potential to transform fragmented souls, the ka and ba of us, into an akh, “the effective one” or pure light of consciousness. As a consequence, something has slipped from our grasp that once linked atoms to the stars and bound existence into a unified whole.

“The Kingfishers,” begins with a comment that might easily go unremarked: He woke, fully clothed, in his bed. He / remembered only one thing, the birds…

I might have disregarded it entirely had I not been for my encounter with the spirit of place, the essence of old Ferrini caught by an etching on the wall. No sooner had I named him Pedrolino, than he spoke to me, as he does three days later, after I wake from the same recurring dream. I’m in a room full of folding chairs. They are empty at first, then people file in to fill them. They’ve come to hear my talk. I smile at them. They smile back. Everyone is dressed in blue and green: my ba-birds. I wake in cold sweat.

osiris_nefertariOsiris, Tomb of Nefertari

There has to be something I can tell them about “Trolling with the Fisher King.”

Listen, counsels Pedrolino.

I just need a little more time to tie things together. These are my two thoughts and perhaps from them a third will follow. 1) Olson fishes the imagination for something born on a nest of decaying bones, that voice from the underworld speaking through him, the poet, telling us to hear in this moment what “was differently heard// as, in another time…” and 2) birds guide dead souls in the underworld, and shield Ra in the 5th hour of his Night Sea Journey from the devouring maw of Apophis, which would extinguish the light. Then it comes to me, out of the tension of the two, a third suggested in von Eschenbach’s Parzival 3) that the lapis exilies, or Holy Grail was delivered to us by “the neutral angels” while a war between opposing camps raged in heaven. This may be an expression of the unchanging potential inherent in our psychic structure, a constant that binds our atoms to the stars; our mission is to apprehend what we already contain, the numinous as the thing in itself.

The message I will convey to my audience of ba-birds, is this: each one of us is a wounded Fisher King trolling uncertain waters. We must keep our lines in, follow the sea-birds. The voice we listen for is equally uncertain. It comes through us, “heard differently//as in another time,” but is not our own. The fate of the world from which it rises depends on it.

ad7c4-olson-birdseye2cjpg“O city of mediocrity…”, Olson is Gone, But We Are Here, Peter Anastas, 12.24.14

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12 – Epilogos

Charles Olson sought out Carl Jung when the latter spoke at Harvard in 1938, and engaged him in conversation about Herman Melville. The fever dream of wounded Ahab’s obsession with the whale pales in anticipation of the world driven to the brink of the abyss. Olson published “The Kingfishers” in 1949, long after public knowledge of the Holocaust and the bombing of Hiroshima had redefined civilization, and the year that Mao established the Peoples’ Republic of China. Jung was also putting together the connection between the transformations described by the Sun’s journey through the underworld, the Alchemical Work and his own theory of individuation as a transformative relationship between the conscious and the unconscious.

The Belgian alchemist Gerhard Dorn summed up the situation in his Theatrum Chemicum: “The sun is invisible in men, but visible in the world, yet both are of one and the same sun.” Olson and Jung were drawn to Dorn, a fellow Fisher King.

Olson plaquePlaque on Fort Street, Paul Pines, 8.2014

I feel Olson this afternoon as I walk through town to Fort Street to find the modest multiple dwelling house facing the bay. A plaque affixed to the peeling white wall is a tribute to the insistence of Henry Ferrini, as much as it to Charles Olson. My host at the Gloucester Writers Center, and Vincent’s nephew, Henry petitioned the city fathers for the installation until they relented. It remains the only physical evidence that locates Olson where he lived, looking out at the channel between the Inner and Gloucester Harbor.

Today, Gorton’s huge plant that hugs the shore along Roger’s Street facing the State Fish Pier processes frozen catch from foreign waters. The depleted local fishing grounds, and the plant that packages fish for export echo the missing kingfishers in the poem. I marvel that it was Olson who coined the term that defined such an age: Post Modern. And that he found in Gloucester material to create a mythic monument to what had been lost.

In Parzival the question is asked and answered; at the end, the Fisher King is healed and the land restored. In our time, we have yet to frame the question.

We fish to bring it to light. This is the theme of my book, Fishing On The Pole Star.

There’s a moment in my book, after weeks on the troll, just beyond Concepcion Island, when I hook a three hundred pound marlin, fight him for almost two hours, then bring him to the starboard side of our boat. Our mate holds him in place to “swim him.” The idea here is to quiet the creature and move him slowly until the water circulating through his gills restores color depleted after our struggle.

Color is important.

No shark in the ocean can best a marlin in full bloom. Dimmed, he is doomed.

Our big boy allows us to swim him until bands of green and blue blossom the length of his body. Then he bites down gently on the hand of the man who is holding him to signal he’s ready. The power in his great jaws could take the arm of his handler off at the shoulder with little effort—but the touch is delicate, almost reverential. Upon release, he rides up over the gunnel to meet our eyes with his large circular orb, full of an intelligence so balanced, so complete, I glimpse in it the Divine Child, and also The Grail. I think, Here is the constant which links the atom to the stars, and binds existence into a whole.

And then he is gone.

surrealist-art-2-by-artist-vladimir-kush-on-desartsSunrise by the Ocean, Vladimir Kush

—Paul Pines

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Pines_Paul

PAUL PINES grew up in Brooklyn around the corner from Ebbet’s Field and passed the early 60s on the Lower East Side of New York. He shipped out as a Merchant Seaman, spending August 65 to February 66 in Vietnam, after which he drove a cab until opening his Bowery jazz club, which became the setting for his novel, The Tin Angel (Morrow, 1983). Redemption (Editions du Rocher, 1997), a second novel, is set against the genocide of Guatemalan Mayans. His memoir, My Brother’s Madness, (Curbstone Press, 2007) explores the unfolding of intertwined lives and the nature of delusion. Pines has published twelve books of poetry: Onion, Hotel Madden Poems, Pines Songs, Breath, Adrift on Blinding Light, Taxidancing, Last Call at the Tin Palace, Reflections in a Smoking Mirror, Divine Madness, New Orleans Variations & Paris Ouroboros,  Fishing On The Pole Star, and Message From The Memoirist. His thirteenth collection, Charlotte Songs, will soon be out from Marsh Hawk Press. The Adirondack Center for Writing awarded him for the best book of poetry in 2011, 2013 and 2014. Poems set by composer Daniel Asia have been performed internationally and appear on the Summit label. He had published essays in Notre Dame Review, Golden Handcuffs Review, Big Bridge and Numero Cinq, among others. Pines lives with his wife, Carol, in Glens Falls, NY, where he practices as a psychotherapist and hosts the Lake George Jazz Weekend

The Drama of the Mind: A Profile of Janice Galloway — Victoria Best

Aug 052015
 

Janice Galloway via The ScotsmanJanice Galloway via The Scotsman

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I.In the eponymous story from her most recent collection, Jellyfish, Janice Galloway shows her genius for the ‘ouch’ principle: the wince-inducing collision of something exposed and over-sensitive with something brutal and sadistic.

We feel it coming; harbingers and hints surround Monica and her four-year-old son, on an outing to the beach as a last hurrah, the day before school starts. Alert to the impending separation, Monica sees danger and careless indifference all around her: in the mother who chats to a friend, unaware that her toddler in his buggy hangs over the kerb, too close to the wheels of a passing lorry; in the angry father swearing viciously at his little boy. She worries too much, she wants to protect. Somewhere between the wild beauty of the coast and the unsavoury piles of rubbish dumped by locals, they come across a parliament of stranded jellyfish. Transparent and ‘gummy’, out of their natural environment, one of them is little more than viscous pulp, object of blunt force trauma by human hand. How is the mother to explain this act of random violence on something so exquisitely vulnerable? ‘Maybe they hurt it – her voice faltered – they hurt it just because it can’t stop them.’ Ach, the jellyfish, so hopelessly undefended, not even a skin to mask its insides; the stupid jellyfish, out of its element and asking for trouble. The sight is painful because Monica – and through her eyes, the reader – knows how it feels, recognizes how easily one might end up in its place, how a cherished child might end up in its place. Characters in Galloway’s books are often alive to their inner jellyfish, and aware of – even enduring – the myriad situations in which the hammer may fall.

The recent Guardian review of Jellyfish suggested that these stories held new departures for Galloway in their focus on the parent-child relationship and the natural world. But both make fine provocations for the sort of catastrophic thinking typical to her work; thinking that has flowed and been repressed so many times it creates a carboniferous pragmatism. In the story that intrigued me perhaps the most, Eric Blair (otherwise known as George Orwell), is living with his young son on the Scottish West Coast island of Jura after the death of his wife, Eileen. It’s a hardscrabble existence in a place with no amenities and only the most basic of resources, and Blair is in denial over the diagnosis of his own soon-to-be-fatal tuberculosis. ‘You don’t fight an illness by fighting it; it gives not a hoot about your stoicism,’ the doctor tells him. But Blair is nothing if not stubborn: ‘Rest was not an appropriate response to encroaching lack of breath, lack of power. They had no idea what they were asking.’

Jellyfish - Janice Galloway

Inside his mind, two concerns breed fear; his belief that another war is coming, and his determination to ‘toughen up’ his young son. Excessive fear promotes a formidable fight response, but Blair cannot allow himself anything as weak as emotions; they must harden into ideologies. The story follows his trip to the general stores where he asks whether his parcel – a firearm – has arrived (it hasn’t), and then he begins the twenty mile return trip on his motorbike. The sound of a gunshot from the hills unsettles him so much he comes off the bike, but he’s okay ‘after a fashion’. Menace and machismo shadow box across the pages. He continues hoping for another five years in which to finish his novel and form his son: ‘He’d ruddy well achieve it by means of will alone.’ He was to die less than two years later. But his novel, 1984, the crystallisation of sadism and denial of feeling into a society in which only the broken would survive, lived a dark and splendid life after him.

It’s a fascinating portrait of an artist, from an artist who grew up in what seemed to be a sort of Scottish working-class family microcosm of 1984. Love in the form of brutality, the grim reckoning that the worst would be likely to happen and the best would be to face up to it, deprivation of all kinds, were basic elements of Galloway’s upbringing that transmuted into her writing. But her literary imagination tempers its casual cruelty with tenderness and a cautious optimism. Critics use the word ‘visceral’ a lot, but note the glittering seam of black humour. The New York Times Book Review memorably claimed her work ‘Resembles Tristram Shandy rewritten by Sylvia Plath’, which we might reasonably take to mean that she is an original. Her first novel, The Trick Is To Keep Breathing (1989) won the MIND/Allen Lane award, and was followed by two more novels, two short story collections and, before Jellyfish, two extraordinary memoirs that took the reader deep into the phenomenology of childhood whilst advising caution towards a simple overlap of reality and narrative. There were prizes all around. Not bad for a woman who claimed that an artistic vocation was unimaginable for her as she ‘thought writers were wealthy people who just wrote things out of the goodness of their heart and gave them as gifts.’

 

II.

Janice Galloway was born in 1955 in Saltcoats, Scotland, to a mother who ‘thought I was the menopause’. In the mythic version Galloway tells in her memoir, This Is Not About Me, which might be the true one for all she knows, her mother was unaware of the pregnancy until her waters broke, perhaps in denial of the freedom-busting, life-ending truth. The young Janice is never in doubt about her status as nuisance. ‘If I’d kent, she’d say, her eyes narrowing. If I’d just bloody known.’ Galloway’s father makes scant appearance in the pages, dying when Janice is only six, though when he’s there, he makes his mark felt. By throwing supper out the back door in a fit of temper, locking Janice inside and making her play chequers with him while her mother is locked out, knocking pitifully on the windows. And finally, setting fire (he was drunk and smoking) to the cigarette stand they owned but had not insured. Just over fifty pages in, she and her mother move into a tiny attic flat above the doctors’ surgery where her mother finds work as a cleaner.

This relative idyll does not last, for Janice’s older sister, Cora, joins them. Cora is seventeen years older and has left behind a husband and son of her own, and once her loud-voiced, gleefully selfish, hard-hitting, pan-sticked presence erupts into the pages, she stalks them like the fifty-foot woman of a B-movie. Galloway calls her Cora, though her real name was Nora, some sort of psychological distance being necessary even in a memoir. Cora takes up all the oxygen in their family and is dangerously jealous if her space, status and rule are in anyway infringed upon. ‘Delight to spite took seconds: there was no middle ground,’ Janice recalls. ‘She’ll be found dead up a close with her stockings around her neck one of these days, my mother said. Too bloody cheeky by half.’

Though it’s Janice whose life seems daily endangered. Cora is ‘handy’, which seems to mean useful for violence. She slaps, punches and headbutts her little sister, locks her in a cupboard, sets fire to her hair. Their mother is too tired and too defeated to intervene, and she loves Cora and cannot escape her thrall. The potency of the daemonic, the Greek concept of an unstoppable force of energy that could be turned either to good or evil, is Cora’s superpower. ‘Even wedged into a chair, Cora charged the air with electricity. Something around her crackled fit to kill flies and drop them at her feet in crispy little packets. I couldn’t take my eyes off her.’ She’s mean, but she’s fearless and vividly sexual. Janice is allowed to watch, enthralled, as Cora paints her face on, pours herself into a too-tight bodice and seamed nylons. A trip to the fair with her is high-octane stuff, all thrills and reckless spending. As Janice staggers dizzily off the walzer, Cora ‘walked in a straight line with her hands on her hips to prove it. Nothing beats me, she said. I could stay on that thing all night and not turn a hair.’ But one minute Jekyll, the next Hyde. When their mother has the chance to work full-time, her concern about Janice being all right alone in the two-bed council flat (they moved back in once her father died) becomes Cora’s decision she won’t get in at all. ‘You give her a key and she’ll let people in. Either that or somebody will take it off her. She can wait in the fresh air. It’s good for her.’

this is not about me

In fact, Janice likes the peace in the garden, and there’s the coal-shed if it rains or snows. Although Galloway would later say in interview with Stuart Kelly that ‘The expectation of brutality used to be a commonplace part of most [Scottish] upbringings’, there is a particularly intense quality of disenfranchisement about young Janice, a too-stark awareness of her lack of value, except as emotional punch-bag. The drama in her small household, ruled by Medusa and the Furies, turns her inward, gives her the obsessive good-girl mentality of someone who knows she does not simply deserve the oxygen she breathes. The memoir displays the close-grained hypervigilant powers of observation that come from the traumatised, or as Gareth McLean in The Guardian puts it, ‘her eye for detail comes from having watched life occur while maintaining not so much a dignified silence as a petrified one.’ We’ve been told from the start that this is not about her, and the key to understanding Janice’s story is to recognise the myriad truths in this statement. Her mother’s suicide attempt, her sister’s disappearance, from which she returns bruised and close-lipped, the screaming rows, all the crucible of disturbing events in which Janice is forged, stem from a history that predates her.

‘Watching their faces as they hurled half-understood insults at each other, the feeling of being in the way while most of it raged over my head was letting something else dawn as well. This wasn’t about me…. This was about Cora and mum; mum and Cora doing something they’d done since Cora left Glasgow behind and turned up at the attic… Longer even than that. Weans, my mother said. As though there had been more than one baby Cora had left behind. If I’m man-daft, where did I learn it? I’ve dealt with my troubles. My troubles. It was always the same in our house. Nothing you knew was solid.’

If the young Janice is obliterated by the emotional warfare carrying on around her (in a way that psychologists would suggest is the basis for most severe neuroses), she finds some comfort in knowing she is not its cause. Her place in the world is formed before she ever entered it, by a cross-hatching of fierce emotional currents, the legacy of ancient events, bitter disappointments and sacrifices, in the lives of those who supposedly care for her. Galloway is clear that there is love, that her own childish spirit, even if oppressed, still finds ways to slip free, but the climate and the conditions in which love and freedom find form are not in her control. This is the reality of all childhoods, but most children feel guilty and responsible anyway. The extreme weather of Galloway’s young life may stunt her growth, but it liberates her perspective.

If This Is Not About Me was about the origins of that ‘ouch’ principle, the collision of Janice’s innocence and vulnerability with her sister’s ruthless violence and her mother’s tough love, the next volume of memoir, All Made Up, is about putting Janice together again from the scraps of self left over after the carnage. As a child, she was good at schoolwork and liked singing. As she becomes an adolescent, music will take an ever greater role in her life. Latin will become an unexpected love. And there will be boys, of course, and inevitably. It’s not that conditions change much – within a couple of pages of the start of the book, Cora has broken her nose. And at the end, when Janice is dressed up in borrowed finery for an evening out with her fiancé, Cora takes one look before launching a plate of stew at her. So no change there, then; but Janice grows into her hardiness, her ability to flourish on very little soil and sunshine, and despite her family’s injunction to cultivate shame and self-doubt. ‘I think it’s part of the Scottish temperament: always waiting for something to cut you down to size,’ she later said in an interview.

all-made-up

The memoir races through the key points once Janice has left home for Glasgow university and a degree in music. Her mother died when she was 26, Cora died of a smoking-related illness in 2000 (and the sisters had barely met since Janice left home). This means that when Galloway sat down to write her memoirs, the main characters of her cast were not breathing over her shoulder. She was aware of writing exactly the sort of truthful account of their living conditions they would have hated, but Galloway had come to understand that old, uncomfortable need to pretend was motivated by working-class shame. When she gave her mother a telephone, she would only speak on it in a Yorkshire accent: ‘Even her voice wasn’t good enough to expose,’ she said. But in all the interviews she gave about her memoirs, Galloway is insistent that the mother and sister who appear within their pages are not direct transpositions: ‘I am a writer. You’re not writing people, you’re writing versions of people that fit into a story version of something universal as well as something ideosyncratic.’ But I have to wonder whether this barrier is not there to protect the dead, but to keep Galloway safe from their ghosts. In an article she wrote in the run-up to the Scottish referendum, she admitted that her sister had tracked her down once she realised she was ‘writing stuff’. ‘She phoned me. How she got my number I haven’t an idea. I recognized the voice immediately, however: if I thought I was It I had another think coming, she said. Do you hear? Pack it in. I felt 11 again and almost wept.

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III.

Janice Galloway’s first novel, The Trick Is To Keep Breathing, is an unruly narrative of a distressed and disobedient mind. The ironically named Joy Stone is a teacher in her 20s whose chaotic love life has tipped her over the edge of breakdown. The married man she has been living with – enough of a scandal in itself – drowned on a holiday abroad they took together and Joy’s grief is all the more unwieldy for being that of a mistress, socially unrecognized and unpermissable. She lives in Michael’s house (subject to further legal battles) on a sterile estate with poor transport links, while her own jerry-built house is slowly rotting away. Joy has no one to turn to. Her best friend, Marianne, has emigrated to America, her family consists of a sister, Myra, who ‘could just stand and scare me to death.’ Health care professionals are worse than useless. Joy imagines saying to her weary and indifferent GP: ‘Ok, let’s talk straight. You ask me to talk then you look at your watch… Can’t you send me to someone who’s paid to have me waste their time? You don’t know what to do with me but you keep telling me to come back.’ And all the time she is sinking deeper into bulimia and depression. She is the prototype jellyfish; a quivering wreck of exposed nerve endings.

Or you could read her as a 20th century version of Job, a woman crumbling under an onslaught of calamities specific to being an abandoned Scottish woman in the late 1980s in poor mental health. This is not a story that begs our sympathy, though, despite the rigors of Joy’s plight. Her exquisite vulnerability, which we readers are invited to witness as intimately as possible, from a ringside seat within Joy’s psyche, is played out on the page as an innovative typographical display that’s entirely distracting. There’s a cordon around Joy’s pain that comes from her own lack of lack of sympathy towards herself and the velvety-black humour that springs irascibly from her narration, as well as the experimental features of the text, attention-grabbing features of a verbal energy that ricochets around the pages, out of control, the underside of a too-tightly held persona masking inner collapse.

‘o yes
when I was good I was very very good but
but
there was more going on below the surface.
There always is.’

In the fragmentary text, words jump out from unexpected places and bleed into the margins, sentences trail unfinished, white space marks missing time and emotional dislocation, italics indicate the presence of memories that remain unintegrated. There’s no order to the story, and no neat boundaries either in the form of orthodox chapter divisions or quotations marks around speech. There’s just an uneven torrent of words acting out, or else a parodic inclusion of conventions: play scripts, for instance, marking cliched conversations, lists, excerpts from magazines spouting cultural commonplaces, and marching imposingly across the narrative, the dreaded mantras of mental health:

The More Something Hurts, the More it can Teach Me…
I write:
…..Persistence is the Only Thing That Works.

I forgot to write:
…..Beware of the Maxim.
…..Neat Phrases hide Hard Work.
…..Everything Worth Having is Hard as Nails.’

A beautifully unarticulated paradox rises up from all this verbal play, in which the insufficiency of such mantras is almost insulting in comparison to the depth of Joy’s disorientation and pain. But such inadequate linguistic supports are all that exist as a bridge back to normal life. Galloway is nothing if not respectful to the reality of her protagonist’s state, and little is resolved by the end of the narrative. But there are the earliest hints of healing; tiny shards of optimism that stud the conclusion with welcome precursors of light.

Talking of cautious optimism, her second novel proved that her characters were at least ready to risk travelling abroad again. In Foreign Parts (1994), Rona and Cassie are friends of long-standing, and mildly mismatched travelling companions who have come to spend their precious fortnight off work in France. Short of cash and feeling unworthy of culture, they know ‘that proper holidays are for proper people with proper money and that real travellers, in denim bermudas of uneven leg length, travel to real faraway places in search of real poor people enduring real life in the raw. We are neither real nor proper: just fraudulent moochers in other people’s territory, getting by on the cheap.’ Cassie, source of the narrative voice though it floats, according to Cassie’s mood, between first, third and even second person, is sensitive, observant, moody and questing for something real and meaningful. Rona is stolid, calm, accepting and happy to tick the vacational boxes. Their differences come to a crunch mostly over the guidebook they have brought with them, entitled ‘Potted France’, whose injunctions to notice historical features enrage Cassie with their vapidity.

foreign parts

Threaded in between the stages of their journey are descriptions of photographs from holidays Cassie has taken with boyfriends in the past and the memories they evoke. Not that these holidays have been any better than the one Cassie is currently on. Holidays fall into a similar category to horoscopes, magazine articles and self-help books for Janice Galloway’s main characters: they are places where the commonplace fantasy of achieving something splendid cracks under the weight of recalcitrant reality. Rona, Cassie tells us, at times when they are sleeping in the car, or in some terrible 50 franc-a-night dive, ‘loves games of not admitting hellishness is hellish.’ But Cassie, like Joy Stone, is in no mood to pretend. And more than that, there is an unspoken but deep-rooted belief in both books that anything revelatory, real, valuable or significant, can only come from an unflinching scrutiny of the situation. When Cassie does transcend the ordeal of pointlessness that is tourism – in Chartres cathedral, playing house in a gîte they hire, standing on the beach at Veulettes before taking the ferry home – these moments have a full-bodied poetry about them that can only come from patient attendance on the authentic.

As such, this is a novel wilfully rejecting a number of conventions; it is not the buddy road trip or travel novel that we might be expecting. Cassie’s sharp edges puncture any such glib journeying. More confusing to its readers (if Goodreads reviews are any indication) is Cassie’s conclusion as the end of the trip nears, that she is no longer interested in a heterosexual relationship, but considering the possibility of moving in with Rona. Cassie and Rona may squabble and bicker, but there is a mutual understanding and recognition between them that is missing, as far as Cassie is concerned, from a relationship with a man: ‘They don’t have the same priorities, to be able to organise their priorities in a compatible way with ours,’ she explains. Cultural fantasy rears its head again, to be cut down to size: ‘The knight on a white charger is never going to come, Rona. You know why? Because he’s down the pub with the other white knights, that’s why.’ If there are generalisations going on here, then they belong to a Scottish culture that lags behind the times (‘There are real gender problems in my country,’ Galloway said once in interview). But what Cassie wants is something free from all sexual and domestic norms. The life she envisages with Rona has no recognisable, culturally-approved shape, resists all labels and orthodoxies.

Right at the start of the book, the first sign Cassie and Rona see when they get off the ferry says: BRICOLAGE. This is a common sign in France, indicating a D.I.Y. store, but its original meaning is one of Heath Robinson-type construction, using bits and pieces of other things to create something new. For this reason it was borrowed by the nouveaux romanciers in the 50s and 60s to describe a kind of literary experimentalism that took apart the nuts and bolts of narratives and put the pieces back together in innovative ways. It stands as a fine sign to hang across Foreign Parts, too, in which the patchwork of travel guides, lists, overheard conversations, street signs, flashbacks and letters correspond at a technical level to the unorthodox ways of experiencing travel and building relationships that are its themes. The disparate and the heterogeneous are more playful, less threatening than in Trick, the anxiety and anger about a dissatisfying present are soothed in this novel into something forward-looking and hopeful.

Galloway’s third novel, Clara (2002), was in some respects a departure, a long, lyrical account of the life of Clara Schumann, child prodigy, world-famous concert pianist and composer. Clara passes from the tyrannical hands of an overbearing father, a piano teacher whose love for her resides in her responsiveness to his teaching and who basks in her reflected glory, to those of her husband, Robert Schumann, mad, melancholy, ambitious in his own right and unequal to tolerating a more famous and successful wife. It’s essentially a study of the discipline, the strategems and the sacrifices a woman like Clara must make in order to stay in touch with her musical creativity. Concerns about gender, freedom and madness abound, tethered to historical and biographical realities.

There is still experimentation, but what’s intriguing is that it is so seamlessly incorporated into the narrative it’s oddly harmonious, rather than disruptive. There are phrases from musical scores, poems, lists (of course) and the use of different font sizes. The latter are easy to decode, for they range from the huge beetling-black words of fortissimo, to the smaller fonts of diminuendo. Lists are staccato, poetry is cantabile, all is effortlessly woven into a smoothly flowing, wordy andante narrative. The voice nimbly skips between the heads of Clara, her father and her husband, able to pick up on a wide variety of moods, constantly singing.

clara

In her interview with Stuart Kelly, Galloway denies that her use of experimentation in the early novels was ‘politically motivated’, saying instead that she ‘just didn’t know how to write a story’. Whispering in her ear, perhaps, was the shade of her sister, telling her that if she thought she was It she should just pack it in. The experimentation, in all probability instinctual, reveals a sophisticated understanding of the landscape of the mind when functioning in a state of extreme fear, duress, or misery. Those fragmented, discontinuous texts showed how words could perch unabsorbed upon the mind’s surface, how other voices within might be heckling from the sidelines, how memories repeatedly broke through any stable crust in the present with unwelcome or alien messages. But over the years there is a distinct progression in Galloway’s novels, one that has the appearance, not of anything as facile as healing, but of steady incorporation, acceptance of the ‘hellishness’ for what it is, a breaking down of old parts in order to put them together again, economically, in something new. After Clara came her memoirs, her darkest and her funniest works, the most revealing and the most accessible. Galloway had always been a formidably innovative storyteller; now the novelty was that the story could tell itself straight.

.

IV.

In the final tale in Jellyfish, ‘distance’, Martha is all alone on a trip to Jura, site of George Orwell’s last days. Many years ago now, when she was an insecure young mother, her small son cut his head open on a glass table and the accident unleashed some reckoning with the arbitrary and inevitable nature of catastrophe that has never been resolved. Her solution back then was to divorce her husband and allow him custody, afraid that her own fears would prove contaminatory to her child. Since then, Martha has cut herself off, taking only supply teaching work so she should never be lulled into the responsibility of relationships. Though the invisibility begins to tell. Attempting to teach Orwell to a class of resistant children, she tells them about the time he saved his four-year-old son from drowning in a sailing incident. ‘Sometimes, she said, there’s more to people than meets the eye. Repressed and paranoid and dying is not a whole picture of anyone.’

And maybe Martha is dying; in her forties now, with an burgeoning disease that is gynacological, possibly serious, possibly not, she decides to take this solo trip to Jura. The freedom feels easeful, at night watching the waves she understands: ‘There was no hidden code, no message, no meaning. What happened out there was random, wholly without blame or favour. In the end, nothing hinged on human decisions, nothing demanded retribution or just deserts: what happened was just what happened.’ Then, driving back to her lodgings in the darkness, listening on the car radio to Mozart’s Queen of the Night, she runs over a deer. Martha staggers over to the beast, longing to comfort it, afraid her touch will terrify it further. ‘Dislocated bars of Mozart were gusting like feathers in the night air,’ as she tends to the animal and her own relentless blundering in the world. ‘I’m here, she said, her words bouncing off the surrounding rocks and rising, furious, into the solid dark. I’m here. I’m here.’

And here Galloway’s voice remains, holding fast to its lament of risk and vulnerability, innocence and brutality that cannot be resolved. Instead, the elements are left suspended in uneasy harmony together, awaiting conclusion, a perfect augmented chord.

—Victoria Best

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Victoria Best

Victoria Best taught at St John’s College, Cambridge for 13 years. Her books include: Critical Subjectivities; Identity and Narrative in the work of Colette and Marguerite Duras (2000), An Introduction to Twentieth Century French Literature (2002) and, with Martin Crowley, The New Pornographies; Explicit Sex in Recent French Fiction and Film (2007). A freelance writer since 2012, she has published essays in Cerise Press and Open Letters Monthly and is currently writing a book on crisis and creativity. She is also co-editor of the quarterly review magazine Shiny New Books (http://shinynewbooks.co.uk).

Chance Encounters of a Literary Kind: Raymond Carver — Robert Day

Jul 092015
 

 

It was in Iowa City where I first met Ray Carver. He was then teaching at the Writer’s Workshop. I don’t recall what I was doing there, maybe being interviewed for the kind of job Ray had: you teach one semester or two, and then someone takes your place. (In fact I did that a few years later.) Or maybe I was just passing through to see my friends Marvin Bell and Jack Leggett. Speak memory?

Somehow, some place, for some reason, Ray asked if I’d drive him to the Iowa City airport. Sure. By this time I’d read a number his stories in Esquire (not knowing then about the controversial cuts that had been made by Gordon Lish, the fiction editor there). In those days Ray was drinking. He drank on the way to the airport, offering me a pull. Thanks, but no thanks. Keep the bottle for me, he said as he got out of the car. Sure.

In the car I talked; Ray did not. Or at least not much. I told him what I thought about his fiction, especially Fat, using the two terms that in those days were applied to his work: “K Mart Fiction” and “Minimalist Fiction,” what Granta called “dirty realists”—that’s those Brits for you. Reading his stories, I said, he had taught me a few things. You don’t need much teaching, he said, and tried the bottle on me a second time. I’ll put it on your desk in EPB, I said. Thanks, he said.

I also asked where he was going. It was probably a Wednesday afternoon. You could teach either a Monday-Wednesday schedule at the workshop or a Tuesday-Thursday schedule. Ray had apparently picked Monday-Wednesday. But now that I think about it, he might have made special arrangements to teach Monday-Tuesday for reasons that I would learn later had to do with his flight that day.

Chicago, he said.  Chicago? He said nothing more.

Frank Martin uncrosses his arms and takes a puff on the cigar. He lets the smoke carry out of his mouth. Then he raises his chin toward the hill and says, “Jack London used to have a big place on the other side of this valley. Right over there behind that green hill you’re looking at. But alcohol killed him. Let that be a lesson to you. He was a better man than any of us. But he couldn’t handle the stuff, either.” Frank Martin looks at what’s left of his cigar. It’s gone out. He tosses it into the bucket. “You guys want to read something while you’re here, read that book of his, The Call of the Wild. You know the one I’m talking about? We have it inside if you want to read something. It’s about this animal that’s half dog and half wolf. End of sermon,” he says, and then hitches his pants up and tugs his sweater down. ‘I’m going inside,” he says. “See you at lunch.”

This passage is from Ray Carver’s story “Where I’m Calling From.” I will explain later.

The next time Ray Carver—in fact the next two times—came into my life were through his editors, one being Michel Curtis, the fiction editor of the Atlantic Monthly, and the aforementioned Gordon Lish of Esquire. In what order is also now lost to my apparently speechless memory.

At Washington College where I once taught we would bring in poets and writers for the students, but I thought a good literary editor might helpful as well. That had been my case when I was a student and the University of Arkansas MFA program brought to campus Ted Soloratoff of New American Review. In was in this spirit that I had invited Mike Curtis, fiction editor of the Atlantic.

In advance of his arrival, he sent me a copy of the magazine in which Ray’s new story, “Cathedral,” had been published. It was not at all like the Ray Carver stories I had read in Esquire: It was long, very long, and there was nothing K-Mart about it. But there was something else: it rambled as a matter of design. Not shamble, because there was nothing awkward or clumsy about its pace. If Carver’s Esquire stories were tight in their telling, this one was loose. But in its fashion, beautifully telling.

At lunch that day with Curtis and students I thanked him for the Atlantic and said how much I enjoyed “Cathedral,” but that it was long for a Carver story. It is neither long, nor short, Mike said, it is the right length for the story. His answer seemed blunt, as if there were reasons behind it I did not understand. Which was true.

We then talked about length (as opposed to brevity) in short fiction, with Melville being part of the conversation, along with Katherine Anne Porter and J.D. Salinger. But I kept thinking how quickly Curtis had made his point about Carver. I refrained from asking about the absence of the K Mart stores in “Cathedral,” much less “dirty realism.”

It was a few years later (or earlier?) that also in the spirit of bringing an editor to campus that I invited Gordon Lish, the fiction editor of Esquire. The students at Washington College had a literary house for themselves where they would give readings, host visiting writers, hold a salon among themselves, publish literary magazines and, using a warren of rooms, write novels and stories and poems and plays. All through the house were framed posters of those literary folk who had stopped by: Edward Albee, Gwendolyn Brooks, William Stafford, Allen Ginsberg, Toni Morrison, Joseph Brodsky, John Barth , Katherine Ann Porter, Anthony Burgess, Lawrence Ferlinghetti, Richard Wilbur, John Ashbery, Diane Wakoski, and more. The Washington Post called their house the Carnegie Hall of Literary Readings. They put it on a T-shirt.

It was the custom of the literary students who inhabited the house to decide if the visitors were worthy or not. If not, the poster would be hung upside down. Very few were, but apparently they thought Gordon’s visit (consisting of conferences, classes, and a public lecture) was so poor they turned his poster to the wall. Done.

Well, not quite done. Some of the students pointed out that while Lish was of little or no help to them with their writing, through him, Ray Carver had been. Not that I knew this until I was told later that everywhere Gordon went on our campus (to a student reception for him; in classes; in the conferences he had with students over their work), he brought up Ray Carver: What a fine writer Carver was and that one way to develop as a writer was to read with a writer’s eye authors you admire. Ray Carver, Gordon Lish had asserted, will teach you by what he has written. Type out passages you like from his stories, Gordon told them, and he will teach you more than your creative writing teacher (that would have been me).

After some debate, and after the students began reading Carver, a new vote was taken and Gordon got turned around. Still upside down, but at least no longer a blank on the wall.

What those students learned from Ray Carver was probably what I had learned: his restraint in describing or delineating a character and in this way giving the character a chance of his own; his candor about the grim faults of those he had created; his half open-ended endings, as if a door is left ajar. I owe him.

The second time I met Ray was with Jack Barth at a bar in Baltimore to get something to eat before Ray was to give a reading at Johns Hopkins that evening. Ray was not drinking, Jack said by way of introduction. I nodded; Ray nodded back. I wondered if he had remembered me from Iowa City. I didn’t mention it; nor did he. We talked books and writers. I mentioned Ray’s use of Jack London in “Where I’m Calling From.” He told me had learned a lot from London, but not about drinking. That he had learned on his own.

In the pause among us, I asked Barth how he learned to be a writer. I was a failure at being a jazz musician, he said. And you? he asked me. In fact it was from Jack London, I said. How so, asked Ray?

I read “To Build A Fire” for a university course in American Literature and when I went to class the professor explained that the story was a Man-Against-Nature story. He explained that for fifty minutes. There are Man-Against-Man, Man-Against-Society, and Man-Against-Nature stories. The next class the professor explained that sometimes nature wins, sometimes man wins…and so on…for another fifty minutes.

Ray said he’d heard that lecture as well.

Somewhere in haze of those hundred minutes, I said, I found myself thinking how much I liked the writing in the story. The language of it. Shouldn’t that count for something in an English class? Not that I knew then what could be said about the language. But when I went back to my dorm room and read the story again the writing seemed splendid in ways I could not name so that in order (I now suppose) to understand what I admired, I propped the book up beside the portable Royal type writer my mother had given me before I went away to school and typed out the first long paragraph which I then memorized:

Day had broken cold and gray, exceedingly cold and gray, when the man turned aside from the main Yukon trail and climbed the high earth-bank, where a dim and little-traveled trail led eastward through the fat spruce timberland. It was a steep bank, and he paused for breath at the top, excusing the act to himself by looking at his watch. It was nine o’clock. There was no sun nor hint of sun, though there was not a cloud in the sky. It was a clear day, and yet there seemed an intangible pall over the face of things, a subtle gloom that made the day dark, and that was due to the absence of sun….

Before I could finish, Ray took over:

This fact did not worry the man. He was used to the lack of sun. It had been days since he had seen the sun, and he knew that a few more days must pass before that cheerful orb, due south, would just peep above the sky-line and dip immediately from view.

He had been there before.

It was later, and it was either Jack Leggett or Connie Brothers at the Iowa Writers Workshop, who told me that Ray had been flying back and forth between a college teaching job in California only to fly back later in the week to take up his position at Iowa. Not that anybody knew the story at the time. Or maybe they did.

—Robert Day

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Robert Day

Robert Day is a frequent NC contributor. His most recent book is Where I Am Now, a collection of short fiction published by the University of Missouri-Kansas City BookMark Press. Booklist wrote: “Day’s smart and lovely writing effortlessly animates his characters, hinting at their secrets and coyly dangling a glimpse of rich and story-filled lives in front of his readers.” And Publisher’s Weekly observed: “Day’s prose feels fresh and compelling making for warmly appealing stories.”

Late Prose of First Years: Autobiography — Pierre Joris

Jul 012015
 

Pierre JorisPierre Joris

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

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

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

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

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

START OVER:

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

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

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

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

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

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

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

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

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

 

—Pierre Joris

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

 

What It’s Like Living Here — Kate McCahill in Santa Fe

Jun 052015
 

New Mexico landscape

Pants

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THE CAR IS SILENT until we’ve left Saranac Lake and are headed towards Tupper, and then the road begins to wind and curve, to climb and descend, and we’re thrust into deep, swampy Adirondack forest. It’s a freezing day in January, and Pants, the cat, begins to fidget. She growls, a low, guttural sound that matches the car’s grumbling engine. I sing to her, and her tail swats at the mesh walls of her carrier. Finally, she turns away from me to face the passenger-side door. Through the mesh, I can see that her ears are pricked.

Pants, I say, and she yowls.

My father recommended this curving route through Blue Mountain Lake and Indian Lake, towns built on the shores of those bodies of water, white buildings with red roofs, Adirondack mountains in backyards. Those are the last of the High Peaks, my father had said, and then there’s nothing til you hit the Rockies.

I am bound for New Mexico: I have two friends there and a teaching job. My father thinks New Mexico is the least American of all of the states, and from the moment I told him about the job offer in Santa Fe, he rooted for it. He proposed to my mother at Taos, on a day when it was snowing. I don’t know much about my father’s cross-country trips, just that he took them periodically through and after college, crashing in cheap hotels and in tents and checking the maps for the routes with the most mountains. Once, as we were driving under a bridge on the Colorado interstate, my father said, I slept here once.

There are trees still around us, but soon there will be none; that’s when I’ll have to start trusting him.

Soon, I say to Pants, we won’t recognize this country at all.

McCahill3

We spend our first night in Rochester, which is farther west than I’ve ever driven from home. In the morning it feels so strange to get in the car for a second day and go farther. The landscape flattens, the spaces between houses lengthens, the road empties. We reach the Great Lakes and there is water to the right, to the north, long stretches of it that reveal themselves through breaks in the lines of trees. There’s nothing between the Adirondacks and New Mexico, my father had said, but he hadn’t mentioned that there’d be these. I’ve never seen the Great Lakes until now; we drive alongside water for miles and miles, wind whipping across the road and smacking the car.

Through Pennsylvania we drive; we sleep in Illinois. We sleep in Missouri. By Oklahoma, I’m starting to worry, for how blank and brown the landscape is, and how windswept Tulsa. Is this how New Mexico will be?

When I cross the border, though, I know I needn’t have worried. Everything instantly changes color. The wind stops its howling, blocked by the distant ranges. The land is red and green and brown and gold and studded with dark green shrubs. All that lines the road are occasional wire fences, occasional grazing cows, and the beautiful, sprawling land. The shift from northern Texas into New Mexico is miraculous.

Look, I say to Pants, but she’s gone to sleep.

The sun warms the car and we drive west, farther and farther from our old home and closer and closer to our new one. In the distance, I see snow on peaks. I’ve never driven this empty road before, but somehow, it feels familiar.

road to nm

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Desert Nights

In Santa Fe, they call the speed bumps, ‘speed humps.’ I hear equal parts Spanish and English in the grocery store, at the gas station, in the library. The terra cotta walls of the homes match the color of the earth, and the riverbed that runs alongside our street has formed itself of clay, of wind-blown sage, of crumbling stones and of the mountains that rise up in the distance. My roommate’s dog gets prickers in her paws and limps; a man stops us to tell me that they’re called goat-heads, those thorns.

You aren’t from here, are you? he says, when I ask him a second time what the prickers are called. We talk for ten minutes; the rain begins. He seems not to notice. I learn that the rain is rare but these types of conversations are not; in the shops, at the school, on the street, people talk. People slow down and wave me across the street; people smile.

Meanwhile, the rain gusts and wanes and then turns to snow. The air smells of piñon and smoke. People decorate their yards not with grass and flowers but with gray and white stones, with antlers bleached silver and with driftwood worn smooth. I hike in the woods; I peer into the windows of shops, decorated with chili-pepper lights, and glance at the paintings inside.

Winter

Just before darkness falls here, the sky turns violet, and in the early hours of morning the mountains glow pink. I wake in the night and look out my window; the sky is brittle, the moon a round and shimmering orb, the stars icy dots far above us. Pants purrs from the window, making peeping sounds at the tiny, hopping birds I cannot see.

Here we are, three thousand miles and six days from home. And so it begins, our new life: we’ve traded water for sky and tall trees for grass.

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Dark Rooms

It’s hot in the classroom on the first day of my teaching job. Every seat is taken. I unpack my things, write my name on the board, announce that this is English 109, and I am the adjunct instructor. My new students suggest Red or Green? as a get-to-know-you question, and I’m the only one who doesn’t know what that means.

Be careful, they warn me when they learn I’ve come from the east coast. Start with green.

For their first essay, my students must write about a challenge they’ve overcome. From that very first set of papers, I learn that some of my students go home after class to hoards of children, who clamor over them. One has a mother who is silent all the time, and one has a father who hates fat people. One has an uncle who takes her into a dark room from time to time and closes the door. One has a father who burns her writing; one has a memory of a bad-smelling room, a winter afternoon, the first time he said good-bye.

sf nm

One woman writes that she can still remember being locked in a closet as a child with a bucket and a dish of water on the floor. One man, who can’t be more than 22, has been to jail already twice. He has two daughters and a wife, and he teaches me what the word recidivism means.

When they read their stories aloud, their voices sometimes tremble. Sometimes people weep. We close the classroom door but take inside with us our families, our lovers, our road trips, our childhoods crumpled by domineering mothers, by a life without a father, by a sideways glance that almost killed us and by the gleam of a bottle, half-full. We remember hard times, but there is much beauty as well. Sometimes, words pour over us and bring us somewhere else, far from this room, this desert college, this date and time.

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Arroyos

In New Mexico, Pants discovers the outdoors. A Boston cat before, she now routinely squirts out the screen door before I have time to stop her. She darts to the smooth cement patio and rolls there with urgency; her tail thickens and the strip of fur along her back raises to a ridge. I can hear her purring throatily as she jumps the stone fence, skitters up the cedar tree, races down the stairs to the cellar door. She sniffs everything: the air, the trees, the stones, and I chase her out of the yard and into the desert, up and down the rolling hills and along the sandy arroyo.

Pants2

While I’m out, I sometimes imagine Pants lying pressed against the window, a screen the only barrier between her and a world she is dying to learn. I imagine her slipping out and my chasing her, farther and farther each time until eventually I chase her right out of sight. Is letting her leave a sign of love? Must I trust that she’ll return, and that between the trees and on the dirt is where she most wants to go?
I go over to pet her. We’ll have to find out a better system, I tell her, and she gazes out at the birds on the stone fence, then up at me.

It’s only a matter of time, her green eyes say, and I wonder where she sends herself when her eyes are closed. Are her dreams a river of scents and gusts of wind?

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American Roads

I learned to drive in Boston, sharp turns and quick blinkers and the pedal constantly pressed against the metal. In New Mexico, I learn that yes, some people actually are out on leisurely Sunday drives, despite it not necessarily being Sunday. People drive slowly, and they don’t use their signals. It’s not unusual to share the road with a trucker, an immigrant boy in his grandfather’s ancient Ford, a tractor going thirty miles under the speed limit, a couple of horses galloping alongside the road. A pickup pulling a trailer, a horse’s head sticking out the window, its main fluttering in the breeze.

another road

The oldest cars you’ll see in America can be found here in New Mexico, because our environment is just right for them—no salt, hardly any rain, and no moisture. Dry. High. Only the sun can hurt your car, peeling the paint over the course of months and years, bleaching your roof and hood bright white. Gas is the cheapest in the nation, I am told.

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Windows

Winter rolls into spring, and the sky is a seamless blue. The air grows warm but never muggy, and even in the nighttime everything smells of baked pine. Stars fill up the sky. I walk down empty roads. At nighttime, coyotes come eerily close, their cries like human wails, frightening and familiar both. Pants watches them in the darkness; out my apartment windows, there’s always someone to watch. Birds live in a nest in the rafters, and beetles creep over the brick floor.

Backyard

The seasons pass, and I feel my world broaden a little more each day—a new friend, a new trail to ski, a new view of distant Albuquerque. A new town, nestled in the hills, where the residents paint their houses teal and salmon and sell expensive turquoise and painted bones.

At the community college, I learn to start my lessons late. Only half the class is ever there when I arrive, and missing ten or a dozen students, I discover, is normal. This is the New Mexico way, I quickly realize. You ease into things here.

And so I start my lessons at ten minutes to nine. Students trickle in, people arriving as late as ten o’clock, and not even sheepish. They are a laid back group—sometimes too laid back when it comes to staying awake in class, turning in essays on time, avoiding words like u and thru and nowofdays. Trying not to write dessert when what they’re really describing is the desert in which they live. People look out the windows a lot; I learn not to scold but to ignore.

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Fires

The semester ends, and the campus empties. The smell of fires from the Jemez Mountains thickens the air. Fire season, people say to each other in the grocery store, shrugging their shoulders, peering out the windows. The smoke smells sweet and strange.

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Open Doors

On the fourth of July, I wake up and the door is open and Pants is gone. She never goes out at night; the coyotes are rampant, now that we’re in a drought. There’s no food, no water, and so they come scavenging in our yards.

I run out into the darkness, barefoot, not even feeling the goat-heads. I am shivering; my heart is pounding. She doesn’t come, and she doesn’t come. For an hour I stumble, calling her name. In the morning, she still doesn’t come. I walk weeping through the neighborhood, pasting up signs and knocking on the doors of complete strangers, who are kind and take my number and give me a drink of water. They tell me they’ll call if they see anything, and no one is cruel enough to mention the brazen coyotes that sing every night.

Months pass, and still I don’t give up hope. I wait for someone to find her in a garage. I walk the neighborhood, softly calling her name. Only when winter comes do I finally stop looking; when the first snow of the season falls, I go outside and kneel in the brown grass and close my eyes. There is no stone for her, nothing to bury that she left behind. I pray that she’s found her place between the trees and coyotes, the hawks, the velvet nights, the sun and moon. I listen hard, but only the wind comes.

A hundred times I will think of the open door, the wind and the darkness beyond, the chattering night and the sliver of moon. I’ll imagine cooling jewels of fireworks. I will think again and again of that night, when something wild came and took her away.

door

American Roads

Where I live, the days are long and clay-colored. By March, waves of heat blow in through the windows. Spring Break comes and goes, and my students start to fidget. People wear flip flops to school. Young women bare their bellies and guys their muscled arms, wound in tattoos. Trees begin to bud. We taste summer early here.

Now, I live on the plains with a long-haired man; we find pot shards in the garden every year. The mesa in the distance is long and red. There are trailers out here and old burial mounds, tiny adobe churches with bells mounted to the roofs. A peacock screams in the morning, and at dusk, coyotes come.

mesa

I have another cat, calico like Pants was, but this one came with a nipped ear and a strong desire never to go outside. She skitters away from open doors, content to purr and blink and flick her tail at the window. She also came with a name: Mora, after a northern New Mexico town. Pants is dust and sage now, dust and sage and piñon and wind.

The desert has taught me to pray for rain. I search the sky for clouds, and when the drops finally fall, I can smell water before it hits the ground. The scent creeps in through adobe walls. I can hear it on the roof. I stop what I am doing and listen and breathe, because I have learned what it means to wait for water.

This desert is at turns bitter and wild, sweet and enchanted. Tonight, the sky is the color of a cactus bloom. My father doesn’t blame me for never wanting to leave: he comes to visit; we ski at Taos; we hike in the canyons. He sees what this place has done to me: I am a teacher now, and in the summers I am a writer and a farmer. Money matters to me less than it did before. Pot shards line the windowsill, and the cat eats cobwebs on the stairs.

Flowers

—Kate McCahill

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Kateportrait

Kate McCahill’s essays have been featured in Best Women’s Travel Writing and Best Travel Writing (Travelers’ Tales), The Lowestoft Chronicle, Wellesley Magazine, Numéro Cinq, and elsewhere. Born in Lake Placid, New York, McCahill now lives in Santa Fe, New Mexico, and is a member of the English faculty at the Santa Fe Community College. Read more at www.katemccahill.com.

Childhood: Five Wonders — Leona Theis

May 092015
 

Early Autobiographical Work, age 5Early autobiographical work

Leona age 9Nine years old

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The pop machine

MY FATHER OPERATED a garage in the small prairie town of Bredenbury, Saskatchewan, pop. 500 or so, located just off the Yellowhead Highway 30 miles west of the Manitoba border. The garage was low and squarish, with a huge sign mounted high on the front that read ‘Hi-Way Service,’ navy blue letters against white. I don’t know how much that sign set my father back, but I know it was too fancy by half for a small-town shop in the sixties. A year or two after the sign went up, the new highway went in, skirting the town entirely. The unlucky Hi-Way Service now fronted on a low-traffic graveled street little different from any other street in town. Over time, the blue letters weathered to a colour close to purple.

Inside the garage, over to one side, was a pop machine built like a chest freezer. Sometimes, not often, on a hot day I would slip into the garage, into dimness after sunlight. The clank of a tool hitting a workbench, the pffft of an air hose, the earthy smell of oil. I would make for the pop machine, use all my muscle to push open the lid, and peer over the side at the rows of glass bottles. They hung in their separate metal tracks, NuGrape, Orange Crush, Seven-Up, Club Soda, Coca-Cola, suspended by their bulbous little chins, their lower parts immersed in a bath of ice-cold water. I could reach way, way over, feet lifting off the floor, and plunge my hot hand into the cold bath. Once in a long while, or maybe once, period, my father found a dime and slipped it into the coin slot, and I slid a bottle of NuGrape along its track and out past the metal guard. Ten cents bought one release of the guard and the satisfying slap as the metal fell back into place after the bottle came out. An opener was mounted on the front of the machine, a pry mechanism, and below it a cap-catcher shaped like a tiny pregnant belly. I held the bottle, sliding-wet from its cold bath, and my father gripped it further up, along its tapered neck, and helped me lever off the cap. It fell, clink, against the other caps inside the little belly. I have never lost my appreciation for the earth-sweet smells of gas and oil. I wasn’t really even supposed to be in the garage.

Hi-Way Service before the SignHi-Way Service before the sign

 

The pasture

I was a town kid, but Nickel’s pasture was my little bit of wild. I could get there by walking: across a gravel street, across the corner of a neighbour’s triangular lot, across a ditch. Not there yet: across the gravel road that used to be called a highway, across another ditch, and finally along a lane. I liked to sit in the pasture at the bottom of a little draw, low enough that I couldn’t see a single house or car or shed. The pasture was rimmed by scrubby bush: chokecherries, saskatoons, spindly poplars. Down in the draw I was in the Wild West, a place I knew from TV, in all its black-and-whiteness. Kicking around the house we had an Indian-princess hairpiece—a pair of braids made from three pairs of old nylon stockings. Bobby-pinned into my hair, the braids hung on either side of my white and pink and freckled face and draped onto my shoulders. I don’t recall if I was wearing the braids on the day I’m thinking about now, the day I was frightened by my own heartbeat. Crouched in the draw, summer warm on my hair, sun frying my freckled nose, I listened to the silence of that small world. And then I heard a beat, relentless, rhythmic. Indian drums! From the stand of poplars over there! I froze for a moment; then I ran home fast, listening as the drumbeat sped with me, inside my chest.

Years later, my sister and I and the girl from across the street put the pasture to another use. Hanging from a nail on our kitchen wall was a tin matchbox holder, and in it was a box of Eddy’s Redbirds. The tips of the matches were banded blue and red and white, the colours of the Union Jack. We’d grab them by the handful, couldn’t stop ourselves from licking them to taste the naughty taste. We’d make off with them to light our little fires. In the pasture we pulled together small, dense stooks of dry grass, lit them, and watched as they went poof, and flared and died. One day the flare didn’t die. We high-tailed it away and waited for a grown-up to notice the grass fire. Eventually, a grown-up did. The volunteer fire department came out in force to quell the flames, and we were either not found out or were silently excused without a fuss.

The _Little Kids_ (Leona on the left)The Little Kids (Leona on the left)

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The nuisance grounds

Small-town Saskatchewan kids were free-range kids in the sixties. We could walk along a country road to what we called the nuisance grounds, about a half a mile from town. On one excursion, we three girls found skin magazines, and we ripped out pictures of partially naked women and folded them into our pockets. Were we ten or so? In the heat of summer days, among the reek of rotting left-behinds, we found other memorable junk—one day the remains of the combination mailboxes the post office had disposed of after the conversion to keyed boxes. The old boxes had metal fronts, about five inches wide and four inches high, each with two concentric dials on the front that reminded us of the safes we saw on “Get Smart.” These metal doors were still attached by hinges to wooden drawers, and the drawers slid in and out of what remained of the wooden framing that housed them when they were still in use. Some of the frames were open at the top, and we could see inside the guts of the mechanisms well enough to figure out the combinations by watching closely as we turned the dials. Every kid needs a place to store her secrets. We had a wagon with us (of course), and we each took home a mailbox or two. We memorized the combinations, closed the open tops with nailed-on boards, and hid the dirty pictures inside.

Water lines

 

The Red Thing

We four sisters shared a bedroom. Two sets of bunk beds. I assume that The Red Thing, which stood at the foot of one of the beds, began as a display stand that came to the Hi-Way Service in the course of business, and once the product it displayed was sold out—oil, antifreeze, wiper blades?—my mother or my father carried it half a block to the house so it could be put to a new use. It was made of heavy-gauge wire, say three-eighths of an inch in diameter, and the wire was coated with a red material, silicon or plastic or some such. It had two or three shelves, and the back and sides were an open grid of wire. Into and onto this rig we piled books, teen magazines, comics, puzzles, paper dolls.

—Where’s my Nancy Drew?

—It’s on The Red Thing.

The Secret of the Old Clock, Donna Parker, The Curly Tops Snowed In (my first-ever hard-cover book, which my mother brought home from a magical place in Regina called The Book Exchange), Heidi, Treasure Island, Little Women, Call of the Wild. The bottom shelf was low to the floor, and the broom wouldn’t fit underneath; you’d have had to move the entire rig to sweep there, and so when I sat in front of it to sort through the sliding stack of Archie comics and colouring books I could see the dust curls underneath. We weren’t much for housekeeping anyway. Words were the thing.

We discovered The Red Thing was sturdy enough, and freighted with enough printed matter, that it could counterbalance the weight of a child hanging upside-down off the front of it, feet up top, hands grasping the sides halfway down. Every kid needs a members-only club, and every club needs a pledge. I remember one of my sisters, face blossoming red, hair dangling inches from the dust bunnies, reciting “I will hang upside-down, I will hang upside-down, I will hang upside-down for my club, the upside-down club.” I can recall no function of the upside-down club other than hanging upside-down.

One evening—I think I was about nine—I heard my three sisters laughing in the bedroom, and I walked in and grouched at them, because what could be funny when my mother had just told me we were about to lose the house, and we’d all be out in the snow with our furniture by Christmas? Snow falling on the bunk beds and The Red Thing, I supposed. And on all the books, the ones on The Red Thing and the others, hundreds of them ranged on shelf after shelf in the living room, the ones I had to stand on the back of the sofa to reach.

I don’t know how my mother succeeded, ultimately, in saving the title to the house. A lot of yelling went on, those years, and we girls managed sometimes to tune out the specifics. I do think it must’ve been my mother who saved the title. My father was smart in his way, a small-time genius as an inventor, mechanic and electrician, but he had no head for business or law, and he was so good at avoiding the tough questions that he knew how to leave mail unopened for years if he didn’t like the address on the upper left corner of the envelope. Long after my parents died, going through old files, I came across a sheaf of papers that had to do with the house, the garage, the courts: eight letters from the sheriff, seventeen from various creditors, fifteen notices to do with unpaid taxes, and three to do with court proceedings. A note in my mother’s handwriting attests that a letter from one creditor remained unopened for seven years; it was old enough that the mailbox the postmistress would have sorted it into would have been opened by combination rather than key. Through the years when all that was going on, I would sometimes sit in front of The Red Thing and open my copy of Heidi and bring it to my nose and sniff the pages. The smell of ink and binding glue and pressed paper would call up a feeling that I want to describe as friendship. I still do this with books; I still am surprised by that same feeling, whether or not I know beforehand that it’s what I’m looking for.

SistersWeavingSisters weaving

 

The garden

In the early years, we grew vegetables in the vegetable garden. One summer my next-older sister and I—we were the “little kids” and the two oldest were the “big kids”—were paid 88 cents each for a couple of days of hand-pulling portulaca and pigweed free of the stubborn clay. Why 88 cents? Because the general store was advertising an 88-cent sale and as part of this special occasion they’d brought in toys, a rare addition to their stock. When my sister and I walked into the store clutching our coins we learned that most of the toys were in fact priced at $1.88 or $2.88. We did each come home with something cheap and plastic and unmemorable, I’m sure we did, and I’ll bet we loved these things for as many days as we would have loved the more expensive bits of plastic. But weeding—we hated it. The garden became a wonderland only after my parents lost interest in using it to grow vegetables. In the area where a different family might have planted potatoes and beans and corn, my sister and I dug an enormous hole, an underground fort. Evenings, I would scratch my scalp and have my fingernails come away full of grit, a satisfying feeling, evidence of a day well spent. We dragged old boards from here and there and laid them across the top of the hole, and we crouched inside amid shadows and candlelight. The smell of a candle burning inside dirt walls gave me a thrill I felt low in my tummy. A finger in the flame, how long can you hold it there? Or drip some wax into the palm of your hand and feel the bite. The small rituals of our club of two in our safe little hideaway, built too small for grown-ups. We were the bosses down there. We owned the place.

Sisters in the Garden (Leona on the left)

 —Leona Theis

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Leona2014 #2

Leona Theis writes novels, short stories, memoir and personal essays. She is the author of Sightlines, a collection of linked stories set in small-town Saskatchewan, and the novel The Art of Salvage. She is at work on two other novels and a collection of essays. Her essays have appeared in or are about to appear in Brick Magazine, Prairie Fire, The New Quarterly and enRoute. She lives in Saskatoon, Saskatchewan.

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Inquiring Spirit: My Friend, Jim Cerasoli (1938-2015) — Patrick J. Keane

Apr 302015
 

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When members of Jimmy’s family told Jim McQuade, Director of Schuyler Hill Funeral Home, that, at Jimmy’s request, we were having neither priest nor funeral mass, he warned us that we might have trouble getting Jimmy into St. Raymond’s Cemetery. He proved prophetic. Growing up, Jimmy and I had been thrown out of a couple of Bronx taverns, but getting barred from the graveyard was a new experience. In lieu of a priest, I had been invited by Jimmy’s family to give a eulogy. “That would be fine,” said Jim McQuade, as we sat at a table; I could “just briefly sum up Jimmy’s life.” We laughed because, more than anyone I’ve ever known, Jimmy’s life was not one to be glibly summed up. Everyone thought they knew Jimmy; but they knew only aspects of the whole, complicated man. His life, rich and multifaceted, fell into many different, apparently incompatible phases. Yet there was an underlying integrity, in both senses of that word.

Jimmy had been a hell-raiser and legendary fist-fighter growing up; then a father who raised one son early, and later two young children single-handedly when their mother, Sharon, died young. Professionally, he was chief consulting engineer for the Bronx from 1980, and was in charge of the capital budget program, overseeing money allocated for such construction programs as the Grand Concourse rehabilitation and the parks improvements from Hunts Point to Riverdale. “But he was a lot more than that to me,” said former Borough President Fernando Ferrer. “He was indispensable.” As the go-to person for district leader Michael Benedetto, Jimmy handled housing and zoning issues; in addition, demonstrating Assemblyman Benedetto’s description of him as a “tremendously giving person” who quietly helped many people, Jimmy, each year, did the income taxes, gratis, of more than a hundred seniors who couldn’t figure out the forms or afford to pay a professional.

After retiring in 1995, Jimmy stayed on for almost two decades with the borough president’s office as a part-time consultant. In these years, he also taught physics at Bronx Community College. As engineer and architect, Jimmy created—pro bono—the building now housing the Chippewa Democratic Club, of which he was treasurer for more than 40 years. Still vital, energetic, and physically powerful, Jimmy was, in 2005, diagnosed in a late stage of a particularly horrible form of incurable cancer.  It was in valiantly battling multiple myeloma for ten years (which must be the world’s record) that we all saw Jimmy’s stamina and real courage. So, is there any key that helps explain so varied a life? Not really, but let me make a tentative triple-suggestion that will seem strange to those who didn’t know the “whole” Jimmy: strength, stars—and pigeons.

The pigeons, a group shot.

From the time he was a kid, Jimmy had a coop, and flew pigeons.  Later, residing in Locust Point, he had a flock that numbered almost two hundred. Jimmy and his sons David and Alex lived very near the Throgs Neck Bridge, its under-structure a favorite nesting place for peregrine falcons and hawks. Jimmy flew his pigeons every day and loved how they out-maneuvered the predators, making undulations and quick turns in the air, so that it was almost impossible for a falcon or hawk to kill one. (When many were killed, including Jimmy’s pair of beloved black homers, it was not by a hawk, nor by the family of feral cats Jimmy fed daily, but by a raccoon who got into the cages.)  Once, a frustrated brown hawk pursued some pigeons right into those cages. Jimmy’s first instinct was rage, but he quickly appreciated the magnificence of the hawk and he knew that it, too, had its part to play in the natural order. So he kept it for a day or two, admiring, studying, and photographing it.

As for strength: When we were growing up, Jimmy was himself a hawk, a warrior who never lost a fight even against much larger opponents. I’ll give just two examples, but they represent many stories of Jimmy’s almost mythical prowess as a fighter. My neighborhood, Alden Park, had (laughably enough) a so-called private beach, consisting of a pier and about 50 yards of water. Once, when we were sixteen or so, Jimmy came over to hang out with me. We went down for a swim. An older guy, a blond and brawny 6-foot, 220-pound wire-lather, informed Jimmy, who weighed about 145 at the time, that this was a private beach and that he wasn’t welcome. Jimmy started to leave. But the Big Man couldn’t leave well enough alone: “And don’t come back, you little guinea.” About ten seconds later, Jimmy did leave; but they had to carry the wire-lather home. Jimmy, 75 lbs. lighter and 3 inches shorter, had cut him down with a half-dozen lightning-fast punches that left the would-be hero and actual bigot sprawled and bleeding on the pier.

This is a photo I took myself about 60 years ago circa 1956. Jimmy is standing with two of the girls in our crowd Diane Schleininger and Janet Gartner

On another occasion, a year or so later, Jimmy faced down even bigger odds. In a nocturnal raid, we had snuck into a pool and concession called Bronx Beach and stolen 17 cases of beer. Having “borrowed” a rowboat, we transported our booty to a small cabin cruiser moored off a waterfront stretch called Big Oak. The plan was to return early the following morning and move our goods to a safe location. Unfortunately, when we arrived shortly after dawn the boat was gone. We discovered that the owner and his friends (who must have thought they’d died and gone to heaven) had left for Oyster Bay on the north shore of Long Island to fish and camp out. A few days later word reached us that they were back and were having a grand time in what was then an orchard that sloped down to our own Bay, not really a “bay” since it opens onto the Long Island Sound. When Jimmy and I arrived and peered through the foliage we saw eight guys and their girlfriends listening to music and enjoying “our” beer. This was a moral outrage, a violation of the code of honor among thieves. We jumped the fence and Jimmy walked right up to the biggest guy, the fellow who owned the boat we’d used for temporary storage. “The party’s over,” Jimmy announced, ordering the leader to pack up the beer, put it in one of their cars (we were carless) and take it to where we wanted it. Even with their girlfriends present as witnesses of their humiliation, he and the others complied. Even at odds of 8-2, they were afraid to tangle with Jimmy.

Back then, he seemed all strength and speed. The first time we ever saw a set of weights, Jimmy, 14 years old and weighing about 140, military-pressed 20 pounds or so above his body-weight, astonishing the older guys who owned the barbell.  He ran the 100 and 220 at Cardinal Hayes, winning at both distances; and once, at a Rice Stadium meet where I was running the 440 for St. Helena’s, Jimmy was asked to substitute for an injured shot-putter. I watched amused as Jimmy, a complete novice at the event, outdistanced the competitors, but was disqualified on all three shots, one of which was so off it actually grazed someone in the audience.

But under all that physical power there were other, deeper qualities. Jimmy had a formidable brain, and dreams. When he and I weren’t getting into trouble, we often sat on the sea-wall, gazing at the opening to Long Island Sound off City Island, looking out at the beautiful green lantern of Stepping Stone Lighthouse, and up to that greater lighthouse, the stars above our heads. In time, Jimmy would know almost everything there was to know about the birth and death of stars, as well as about black holes, special and general relativity, and quantum mechanics. Back then we would discuss “escape velocity,” the speed a rocket would have to attain to break earth’s gravitational pull: 7 miles a second. And this was long before John F. Kennedy pledged to send a manned rocket to the moon and back.

Jimmy and Alex2Jimmy and Alex

Earlier this week, when Alex invited me to look through his father’s books, I was re-reminded of the range of Jimmy’s interests.  There were books on the Bible, and on Jesus alongside volumes on the universe, on string theory and quantum mechanics; several books on Einstein; on history and philosophy; novels, poetry, books of literary criticism (not all, but most by me, since Jimmy was as proud of me as I was of him). From the time he was a boy, Jimmy was what Samuel Taylor Coleridge called an “Inquiring Spirit,” especially when it came to questioning, from the perspective of science (physics and evolutionary biology) the religion in which we had both been raised and long believed. In later years, he was particularly fond of two passages I’d cited in my book on Emerson. In his essay “Intellect,” Emerson posed a choice between “Truth and Repose.” He who simply accepts the comfortable “creed” he has inherited will find rest,

but he shuts the door to truth. He in whom the love of truth predominates will keep aloof from all moorings, and afloat. He will abstain from dogmatism, and recognize all the opposite negations, between which, as a wall, his being is swung. He submits to the inconvenience of suspense and imperfect opinion, but he is a candidate for truth, as the other is not, and respects the highest law of his being.

This passage had a momentous impact on the lives of both Emily Dickinson and Emerson’s greatest disciple, the German philosopher Friedrich Nietzsche, both of whom were raised in deeply religious families. Nietzsche, the son and grandson of Protestant ministers, echoed Emerson’s thought, and choice, in a youthful letter to his sister. Should we, the twenty-year-old Nietzsche asked rhetorically,

arrive at that view of God, world, and reconciliation which makes us feel most comfortable?….Do we after all seek rest, peace, and pleasure in our inquiries? No, only truth….Faith does not offer the least support of objective truth. Here the ways of men part: if you wish to strive for peace of soul and pleasure, then believe; if you wish to be a devotee of truth, then inquire.

Restless (as his sister Barbara told us) from the time he was a colicky baby, Jimmy never, ever sought “repose,” either in his life or in his intellectual inquiries. I should have added that his library included, along (of course) with studies of pigeons, books on aviation. When, after he got out of the Marines, Jimmy was living with his wife Beth and their baby, Jimmy Jr., in a trailer in Moonachie, N.J., he was working full-time and studying for his engineering degree. Yet he somehow found time to learn to fly a plane!  Why?  Well, pigeons fly, don’t they?

Jimmy in the Marines.Jimmy (right) in the Marines

Armed with his engineering degree, Jimmy eventually rose through the ranks of the New York City Highway Department and other positions to become chief engineer of the Bronx, working, as I said, out of the Borough President’s office. Whatever lunacy and law-breaking we engaged in growing up, once Jimmy was in a position of power, he proved incorruptible. As many told me at one of his retirement parties, Jimmy’s word was his bond. His agreement over the phone could be, literally, taken to the bank. Many projects in the Bronx are the visible results of Jimmy’s efforts.  As boys looking up at the stars, we talked about escape velocity; but Jimmy, unlike the rest of our crowd, never wanted to escape from the Bronx. Instead, he wanted to stay and improve it. And he did. As current Borough President Ruben Diaz, Jr., remarked in his tribute: “James Cerasoli gained the respect and admiration of all through his tireless work in the Bronx. His signature is imprinted on numerous maps; his work and his memory will live forever.”

Jimmy with David as a baby

That most endearing of Jimmy’s qualities—his intense and lifelong love of animals—bore enduring fruit in improvements to the Bronx Zoo.  In charge of the capital budget, Jimmy made sure the Zoo got its share and more of the borough funds. Our close-knit crowd of two dozen, which has kept in touch for six decades, always loved the Zoo as kids; for us it was an oasis, a Magic Kingdom. When Jimmy and I, with my own family, visited it as adults, Jimmy was treated like a king by those who appreciated his support. Why was the Zoo such a priority?  Of course, it was the borough’s main tourist attraction. But for Jimmy, it was personal. The bank robber Willie Sutton was once asked why he robbed banks. His answer was as famous as Willie himself: “that’s where they keep the money.” For Jimmy, the Zoo was where they keep the animals and, if they had to be in confinement, he wanted to do what he could to insure that they were kept in state-of-the-art comfort and able to enjoy maximum freedom. The big cats are no longer in cages.

Jimmy among the deer at Catskill Game Park.At the Catskill Game Farm

The one photograph his sons submitted for Jimmy’s newspaper obituary shows him, a quarter-century ago and looking much younger than his 52 years, feeding deer at the Catskill Game Farm (closed, sadly, in 2006). As his son David rightly said, the photo exemplifies Jimmy’s love of animals. I think that love of animals, especially his doting on his pigeons, even helps explain Jimmy’s liberal politics; he always championed the underdog rather than the predatory and powerful. His pigeon-skills certainly honed the qualities that made this tough athlete and undefeatable street-fighter a loving and nurturing caregiver when he was left with two young boys to raise on his own. He had learned whatever he needed to master in order to care for his pigeons; now he learned whatever he needed to know to take care of his boys—even learning to cook, and to cook well.

Jimmy’s final decade was incredibly difficult, but he fought this terrible and terminal disease with the same courage and skill that he’d once displayed in fist-fights. (He studied multiple myeloma, and soon knew as much about it as his doctors). In this battle, however, he had the support and love of a close-knit family: his sisters Barbara, Arlene and Pinky, his brothers Hank and John and his young sons David and Alex.  For years every Friday was set aside by Hank and John for lunch with Jimmy at a restaurant of John’s choosing.  When I was visiting from upstate, I was invited to join them.

Jimmy Jr. and his wife and three children lived far out on Long Island, but for Jimmy’s 75th birthday, the whole family got together, and again I was invited. Ironically, Alex, who had been at his father’s side virtually every day since he’d been diagnosed with multiple myeloma, had to be in Florida. But it was good that the rest of us were there, since, just a year later, young Jimmy suddenly died of a heart attack. This was, in many ways, the last twist of the knife. I came down for the first of two wakes, right here at Schuyler Hill. But Jimmy (burdened with an oxygen tank that embarrassed him and which he relegated to Jim McQuade’s office rather than draw attention to himself) had to endure a second wake and funeral out on Long Island.  When I came over to the house the next day, and asked the stupid but inevitable question as to how it had gone, he said, “Pat, I felt feelings I didn’t know I had.” Alex told me that that was the beginning of the end for Jimmy; that much of the fight—and it had been a long and brave fight—went out of him.  David, Hank, and John agreed, and I sensed it myself, though Jimmy tried to maintain a stoic front. I can’t talk here about David’s and Alex’s own relationship to their father because I will be reduced to uncontrollable tears—as Alex was at Jimmy’s deathbed while David, my godson, tried to hold it together.

Jimmy with his three sons.

Terrible as that death was, it was peaceful, and Jimmy, who we think was able to hear us, was surrounded by those who loved him—no small thing.  It seemed to me at the time, and even more so today, that it was particularly appropriate that when his time came, he died in a hospital named for his intellectual hero, Albert Einstein.  The last long conversation I had in Jimmy’s kitchen (I’ll tell you in a moment about our last phone conversation), we talked about Walter Isaacson’s book on Einstein.  I knew why Einstein had (one of his few errors) rejected quantum mechanics; but Jimmy actually understood quantum mechanics! Though Einstein acknowledged that it explained much, he could never bring himself to accept quantum theory because it was random and Einstein was committed to strictly determined mathematical laws of nature. As he famously said, quantum theory “says a lot, but it does not really bring us any closer to the secrets of the old one [der Alte]. I, at any rate, am convinced that He does not play dice with the Universe.”

 That kind of God-talk led many—especially in his adopted country, America, where he was much beloved and had become a pop-culture icon—to conclude that Einstein believed in a personal God, one who cares about us, is accessible to prayer, and promises (for good or ill) an eternal Afterlife. Einstein did not believe in such a deity. In a letter written to a little girl in the sixth grade who wanted to know, “Do scientists pray?” Einstein, endearingly, took her question seriously. He responded that scientists are not likely to be inclined, in a world where “everything that takes place is determined by laws of nature,” to believe “that events could be influenced by prayers to a supernatural being.” Nevertheless, he continued,

Everyone who is seriously interested in the pursuit of science becomes convinced that a spirit is manifest in the laws of the universe—a spirit vastly superior to that of man, and one in the face of which we with our modest powers must feel humble. In this way the pursuit of science leads to a religious feeling of a special sort, which is indeed quite different from the religiosity of someone more naive.

His God, Einstein told the New York Times, was “Spinoza’s God,” a divinity inseparable from Nature itself—though he was also convinced, like that sublime and “god-intoxicated” yet “atheistic” 17th-century Jewish philosopher, that no matter how we try to “penetrate with our limited means the secrets of nature,” we find that, “beyond all the discernible laws and connections, there remains something subtle, intangible, and inexplicable. Veneration for this force beyond anything we can comprehend, is,” said Einstein, “my religion.” That “humble admiration” and “deeply emotional conviction of the presence of a superior reasoning power, which is revealed in the incomprehensible universe, forms my idea of God.” Introduced to the philosophy of Spinoza by his friend Coleridge, William Wordsworth, in “Tintern Abbey,” captured that “presence” (the essence of Spinoza’s pantheism) in deliberately vague but deeply moving lines:

MMMMAnd I have felt
A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime
Of something far more deeply interfused,
Whose dwelling is the light of setting suns,
And the round ocean and the living air,
And the blue sky, and in the mind of man:
A motion and a spirit, that impels
All thinking things, all objects of all thought,
And rolls through all things.

In 1930, Einstein concluded his credo, “What I Believe,” by defining what he actually meant in calling himself “religious”:

The most beautiful emotion we can experience is the mysterious. It is the fundamental emotion that stands at the cradle of all true art and science. He to whom this emotion is a stranger, who can no longer wonder and stand rapt in awe, is as good as dead….To sense that behind everything that can be experienced there is something that our minds cannot grasp, whose beauty and sublimity reaches us only indirectly; this is religiousness. In this sense, and in this sense only, I am a devoutly religious man.

In that sense, and that sense only, Jimmy, an inquiring spirit in the mode of Spinoza and Einstein, was a devoutly religious man—to the very end of his life and beginning from the time when, as kids, he and I gazed out on the water on moonlit or starry nights and then up to the stars themselves. When we were rummaging through Jimmy’s books, Alex showed me something his father had inscribed on the library wall, and which Alex intends to carve out and save: “My improbable God: before Infinity, there is God; after Infinity, there is God.” If that’s not good enough to get into the “religious” cemetery, to hell with them.

Jimmy facing reality at the kitchen table he was practically chained to in the final years2Jimmy facing reality at the kitchen table he was practically chained to in the final years.

I’ll end with that last phone call, and with the final lines of a Wallace Stevens poem, both of which involve deer and, of course, pigeons.  I phoned Jimmy one day while I was looking out the window at my back yard.  Out on the lawn were three deer, a few squirrels, two mourning doves and two pigeons. “How are they interacting?” Jimmy asked, the old enthusiasm still there despite the pain. “Harmoniously,” I said.  But the peaceable kingdom was interrupted.  There’s a 100-foot spruce in my yard and a huge female goshawk (bigger than the males of the species) often nests there. She swooped down. The deer were unnerved, the squirrels scampered to safety, and the mourning doves ducked into the hedge. But the pigeons took off with the hawk in fierce pursuit. I was disturbed, but Jimmy assured me, “don’t worry, she’ll never get them.”  He was right.

This scene prompted me to quote to him over the phone the final lines of Stevens’s “Sunday Morning,” a poem centered on a woman who does not go to church that morning, but instead seeks her religion in nature.  She finds herself in what the poet calls in the final stanza “an old chaos of the Sun, unsponsored”: a beautiful but perishable universe in which we must all die. This is our mortal condition; what are our consolations? Jimmy loved the ending of the poem, finding in it, along with the appreciation of deer and birds, a beautiful and brave death-image, an image that applies, as my friend Barron Boyd recently remarked, to Jimmy’s characteristically courageous acceptance of his own impending descent:

Deer walk upon our mountains, and the quail
Whistle about us their spontaneous cries;
Sweet berries ripen in the wilderness,
And, in the isolation of the sky,
At evening, casual flocks of pigeons make
Ambiguous undulations as they sink,
Downward to darkness, on extended wings.

Jimmy, who seemed unconquerable, is gone. But nothing can erase, as Borough President Diaz noted, Jimmy’s permanent “signature imprinted” on the Bronx. That “will live forever,” as will the memories that will be preserved—until our own deaths—in the hearts of family and friends who loved and valued this remarkable and many-sided man. And I will think of my brother-in-spirit as inextinguishable in a more profound sense. When, without that funeral mass, we were denied permission for burial in the Catholic cemetery, we decided to have Jimmy cremated. Back in 1957, when he was 19, Jimmy shared with me a now famous essay in which four astrophysicists argued that the iron in our blood, the calcium in our bones, the oxygen we breathe, are the remnants, the ashes, of stars that died in supernova-explosions billions of years ago. When, this summer, we scatter Jimmy’s ashes in Long Island Sound, it will be into water we now know derived in part from a titanic gas cloud older even than our solar system. Out on Hank’s boat, we will be returning Jimmy to the world of nature he loved, and to the cosmos that fascinated him, stardust back to stardust.

Pat Keane/ April 10, 2015

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Afterword: For David and Alex

I returned to Syracuse in time on April 11 to make, I thought, a Curlew Theatre play about W. B. Yeats, for which I’d written an introduction and which was scheduled to be performed at Le Moyne College at 7pm. I didn’t know that while I was in New York City for Jimmy’s death and wake, the time had been changed to 4pm. It was good that I didn’t know, because something rather wonderful happened in my walk over to the college—as I told Kate Costello-Sullivan, Le Moyne’s Dean of Arts & Sciences, in the following email, which I’m now sharing with you.

Dear Kate,

Unaware that the play had already been performed, I left for the college at 6:50. I was walking due west on Salt Springs, thus directly into the setting sun. As I came over the rise in the road, I suddenly found myself looking at 7 or 8 deer: they were just standing there, stopped in the midst of crossing from the college side. I heard two cars coming fast, maybe 100-150 feet behind me. Between the brightness of the sun and the fact that the deer were just over the rise, neither driver could see what was ahead. I jumped out in the middle of the street and started waving. One driver slammed on his brakes, the other swerved onto a lawn alongside the road. The little herd of deer took off. The drivers understood.

When I got to the college, the doors were locked. I tried another possible venue, and that’s when I saw a poster, with the time, 4:00, and featuring a line excerpted from one of Yeats’s finest poems: “Man is in love and loves what vanishes.” I’d felt pretty good about the deer episode right off. But as I started walking back, it dawned on me that if I hadn’t been precisely where I was at precisely that moment, one or both of those cars would have plowed into the deer.

My friend Jimmy had been cremated that morning. As I’d emphasized in my eulogy, along with being a legendary fist-fighter when we were growing up, Jimmy was, among other things, a deep and lifelong lover of animals. Later, as Borough Engineer of the Bronx, in charge of the capital budget, Jimmy was responsible for many improvements in the Bronx Zoo. He hated the idea of animals in captivity; but if they were to be confined, he was determined to insure that they were comfortable and enjoyed maximum freedom. And they do.

Jimmy kept and flew pigeons from the time he was in grade-school; and on his last visit up to see me, he loved seeing the deer in my back yard. I ended my eulogy with the final lines of Stevens’s “Sunday Morning,” beginning, “Deer walk upon our mountains,” and ending with pigeons, at evening, making “Ambiguous undulations as they sink/ Downward to darkness, on extended wings.”

I don’t believe in miracles, but I’d been despondent walking over to see the play—a play that, as it happened, had already been performed. Thus, I had no reason to be on that road at 6:50. You apologized, Kate, for not getting my phone call in time to stop me. I’m obviously delighted that you didn’t. Walking back to my house, the more I thought about having “saved” the deer, the more elated I became. I remembered that little Robert Frost poem, “Dust of Snow”:

The way a crow
Shook down on me
The dust of snow
From a hemlock tree

Has given my heart
A change of mood
And saved some part
Of a day I had rued.

That’s what happened to me yesterday. The reminder that we still live “in nature,” with creatures other than ourselves, altered without erasing my sadness at the death of a friend I loved and admired, got in trouble with, and discussed literature and science and religion with, for two-thirds of a century. But last night, going to bed still thinking about those deer, I slept for almost 11 hours—more than the preceding five nights combined. Being on that road at 6:50 was a gift, and it comforts me, even as I’m writing these words, to think, intuitively rather than rationally, that it was a last gift from Jimmy, still watching out for the animals.

—Pat

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Pat Keane and Jimmy.

Patrick J. Keane is Professor Emeritus of Le Moyne College and a Contributing Editor at Numéro Cinq. 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 (2007).

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تالان (A Looting): Essay — Agri Ismaïl

Apr 072015
 

Agri Ismaïl

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Premise: Four men sit around a giant bottle of vodka, picking at various unappetising appetisers as waiters hurry to bring them an assortment of mixers and pour clumsy blends of vodka and juice. The men raise a toast, welcoming each other, and talk of work, politics, war. One of the men tells the story of when, in 1996, he had saved up and bought his very first portable cassette player after toiling away at the reception desk of a local hotel for months. He describes the specifications of the lost device (auto reverse! 20–radio station memory!) with affection between modest sips of his drink. He recounts how when the city was taken, he was sure that his house would be looted due to his political affiliations, so he considered whom among his friends and family members was least enmeshed in the political situation before driving it to his young cousin, sure that his house would be spared. The man starts giggling then, before he has even told the funny part: of course, in the end, the cousin’s house was the only one in his family to be looted. All the men laugh in recognition. They drink to all that was taken, all that was lost.

§

IMAGINE THAT THIS STORY has roused whatever part of you that is interested in narratives, for whatever reason, and that you are about to undertake the increasingly non-trivial process of deciding what form said narrative is to take.

Imagine, furthermore, that you are a Kurd, that the event takes place in Sulaymaniyah, a Kurdish city in Northern Iraq and that the men in the above scenario are all Kurds speaking in a Sorani dialect. The first conclusion presents itself as evident: this should be a narrative in Kurdish.

At first, this seems satisfactory. It pleases the dreadfully lazy part of you to know that minimal effort will be needed to achieve an acceptable level of verisimilitude (dialogue will admittedly need to be polished somewhat to achieve a certain degree of artificiality in order to pass for realism, but can otherwise be reproduced more or less verbatim).

Also, to write in a minor language is to a certain extent its own reward. It is not just about reaching an audience (which for Kurdish literature is minuscule, even if you were to disregard the fact that Kurds use two completely different alphabets; it is also, perhaps even foremost, about preserving and enriching said language. The thought that something you write can, fairly easily, have such lasting power feeds your ego tremendously. You imagine cyborgs in the future attempting a comprehensive account of the extinct human race by reverse-engineering our technology to be able to read today’s hard drives and noting that there was such as a thing as Kurdish literature. This will, you imagine, please the cyborgs.

You think back on the Kurdish novel, a feeble object that has barely been allowed to breathe, kept alive by authors like Sherzad Hassan, Bakhtyar Ali and the dearly departed Mehmet Uzun, in spite of overwhelming evidence that literature is pointless in a society that wants to emulate the capitalist wonderlands of our most generic cities (to echo Rem Koolhaas), our Singapores and Dubais and Heathrow Terminal 5s, while simultaneously fighting off the medieval LARP currently en vogue. A tricky juxtaposition, that. But it has always been thus, literature has never had it easy here: texts were uniformly banned for being written in a language that several governments tried their utmost to eradicate during the 19th and 20th centuries. A novel cannot be written, after all, if the language to write it in does not exist. When novels appeared at all, it was often small editions printed by clandestine presses, an arrestable offence for author and publisher alike. That we then define 1929’s The Kurdish Shepherd by Erebê Şemo, 1961’s Peshmerga by Rehîmî Qazî and 1972’s Jani Gal by Ibrahim Ahmad as some of the first Kurdish novels merely attests to the fortune of these manuscripts to have survived. Indeed, there are no extant copies of the first edition of The Kurdish Shepherd, which was originally published in the Soviet Union and heavily censored. That it has survived is only due to a 1947 Beirut reprint. Similarly, Ahmad’s Jani Gal had to be rewritten twice from memory after the original manuscripts were burned or lost, and it wasn’t until a French translation appeared courtesy of L’Harmattan that the text appeared in its complete state, including geographical locations and the overt references to the regime that had been previously excised. It is indicative of the subjugated state of Kurdish writing that one of the very first Kurdish novels ever to be written appeared in its entirety not in Kurdish, but in French, as late as 1994.

The remains of the Kurdish novel are, then, mere shadows, flickers of what once was. To think of what exists as a comprehensive picture of Kurdish literature is akin to thinking Sappho’s fragments represent her complete work.

You fortunately no longer have to worry about censorship, about having to burn your only manuscript in the garden before Baathist police get to it, about having to hide a printing press in your bedroom. Even the Turkish government, which for decades insisted the Kurdish language did not exist (and, in a wonderful display of incoherent logic, that this thing that did not exist should, because it did not exist, be banned) has begun to begrudgingly tolerate texts written in Kurdish.

And yet, there are other obstacles. Such as the invisibility of your work by merely writing in a non-Latin script, where it will be hidden to all but those who can conjure the signs to summon it. You often labour under the belief that everything can be found online, yet forget that in order for this to be even slightly true, you must master alphabets that mean nothing to you, alphabets that your computer is reluctant to write in. The non-Latin text is sealed off, unsearchable by the Latin index, hidden behind the limits of written language. You think of the character in Reza Negarestani’s Cyclonopedia who is only known by a non-standard, unpronounceable, symbol (which you cannot reproduce in this text other than as a screenshot: 

and therefore would never be able search for it). You suspect it is not a coincidence that throughout Negarestani’s novel this character is missing.

Another obstacle: Microsoft Word on the Macintosh Operating System cannot use Arabic fonts (let alone Kurdish ones). You could of course use another word processor (e.g. Apple’s own Pages) but the fonts remain often incompatible with other word processors and so e-mailing a file in Kurdish, more often than not, will result in something like this:

☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐.

Now this is perhaps impressive in a formalist kind of way, a uniform representation of thought and language and whatnot, but you doubt that you can convince an audience that what they have before them is the Great Kurdish Novel (to take a silly term from the Americans, because lord knows they’ve taken their fair share from us) when all they are looking at are a series of Unicode squares. The computer was not designed, after all, with non-Western languages in mind, nor was any of the software (though you envy the Chinese who you imagine, by virtue of their logographic writing system, would be able to write entire short stories on Twitter in 140 characters — if China had not banned access to Twitter, that is). The electronic age is upon us and that age was coded using a specific writing system. You would be insane to think this does not matter.

Also, and you’re ashamed to have to mention this but even though Kurdish is your native language you don’t really master it: you are a child of exile with the exile’s unnatural feel for language; you frequently mis-use words and your handwriting is all haunted-house seance scribbles of the dead trying to communicate with the living in crude approximations of letters. You are far more comfortable with English, even though you have no tie to that language other than the fact every book you read and every movie you see is in English. You have not read more than a handful of Kurdish novels because as already mentioned, Kurdish novels are hard to come by. You should, of course, practice your mother tongue; you suspect that you could become a half-decent writer if only you put as much effort into reading and writing in Kurdish as you have done in English but this is a multi-year project, akin to reading Proust. And you have yet to read Proust.

At this point you start doubting yourself: if writing in Kurdish means more effort than writing in English why not just write in English? You also begin suspecting that the above premise may not be interesting to a Kurdish audience as everyone has had their house looted at some point. Everyone has lost a family member to genocide or internecine warfare. For you, the exiled one whose portraits would invariably reek of privilege and Eurocentric notions, to comment on the Kurdish situation to a Kurdish audience can easily become patronising and in bad taste. What can a foreigner possibly have to teach people about themselves? You may instead want to shine a light outwards, towards readers unfamiliar with Kurdish history, and this requires another language. “Texts must experience the condition of exile.” said Emily Apter, and which better way to exile a text than to force it into a language which is not its own?

So you choose English, because, yes, “the Anglicized subject is at once bullied and seduced into accepting the corporal burden of English,” to cite Susie O’Brien & Imre Szeman.

This should be a narrative in Kurdish. The narrative must be written in English.

Though this is the right choice (you hope), problems arise immediately, as they tend to for immigrants pretending to be something they are not. You are suddenly tempted to add explanations for your audience that you would refrain from adding if you were writing about a people to themselves.

For instance:

1. The men would have to be defined as Kurdish, as you suspect merely writing “men” would conjure a group of white people to the reader.

2. A Kurdish reader would understand that the choice of vodka, rather than the traditional arrak, indicates that these men are rather affluent or at the very least cosmopolitan (mostly this cosmopolitism is derived from a life in exile, from refugee camps, from being a foreigner where fluid thoughts have had to be rendered as malformed syllables and broken grammar and have been mistaken for stupidity), so when you lose this element you may well be tempted to linger on other details, the brand of vodka, the logos on their polo shirts, in order to convey the same thing in a much cruder manner.

3. You will have to explain what happened in 1996, a reference that would be evident to Kurdish readers but an obscure historical footnote for everyone else. Also you’ll want to briefly touch on the sanctions, embargoes and the overall financial situation that made the purchase of a cassette player in 1996 – when even CDs were beginning to be replaced by MiniDiscs and Mp3s – something that required significant capital.

Your text is now overwritten, heavy with exposition, and you haven’t even dealt with the question of language.

The dialogue will be laboured, tortured into resembling Kurdish. Perhaps you will try to mirror the cadence of a Kurdish speaker; perhaps you will keep the expressions intact, all the “may I be sacrificed in your honour”-style sentences that seem so clunky when translated. You could also use the trick that all those world lit novels of the 1990s used: sprinkle English dialogue with some non-English words for added authenticity. You try, you try, you fail, you delete.

(All fiction is based on artifice, but for some reason writing non-English dialogue in English often seems like an artifice too far. If only there was some form of literary subtitle, you think. {{1}}[[1]]Yes, of course there is the footnote which has a long literary history: remember how War & Peace began with a long chunk of French dialogue, which Tolstoy then translated (badly, one might add) into Russian in the footnotes. But this does not seem like a very good option: if none of your readers understand the dialogue in the original language, in effect you’re just asking them to do more work. You suspect your readers would hate you after one or two pages of this.[[1]])

You also worry, as all translators are wont to do, about the weight of words. You are reminded how for centuries, the French have been misunderstanding Nietzsche because the French “sujet” does not contain the “critique of the effects of subjective submission” that the German “Subjekt” does (cf. Emily Apter’s Against World Literature: On the Politics of Untranslability and Barbara Cassin’s Vocabulaire européen des philosophies: Dictionnaire des intraduisibles). The Kurdish word for looting, تالان, best transliterated as “talan”, has an inherent weight to it from its frequent use in Kurdish society under various dictatorships and processes of ethnic cleansing that is immediately lost in translation, as the English “looting” has since long lost its primal association to times of war (and is mainly used in times of riots, as a byproduct of temporary capitalist collapse).

What you are left with, then, is a text that panders to its audience in its need to hold the reader’s hand through a history with which she is not familiar, a text infused with exoticism, a narrative forced into a form that is inherently Western, with all the issues that arise when, to cite Franco Moretti, “Western form meets [non-Western] reality”. These texts, as selected by Western publishers, often seem to include an outmoded paean to humanism, as though to comfort a bourgeois reading culture, to ensure that the narrative that we are all the same is heard. Fredric Jameson, in his otherwise unspectacular essay “Third-World Literature in the Era of Multinational Capitalism” (wherein he actually states that “Nothing is to be gained by passing over in silence the radical difference of non-canonical texts. The third-world novel will not offer the satisfactions of Proust or Joyce.”) provides a rare insight when he notes that “Indeed our want of sympathy for these often unmodern third-world texts is itself frequently but a disguise for some deeper fear of the affluent about the way people actually live in other parts of the world”. This is echoed by a much-debated editorial in N+1 wherein the editors argue that “Global Lit tends to accept as given the tastes of an international middlebrow audience” and that “the bestselling Kite Runner, by the Afghan-born Khaled Hosseini, made some Americans feel better, and others worse, about our war over there”.

Above all, perhaps, it rankles to use English because of the ravages that the British Empire wrought on Kurds and the possibility of Kurdish statehood. If Ngũgĩ wa Thiong’o is accurate in his assertion that “African authors should be clear about the fact that when they write in English they are contributing to the expansion of, and dependence on, the English language.”, then to write in English is a betrayal.

This should be a narrative in Kurdish. The narrative must be written in English.

***

“international capitalism is a system that is simultaneously one and unequal: with a core and a periphery (and a semiperiphery) that are bound together in a relationship of growing inequality.” i.e. “the destiny of a culture […] is intersected and altered by another culture (from the core) that ‘completely ignores it’”

(Franco Moretti, “Conjectures on World Literature”)

Most novels that you read today seem like relics, as though modernism never happened at all, Flaubertian narratives in which characters hold the latest consumer technology to make you, the reader, realise that it is meant to take place in the now. But it does not feel like any reality you experience on a daily basis, it feels literary: as though what we consider realism is merely what authors convinced readers reality looked like a hundred and fifty years ago, static narratives that embrace the provincial when finance and politics are now global. The very conventions of the realist novel, so daring when they were perfected by Balzac, Flaubert, Zola, have now trapped narratives in an individualistic, humanistic world order. After all, how to describe the light-speed flow of capital, the corporations with human rights but without human obligations, the drones killing the anonymous in a form that is structured around individual agency, about self-realisation and a human perception of time? The novel is doomed to fail. If contemporary capitalism and consumer culture are a part of contemporary fiction, it is often as a mere gloss, rather than the actual spine of the constructed reality. Similarly, the challenges of globalisation are reduced to facile exotifications, the non-Western reality forced into a Western form. The novel was not designed, after all, with non-Western cultures in mind.

What you want is the literary future imagined by Bhanu Kapil — an author who has managed to dismantle all the problems listed here with aplomb — namely “a literature that is not made from literature.” The heroine of her novel Incubation: A Space for Monsters is half girl, half machine/cyborg, her identity and culture shifts along with the text, as essential a creation as any archetype. You are heartened by Julius’s dérive in Teju Cole’s Open City where the character maps out a New York of immigrants and asylum seekers before he transforms the 20th century urban dérive into an international one, by travelling to Belgium, to Nigeria. You embrace the aforementioned Cyclonopedia, a dense but fragile text that can barely even carry the categorisation of novel, with its fake translator’s notes (e.g. “The linguistic structure of the original Farsi text is highly inconsistent, to the extent that one assumes it to have been written by more than one author.”) making the reader realise just how many truths a narrative can contain.

We heed the warning in the aforementioned N+1 essay that “Global Literature can’t help but reflect global capitalism, in its triumph, inequalities, and deformations,” but why should literature not instead revel in these deformations? You realise that English literature always has been “an unsteady amalgam of [the] voices of the vanquished, along with the voices of the dominant English regions” (to cite Stephen Greenblatt) and if you are to dissent from Lorde and try to use the master’s tools to dismantle the master’s house, you could do worse than making English your own Latin, a tool for a vulgar novel. Let there be allusions that remain unexplained, let there be dialogue that is not naturalistic, let there be disregard for the master’s rules, let the work contain the fractured realities as we see them today.

—Agri Ismaïl

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Agri Ismaïl is an Iraq- and Sweden-based writer whose work has appeared in the White Review, 3:AM Magazine, Vol. 1 Brooklyn, Al Jazeera, and the Swedish journal Glänta among other places. He can be found on Twitter.

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How to Sightsee in France with your Teenage Son: Text & Photographs — Natalia Sarkissian

Mar 062015
 

tunnelweb

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AT 9:00 AM ON A SUNNY MORNING, while your teenage son sleeps, make plans with your husband to visit the city of Briançon and the stronghold of Mont-Dauphin. Just over the Italian border in France, these are World UNESCO sites where the military engineer, Sébastien Le Prestre Vauban (1633-1707), designed forts and walls for the Sun King, Louis XIV.

Wake your son. Don’t tell him about the history trip ahead. You know he’s always hated history—facts have always proved slippery, elusive, dull. Instead, tell him you want to take him to France for a crêpe. When he hops out of bed without a complaint, hand him an espresso. While he’s in the shower, charge your camera batteries. Pack chocolate.

Smile when your husband says, surprised, “That was easy.”

At 10:30 am, let your son sit in the front seat next to you while you drive west. Hand him your camera. Direct him to take pictures of the road slicing through granite and slate. Remind him of Hannibal the Carthaginian and his elephants, of the Romans who fought the Gauls, of the Duke of Savoy who fought the Sun King. Tell him that armies have always climbed through the Alps first one way, then the other, shifting boundaries first one way, then the other.

Inhale when he nods.

RoadBrianconweb

Pull into a scenic lookout when he says “Stop.” Climb out and gaze at the rock scantily clad with snow while he takes pictures.

Agree when he says, “This road is tough, but without the asphalt and tunnels it was tougher.”

GatewayCityViewBrianconweb

Where Italian and then French flags blow, at the top of the pass at the Col du Montgenèvre, say to your husband and son, “Bienvenus en France, mes chers.” Then, since you’ve forgotten your son’s ID, panic when you see gendarmes at the booth ahead scrutinizing arriving traffic. Look at the police straight on though, and smile when they wave you through.

Agree when your husband says, “Borders are porous these days.”

buildingcliffbriancon

fortandrooftops

At 11:30, stop at the old walled city of Briançon that Vauban fortified after the Duke of Savoy pillaged the surrounding countryside in 1692. Park your car. Wind down steep streets to the main square. Buy a guidebook in a bookstore. Find a café. Order crêpes and pommes frites. Point to the fort on the crest looming above. Say, “Those rocks are a reminder of the past.”

TunnelBrianconChurchTowersweb

Agree when your son says, between mouthfuls of buttery food, “These mountains are tough, but the men were tougher.”

BoySoldiersMoatBrianconweb

At 2:30 suggest getting ice cream down the road. Drive south for thirty minutes, alongside the Écrins National Park. Admire the winsome villages with spiky churches and red geraniums. At picturesque Eygliers turn left. Note that your son’s breath catches at the sight of Mont-Dauphin, Vauban’s citadel that crowns the Millaures plateau which means ‘at the cross of the winds’ in Occitan.

Ask what he’s thinking.

Nod when he says, “Those towers above are a cliff full of mystery.”

ViewMontDauphinBridgeweb

Together climb over grass-clad ramparts. Cross the bridge that fords the empty moat. Explain how Vauban began building this citadel in 1693 but that it came to a halt with the Treaty of Utrecht in 1713 when the border was pushed elsewhere. Listen when your son reads aloud from the guidebook: “No actual battle ever took place here.” Shake your head when he adds, “too bad these walls went to waste.”

Buy ice cream. Lick the drips.

iciserepose

Circle clockwise. Photograph the church that was never completed. Photograph the remaining wing of the Arsenal where guns and ammunition were kept. Listen when your son reports, “the flanking wing was destroyed in World War II when Italians flew over and bombed it.” Agree when he adds, “So this place saw some action after all but it was only one brief blaze.”

Visit the cemetery. Look at the rusting crosses and dates. See how they’re relatively recent.

ChurchmontDauphinweb

Arsenalsideviewsunshineweb

EntireArsenaleSunshineweb

Photograph the main street where officers once lived. Together imagine how they waited for war that never materialized. Tighten your scarf around your neck again and again when the wind—the incessant wind—blows through. Notice how some places are boarded up and others are for sale.

GlacierBluweb

Nod when your son observes, “This has always been a ghost town even when the soldiers were here.”

Yellowshuttersignweb

At 7:00 pm, climb in the car, head back down the hill, turn right onto the highway. Drive north along the Écrins National Park toward Briançon and the Alps. Honk at a camper hogging the road. Swerve left when a stream of bicyclists in black nylon and silver helmets encroach on your lane.

Agree when your son, who is now in the back seat, says, “Look, these are today’s road warriors.”

lookoutweb

Ask your son his impressions of his day in France. When he says he liked the crêpe and the ice cream, sigh, but say “Good, I’m glad.” When he says, “I know it was a ruse to get me to come,” deny it. But smile broadly when he says, “The best part was walking where the armies had been. We should do this more often. Can I see the guidebook again?”

Don’t remind him you’ve always done it. Don’t list the museums and sites you’ve gone to together.

Vaubanweb

Shake your head when your husband says, “That was easy.”

Then hand over the book, pull out the chocolate you packed, and share it.

  —Natalia Sarkissian

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Natalia Sarkissian

Natalia Sarkissian has an MFA in Writing from Vermont College of Fine Arts and has been an editor and contributor at Numéro Cinq since 2010. Natalia divides her time between Italy and the United States.

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River, Stars, and Blessed Failure: Brief Essays — Sydney Lea

Feb 102015
 

Syd2The Author with his Grandson Arthur

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Thank You Note

……–Newbury Burial Ground, 2014

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My wife says we’ll be eternally close to Tink and Polly, old-time Vermonters, that vanishing stock, and best of neighbors. To me, she seems like some madwoman, talking about how we should stipulate a bench instead of a headstone to stand at this grave she bought yesterday, when I was out of town. A bench, she explains, will enable our children and grandchildren to sit, have picnics, enjoy the scenery. As they take in the panorama, she adds, they can think of us, and in this setting their thoughts will necessarily be happy ones.

Now I’ll admit she’s always been uncannily good at knowing what our children, and now their children, may need or want, but I’m skeptical of this rosy vision of hers. Our kids aren’t as needy as many I’ve known in any case. Even when they were small, they often proved delightfully resourceful.

The two youngest daughters dreamed up sisters for their games: Sharlee was the bright one, Sally the drunken fool. They had Bunnum the rabbit too, and the younger girl often took on the role of Moodyhawk, an odd, mean character who claimed to rule the world. She came, as I recall, from Guam.

An older brother conceived and played the part of a dog named Ruffy. He would school his father or his mother, or often both at once, in their lines of dialogue with Ruffy, often scolding us for faulty inflection or body language. “Not like that!” he’d snap. (When he became a teenager, his grief at the death of his real dog, a sweet Labrador bitch called Plum, would keep him home from school one day.)

The eldest daughter, at four years old, reported, lisping the plural, that she’d found two slugs on a pumpkin. There was gusto, even mirth, in her description of how the orange of the mollusks and the orange of the fruit “didn’t go together.” She was visibly disappointed when she led me out to the garden; she couldn’t find the slugs themselves, merely the pale paths they had left on descending and heading who knew where?

The firstborn child was obsessed with Jeeps, and in bumbling, nightly drawing lessons, I guided his hand with my own in our cold old kitchen. He’d whistle between his teeth in concentration, his breaths turning to small clouds in that frigid space, no matter the ancient Round Oak woodstove glowed red in the corner. Draft after draft after draft. He wanted perfection. Who doesn’t long for that?

Standing on my grave, I start mourning, because I’ll lose these moments and others accrued over so many years. In short, my own vision is far less cheery than my wife’s. Is this a matter of gender? I’ll never know. I can’t speak for motherhood. But can anyone have been a father and conjured such random memories without some inward weeping?

Now, from the plot she’s just bought, my wife sweeps an arm at the view again: looming above all else, there’s our favorite mountain to eastward, purple with May but still holding snow at the summit. An eagle appears before it as if the woman had willed it there, the bird’s reflection complete in the river’s languid oxbow. Sun-spangled, it skims the treeline along the near shore. My love claps hands in witness, eyes joyous.

Meanwhile, and as always for no palpable reason, my mind makes its oblique jumps. I suddenly think of a check I left this morning for a woman who comes now and then to clean house. She bore a child in her teens, and might have gone on to harm, misery, or dependence; but her boyfriend stood by her, married her, helped her to raise that daughter. I admire that woman greatly: her industry, her constantly upbeat mood, whatever a given day’s circumstances and despite her rheumatoid arthritis.

I scribbled a thank you note to her along with the payment. Typically broody, I think just now how the note resembles so much I’ve put my hand to: a note is no more than a note, and still it’s one more thing that will disappear for good.

Those children’s children: how could I ever have known how much I’d love them? You see, it’s not the abstraction death that daunts me; it’s the leaving behind of all the beloved, particular creatures with whom I’ve walked the earth that will cover my ashes, and all the places on earth that have proved so dear to us. And yet my wife –without saying a word– reminds me that an apter feeling might be gratitude. I have had so much to lose in the first place.

I should study that. Maybe the bench is a fine idea after all.

 

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River, Stars, and Blessed Failure

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I pause in my drive back home from a reading, unknotting my legs and back, which have stiffened while I’ve sat at the wheel. It’s a joy to behold the moon as it breaches the mountain, though I feel even slighter than one of the beads of froth down there in the rapids, which are winking back at more stars than I’ve ever seen in New England. How can there be so many? They rob my breath and speech.

I could almost read my poems out loud again by that moon and those stars. But I’m not in the least inclined to do that. I’m banishing words for the moment, as if by strange instinct – not just my own words, but all. I find it more than peaceful out here to articulate nothing, to feel myself on the farthest edge of conscious thought.

Over the river’s crackle, I catch the lyrical calling of a coyote, and from it can imagine ones nearer to home, their sopranos mixed with the altos of owls and the lilting descant of a freshet. I picture my wife in our house. Perhaps she pauses by a certain window just now, the big one through which at this time of year we watch the deer glide in to browse our night-black lawn. Against that darkness, their bodies show ashen, ghostly, elegant.

Our children are all grown and gone. And yet in this moment their distance feels slight. No longer are we at the exact center of a family constellation, but even so –or is it therefore?– we still know this thing we crudely call joy.

Of course, as one who always longs for the freshest and rarest expression of feeling he can muster, I might easily wince at so paltry and common a noun as that – joy indeed! – if I didn’t find this a time, precisely, for rhetorical failure, no words quite apt for what shimmers out there above any one person’s construals of meaning.

—Sydney Lea

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Sydney Lea is Poet Laureate of Vermont and a Contributing Editor at Numéro Cinq. His tenth collection of poems, I Was Thinking of Beauty, is now available from Four Way Books, his collaborative book with Fleda Brown, Growing Old in Poetry: Two Poets, Two Lives (some of the essays appeared first on NC), has now been issued in e-book format by Autumn House Press, and Skyhorse Publishing has published A North Country Life: Tales of Woodsmen, Waters and Wildlife. Other recent publications include Six Sundays Toward a Seventh: Selected Spiritual Poems (Wipf & Stock) and A Hundred Himalayas (U. of Michigan), a sampling from his critical work over four decades.

The essays published here will appear in a collection forthcoming this spring by Green Writers Press.

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Triangulations from the Diaspora: Childhood — Dao Strom

Feb 092015
 

Dao Strom

Herewith an enchanting multimedia (song, image & text) memoir, a piece about childhood, from Vietnam-born singer, songwriter, and author.  The memoir is excerpted from Strom’s forthcoming book We Were Meant To Be A Gentle People and the accompanying album East/West.

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The song (as well as the excerpt/essay) both belong to the same larger project, due to be released/published Summer 2015 by Jaded Ibis Productions — I’m calling it a hybrid book/music project (hard to find a good term for it).

The book is called We Were Meant To Be A Gentle People and the accompanying album is called East/West. The song “Two Rivers” comes from the “West” segment of the album. Inspired initially by a Wallace Stegner story of the same title, the song draws a picture of the meeting point between two rivers and a child’s memories of landscape. I think the song and the photo-autobiography traverse the same thematic and emotional terrain, that of negotiating the space between two streams/landscapes.

The catalog description reads:

More than a book, We Were Meant to be a Gentle People  is a song-cycle working in concert with prose fragments and imagery. The author seeks to articulate two concepts of “geographies” — East and West — and the mythos associated with each, through the lens of a writer/musician of the Vietnamese diaspora. Strom combines multiple mediums of “voice” with an investigation of the intersection between personal and collective histories to elucidates the transition between cultures.

—Dao Strom

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Click to play Dao Strom’s recording of “Two Rivers.”

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“Two Rivers” was recorded/produced by Hershel Yatovitz (www.hershelyatovitz.com).

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Dao Strom is a writer and musician based in Portland, Oregon. She is the author of two books of fiction, Grass Roof, Tin Roof and The Gentle Order of Girls and Boys. She has a forthcoming book/music project, We Were Meant To Be A Gentle People (Jaded Ibis, 2015). The New Yorker praised Dao’s last book,The Gentle Order of Girls and Boys, as being “quietly beautiful…hip without being ironic.” She has been the recipient of a National Endowment for the Arts Literature Fellowship, a James Michener Fellowship, and the Nelson Algren Award, among other recognitions. She is a graduate of the Iowa Writers Workshop. She was born in Vietnam and grew up in the Sierra Nevada foothills of northern California.

www.theseaandthemother.com
www.facebook.com/theseaandthemother
www.daostrom.com
twitter: @daostrom

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When Is A Good Time to Think About Death? | Essay — Lawrence Sutin

Feb 082015
 

Lawrence Sutin

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I hate this question because it admits of many answers that each have some sense, if not certainty, to offer.

There are persons who feel that it’s morbid to think about it, a hindrance to engagement with life. There are persons who feel the exact opposite—there always are, on any question, and we as a species could do better at seeing this as a sign of hope rather than a signal for war—and pointedly face their fear of mortality, become devoted to risky behaviors from climbing mountains to snorting coke because you’re going to die anyway, deal with it by using the fear for what it’s good for, fuel. There are persons who have had their dearly loved ones die and their answer is that there’s no hope of their ever thinking about anything else. Others see death as cosmic drama—the gateway to eternal salvation, damnation or reincarnation. Others look forward to death because they’re convinced it’s lights- out oblivion, a blissful rest from life. Still others say that we’re all dead already and just don’t know it, the afterlife is here and now and you can call it heaven, hell, the bardo, the liminal, the astral, the timeless dream in which the universe become us and us it. A sizable subgroup avoids thinking of their own deaths but relishes thinking of the deaths of those they hate.

All of these views are thoughts I’ve had, but none of them quite answer the question I’ve posed with its focus on when. No one would seriously hold that any person who has come of age could manage never to think about death, so we all would agree that we have to think about it sometimes. To what standard shall we set our mental clocks so that we might devote ourselves efficiently to the task? But what do I mean by efficient and what has it to do with when? I mean by efficient that sort of thinking—and I include feeling as a particularly wrenching sort of thinking—that enables us to live well with the knowledge of death. Now, as just what so enables us is intertwined with our time of life, we return to when as the crucial point. When? For how long and how often? And should it ever stop?

By seeing the complexity of the question I am trying to spare myself the problem of answering it. The complexity itself is the answer, I could say. As few of us know when we are going to die and those few—the terminal and the condemned—who do know are likely to think of death without wondering if they’ve found the proper time, that leaves the feckless majority of us not knowing or wishing to know when we will die and not knowing when we should start or stop thinking about it.

But I think that many of us think about it incessantly without knowing we do, if not unconsciously than implicitly, and always with a mind to how we should spend the time we have, a sack of coins that seems never to empty when we are not thinking of death. Joy and boredom both make time burgeon. So we choose certain jobs, certain loves, even certain sorrows, because given the time we have we naturally choose what we can’t escape.

I recently visited my daughter Sarah in Seattle, where she is living with her fiancé–they are both in their early twenties–and wondering where their lives might best lead. When she goes about her day she sometimes has to drive over Lake Union upon the venerable, girded and cantilevered Aurora Bridge—six tight lanes of two-way traffic with no central barriers to take the brunt if a driver happens to wander into the opposite flow.   One spacy swerve in any of the lanes of the Aurora Bridge—on which if you head south will lead you to the Pacific Highway and ultimately all the way to Mexico—when traffic is moderate or heavy which is every day and cars would crush each other one by one for hundreds of yards. I should add that, since its construction in 1932, it has been a favored site for suicides—over 230, second amongst U. S. bridges only to the Golden Gate in San Francisco.

But the old Aurora Bridge with its rattling compression can make you think about death even if you hope to stay alive. That’s the effect it has on my daughter Sarah, who would avoid the Aurora if she could, but given the algae-like spread of the Seattle streets the lost time she put into avoidance would haunt her as the silly cost of fearing to think about death. Sarah does not want to be driven by fear and so she drives the Aurora and does her time thinking.

I have gone along with her on this ride—it’s just the two of us—expressly to watch her and talk with her as she makes the crossing. She’s material to keep my hand moving over this page you now read. She has my brown curly hair only lots more of it. She also has my penchant for anxiety and I would not have wished that for her. I ask how this bridge-drive is impacting her and she says she has to concentrate on her driving to keep her nerves from setting her on fire.

Does she think there is life after death? She does not. What she wants when she is dying is to be able to say that there is nothing left to be done, her design projects completed, her loved ones protected. But she acknowledges the paradox that, were someone she loved dying, a solace to her would be if they would ask her to do something yet unfinished for them. That would take her out of missing them for the time it took to do it.

Suicide?   She doesn’t want to commit it. I breathe again. But in her young crowd the question of preferred method comes up now and then—it’s their way of thinking of death, I’m guessing, with the fantasy of control over their own demise without yet having undergone the agony that makes you yearn for an end—and she felt she needed to come up with an answer. Helium seemed to be easy as such things went. All the while Sarah’s face is serious, her espresso eyes fixed and galactic, the mask of a goddess of life and of death who has no choice but to dwell and rule in both realms.

How afraid are you of death? How often do you think of it when you’re not on this goddamned bridge? Finally I put these questions point-blank and she senses my fear along with hers. She says she tries not to think about it but she does, not a lot, but it never goes far away, she doesn’t think it does for most people.

We have crossed the Aurora Bridge and I am now far more unsettled than Sarah because, at my bidding, my daughter has talked about death to me and I feel I have spurred her to show fear that I wanted to see for the tawdry sake of answering the question of when. But I don’t want Sarah to have any fear of death, none. I want her to be free from every mental crevasse I have fallen into, death’s certainty being an especially deep one. I also don’t want to lie to her when she reads this by hiding the fact that I often imagine happily a future world in which she is vibrant and I am gone. I meditate to accept impermanence but I pray that Sarah’s death will come after I’m gone. I would love it if we could see each other in the afterdeath realm or reincarnate as puppies in the same litter, but I suspect what will ensue is a chain of genetics that will dance through descendants as it has through us. And all of them will think about death and none of them solely when they chose.

So the answer to when might as well be never once you’ve thought about it hard. How else to avoid crossing lanes by recalling we’re tiny sacs of life knocking about without and within, a car or a heart valve could veer and kill us. Our souls would have no idea if they were staying or going as death happened, they would have expected us to have thought about that but we haven’t, not clearly, nothing we have ever thought about seems to answer to this death we will find ourselves dying when there is still a great deal to do and our loved ones need us, loved ones always do. Think of them and not death while you can.

—Lawrence Sutin

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Lawrence Sutin is the author of a novel, When to Go Into the Water (Sarabande 2009), two memoirs, A Postcard Memoir (Graywolf 2000) and Jack and Rochelle: A Holocaust Story of Love and Resistance (Graywolf), two biographies–of Philip K. Dick and Aleister Crowley, and a historical work on the coming of Buddhism to the West.  In addition, his erasure books can be seen at Lawrencesutin.com.  He teaches in the creative writing programs of Hamline University and the Vermont College of Fine Arts.

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The Pope, Charlie Hebdo, and Islamist Terrorism — Patrick J. Keane

Feb 072015
 

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In comments made aboard the papal plane en route to the Philippines in early January, Pope Francis spoke about the Paris terror attacks. According to the AP, he defended “free speech as not only a fundamental human right but a duty to speak one’s mind for the sake of the common good,” and he condemned the murderous attack on the offices of Charlie Hebdo. Such horrific violence “in God’s name,” far from being justified, was an “aberration” of religion. In fact, he said, “to kill in the name of God is an absurdity.” Perhaps; but we also know that, absurd or not, killing in the name of God accounts for many of the more irrational streams of blood staining what Hegel famously called the “slaughter-bench” of history.

Francis is aware of the paradox. His very insistence that when it comes to religion “there are limits to free expression,” anticipates his overt conclusion that a “reaction of some sort” to the Muhammad cartoons was “to be expected.” If not inevitable, a response was hardly unlikely. Most Muslims consider any representation of Muhammad, even the most benign, image-worshiping and therefore blasphemous. And radicalized Islamists, a small but virulent minority of Muslims, have demonstrated a willingness to resort to violence when they feel their Prophet has been offended. The pope was not speaking ex cathedra, not pronouncing authoritatively on faith and morals. Still, he was talking about “faith,” insisting that it must never be ridiculed. “You cannot,” he declared, “insult the faith of others. You cannot make fun of the faith of others.” Though these “Shalt Nots” go too far for some, many will be inclined to agree with the pope. In a gentler world I would myself. But this is decidedly not that world.

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This seems counter-intuitive. Surely in the post-9/11 world, a world in which the blood-dimmed tide of theological passion has been loosed, it would make all the more sense not to intensify those passions. One strand of the Enlightenment interprets free speech as universal tolerance, including the acceptance of everyone’s right to practice his or her own religion on its own terms, with its own codes and beliefs. But another strand of the Enlightenment—reflecting the same reaction to the preceding century or more of religious conflict, obscurantism, and superstition—is radically secular, and therefore more likely to be dismissive than tolerant of religion in general, especially those creeds whose adherents cling to what seem to secularists atavistic mores—which is to say, counter-Enlightenment values.

That’s our Enlightenment, of course: European and then transatlantic. But, as everybody knows or else should know, Islam had its own sustained enlightenment. During that 500-year period, a unique Islamic culture flourished, while, simultaneously, Muslim scholars became the saviors and conduits of much of Greek philosophy, literature, and science: a rich deposit that eventually resulted in the European Renaissance. The Islamic Golden Age, beginning in the Abbasid caliphate of the great Harun-al-Rashid (789-809) and stretching beyond the 13th century, occurred during a half-millennium when Europe was mired in what, at least in comparison with contemporaneous Muslim culture, actually were the fabled “Dark Ages.” Benjamin Disraeli once squelched in Parliament an Irish MP who had alluded to the Prime Minister’s Jewish heritage by reminding the unfortunate Celt that while “the honorable gentleman’s ancestors were living in caves and painting their bodies blue, mine were high priests in the Temple of Solomon.” Disraeli’s contrast might be applied, mutatis mutandis, to the contrast between European and Muslim civilization between, say, the 8th and the 12th centuries.

But that Golden Age of Islam is long past, replaced by a post-colonial world of vast petro-wealth for the few and abject poverty for the many. The current Muslim Middle East is beset by fundamentalist versions of Islam, protracted violence, widespread illiteracy, lack of opportunity, and the growing sense of parents that neither they, nor their children nor their grandchildren, are likely to develop the skills required to function in a modern global economy. Their region is multiply afflicted by authoritarian despotism in the oil-rich states; sectarian strife between Sunni and Shia; tribal and civil chaos; and the rise of ever-more zealous and brutal jihadists, with ISIS in particular now trying to slaughter and terrorize its way to a grotesquely distorted version of the long-lost Abbasid caliphate.

Western secularists understand, may even admire, Muslim rejection of our often sordid materialistic culture. But from the perspective of enlightened reason, fatwas and jihad are another matter. Bans on images of the Prophet can fall into the same dubious category. Such prohibitions, even if they seem excessive, are understandable to most Western observers. This likely majority would include believers, who, having their own religious faith, have no wish to insult an article of Muslim faith. It would also include secularists committed to the thread of Enlightenment thought that stresses tolerance and a respect for the beliefs of others, even those we may consider idiosyncratic.

There are, however, secular defenders of free speech for whom these prohibitions regarding images of the Prophet become intolerable when reinforced by the threat of violence. That is the camp in which I find myself, awkwardly caught on the horns of a dilemma. How can those of us defending freedom of expression in the name of secular values avoid falling into a binary opposition pitting “us” against “them? Yet what are we to do if our response to Islamist terrorism is to insist, in this matter of banned images, that our secular faith in freedom of thought and expression requires us to insult the religious beliefs not only of Islamist fanatics but of virtually all Muslims? There is no easy answer, and perhaps no middle ground, for those of us who might wish, in the name of amity and mutual respect, to honor such a ban, but resist being bullied into it by the threat of violence and death if we do not.

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Pope Francis, though adamant in condemning violence in the name of religion, advocates tolerance and respect for the “faith of others,” both as an intrinsic value and because he is the world leader of a faith he also wishes to see respected by others. One reason his recent comments received such worldwide attention is that, quite aside from being, for Catholics, the Vicar of Christ, this charismatic pope has quickly become a popular celebrity in the secular world. As such, it might be argued, his observations to intimates on a plane should be taken as just another instance of the unscripted utterances that have charmed those who share this remarkably informal pope’s vision of a less pompous pontificate—though these same spontaneous observations unnerve the Vatican Curia and send church officials scurrying to preempt any potential fallout. Forget it. Given Francis’ immense personal appeal and his spiritual prestige as pope, his comments cannot be reduced, as they were the day after by a Vatican PR spokesman, to merely “casual remarks.” His utterances all carry significant weight.

The troubling aspect of his remarks on the plane—for those who were troubled—had to do not only with those “cannots” regarding religion, but with the immediate political context in which they were pronounced. I applaud his effort to bring together rather than divide. But to condemn, as Francis did on this occasion, “insults” or “fun” directed at “faith” suggests—in the context of the politically and religiously motivated slaughter of cartoonists who did not share that reticence—a partial misreading of events, and of the issues at stake. Some, even admirers of this pope, of whom I am one, have been disturbed by what struck us as a less than full-throated condemnation of religiously-inspired violence, even if the killings in Paris represent, as they do, an “aberration of religion,” in this case, of Islam.

In his remarks on the plane, the pope—reaching out, as always, to what he calls “the peripheries”—was advocating tolerance and mutual respect rather than engaging in a debate about freedom of speech. The complicating factor, as recently noted by Timothy Garton Ash—Isaiah Berlin Fellow at Oxford and leader of the Oxford-based Free Speech Debate project—is that in our contemporary world, a world where writers and cartoonists can be murdered for engaging in religious satire, “the argument for ‘respect’ is so uncomfortably intertwined with fear of the assassin’s veto.” But there may be safety in anonymity. Writing on January 22, Ash proposed, as a way of “Defying the Assassin’s Veto” (New York Review of Books, February 19, 2015), the establishment of a “safe haven”: a website “specifically dedicated to republishing and making accessible to the widest readership offensive images that are of genuine news interest, but which, for a variety of reasons, many journals, online platforms, and broadcasters would hesitate to publish on their own.”

Fully aware of the “no-holds-barred French genre of caricature as practiced by Charlie Hebdo,” Ash does not expect widespread endorsement of the often grossly outrageous satirical attacks the magazine has long launched against a wide spectrum of religious and political figures. Nor does he glibly charge with “cowardice” those editors around the world who, dealing with genuinely difficult choices, elected not to republish the Charlie Muhammad cartoons. But he does applaud Nick Cohen’s refreshingly frank observation, made during a panel discussion at The Guardian (which did not reprint the original cartoons though it did publish, a week later, Charlie Hebdo’s memorial cover, depicting a weeping Muhammad saying “all is forgiven”). Cohen said: “If you are frightened, at least have the guts to say that. The most effective form of censorship is one that nobody admits exists.” As if in response, the Financial Times columnist Robert Shrimsley wrote the following day, “I am not Charlie, I am not brave enough.”

“I am not Charlie” prose quickly became, as Ash remarks, a “subgenre.” In his January 9 NY Times column, “Why I Am Not Charlie Hebdo,” conservative commentator David Brooks made several characteristically sensible points; but not, it seems to me, when it came to what he thought the “motivation” behind the French people’s “lionizing” of Charlie Hebdo. The mass response in Paris and elsewhere had to do, not so much with approval of the offending cartoons; nor even with approval of Charlie Hebdo’s laudable exposure (one of the traditional targets of satire in Rabelais, Molière and Voltaire) of the use and abuse of religion by hypocrites and fanatics. The marchers were “motivated” by a felt need to defend freedom of expression, to champion liberté, rightly seen as under direct assault by the forces of ignorance, religious bigotry, and militant fanaticism.

The perspective of the pope, as of David Brooks, seems to be shared by most media outlets, which had, until recently, refused to reproduce the “inflammatory” cartoons for the general public. True; free speech is not unlimited. There are considerations of sensitivity, respect for the feelings or beliefs of others. And there is the question of public safety: one mustn’t, to cite the usual cliché, shout “fire” in a crowded theater. In addition, especially in the U. S., many—left, right and center—are quite willing to sacrifice freedom of expression when it comes to voices they disagree with, ranging from speech codes on campuses and college committees disinviting controversial speakers, to attempts to ban flag-burning. And, to cite an example mingling outrage, bias, politics, and self-censorship, there is about as much chance of hearing a favorable word about Israeli policy in the UN General Assembly as there is of hearing a disparaging one in the U. S. Congress.

The crucial question posed by the onboard remarks of Pope Francis has to do with his specific defense of religion set in the specific context of a contemporary world threatened, not by Islam, but by radicalized Islamists ardent to participate—as organized terrorists, as affiliates of al Qaeda and its various offshoots, or as lone wolves—in some form of jihad. Religion’s defense of itself against freedom of speech is nothing new, as attested to by the pitiless but pious burning of “heretics” at the stake; the cherum (ritual of expulsion) pronounced against the noble Spinoza, cursed, damned and driven from his synagogue; the imprisonment of writers and thinkers charged with “blasphemy.” The old lethality resurfaced dramatically in 1989. In the year the Soviet Empire collapsed (fittingly, the 200th anniversary of the start of the French Revolution), Ayatollah Khomeini issued his notorious fatwa against Salman Rushdie for the irreverent (but brilliant and very funny) chapter on Muhammad’s wives in his 1988 novel, The Satanic Verses.

Though they joined in deploring the death-sentence against the author, the Vatican of John Paul II, the archbishop of New York (John Cardinal O’Connor), the archbishop of Canterbury, and the principal Sephardic rabbi of Israel also united in taking a stand against “blasphemy.” Pope Francis, not given to dogmatic pronouncements, did not use the word “blasphemy.” But, like Francis now, all these leaders insisted in 1989 that “there is a limit to free expression” when it comes to religion. I may seem to be having it both ways: acknowledging that Francis did not refer to “blasphemy” and at the same time making him guilty by association with those who have employed this term. Not quite.

But the pope does seem to me guilty of mixing messages and muddying the waters by using the occasion of the murderous attacks on Charlie Hebdo to inform us all that we must always be respectful, and “never make fun” of anyone’s “faith,” at the very moment he is also telling us (listen up, ye cartoonists and satirists!) that we and they have to “expect” retaliation of some sort when we violate that taboo. The pope was speaking off-the-cuff and with the best intentions. Nevertheless, this is a taboo he shares, in however benign a form, with most orthodox Muslims and, alas, with Islamist terrorists. In a more formal imprimatur of the “casual” assertion of Francis that “you cannot insult” or “make fun of the faith of others,” there has been a recent joint declaration by leading imams and the Vatican strongly urging the media to “treat religions with respect.”

That may seem reasonable and civilized, but in our particular historical-political context, such respect, normally to be encouraged and embraced, presents a threat to both reason and civilization. Conscious of the secular challenge to Christianity as well as to Islam, but fully realizing that a robust defense of freedom of expression (in practice rather than mere theory) virtually requires secularists to risk insulting Muslims, Pope Francis insists that religion must invariably be treated with respect. Like Timothy Garton Ash, I attribute the self-censorship seen in most media around the world less to a decent respect for the faith of others than to fear of violent retaliation. Despite the polarization it simultaneously reflects and intensifies, my own position, succinctly stated, comes down to this: a conviction that it’s precisely the threat of terrorism that makes it incumbent on the West to refuse to sacrifice its deepest value, freedom, to uncritically “respecting” religion—especially when the particular religion in question seeks to blackmail the rest of the world into “respecting” (under some “only-to-be-expected” threat of death) its own ban on images of the Prophet. That prohibition derives, by the way, not from the Qur’an, but from the Hadith, posthumous tales of Muhammad’s life. Ironically enough, Muslim scholars often cite a passage in the Hebrew Bible in which Abraham (whose father, Terah, was a manufacturer of idols) declares the worship of “images” a manifest “error.” The further irony is that the Islamic ban, intended to discourage the worship of idols, has turned the prohibited images, these absent presences, into another and potentially lethal form of idolatry.

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Current Muslim resentment and, in its most toxic form, Islamist terrorism, have been fueled by Western colonialism and, more recently, by U. S. military intervention in the Middle East. The colonialist legacy has been, for the most part, unambiguously negative, culturally and politically. In economic terms, the victims of colonialism had imposed upon them an imported labor market management model that encouraged a race to the bottom in pursuit of comparative advantage in cheap labor. Through conquest, and with the strokes of various pens, Western colonialism created states that were less “nations” than multi-cultural entities, subject to authoritarian despots in varying degrees initially subservient to Western interests: kings and shahs and presidents-for-life propped up by the oil-thirsty West, and who, even when they asserted their independence, tended to brutally oppress their own people. In several Middle Eastern states, people ripe for revolution rose up in the exhilarating but tragically short-lived Arab Spring. That revolution, like so many others (notably including the great French Revolution itself), consumed its own idealistic children, and what emerged, or re-emerged, was military dictatorship, Islamic extremism, and another wave of emigration from North Africa and the Middle East to Europe. And some of those immigrants, especially but not only in France, became a fifth column: poor, unassimilated, embittered, and therefore susceptible to the siren call to jihad. From their ranks came the killers who lashed out at the “blasphemous” cartoonists in Paris.

In a Le Moyne College open discussion of the attack on Charlie Hebdo, four faculty presenters explored “issues behind and exposed by the murders,” murders “no one could accept.” As the organizer, history professor Bruce Erickson, rightly insisted: “we do not defend the terrorists, or justify the murderers, or reject the Enlightenment, if we ask questions about how to integrate the multi-cultural world and nations that we created through colonialism.” Though most Muslim immigrants to the United States have assimilated well, many living in France and other Western European countries have not, some choosing to self-segregate. Though the “no-go zones,” alleged Muslim enclaves governing themselves under Sharia law, turned out to be a myth, subsequently recanted by its perpetuators at Fox News, this hardly diminishes the problem, nor does it sever the connection between the colonialist past and the terrorist present. The French failure to integrate the children and grandchildren of immigrants generated just the sort of recruits who became the murderers who attacked the offices of Charlie Hebdo.

As an explanation of Islamic radicalism, these recent colonial developments, though crucial, may be more symptomatic than causal. The deep roots of jihad (whether interpreted as internal struggle or as external battle against the infidel) are to be found in the “sword-passages” of the Qur’an; and the historical expansion of Islamic extremism came with the transformation of large elements of a once relatively open and intellectually dynamic faith, the Islam of the Golden Age, into puritanical sects—primarily but not exclusively Wahhabism. That, of course, is the narrow-minded brand of Islam (a main source as well of much of the treatment of women and gays deplored in the West) globally disseminated through madrassas funded primarily by our “moderate” friend and supposed ally in the region, oil-rich Saudi Arabia.

To trace Islamic radicalization exclusively to Western provocations would be to “infantilize” Muslims, to hold them utterly blameless for their own actions. In saying that past European colonialism and more recent U.S. intervention have “fueled” Muslim resentment, my point (to flesh out the metaphor) is that these Western phenomena have fed, fanned, and intensified the flames of radicalization and reactionary terrorism. Hardly a complete explanation, let alone an excuse, for Islamist extremism, the impact of this history seems incontrovertible. I have already referred to the cumulative, corrosive legacy of the old colonialism; but here are examples of obvious Islamic reaction to Western provocations.

The original Muslim Brotherhood was reacting to colonialist secularization in Egypt. The Iranian theocracy established in 1979 by the Ayatollah Khomeini sealed the revolution against the secularist Shah, installed in 1953, after the coup against the legitimately-elected Mossadegh government: a coup engineered by petroleum-protecting British Intelligence, and orchestrated with a reluctant but still complicit American CIA. Osama bin Laden founded al Qaeda in reaction to the presence of U. S. troops in “holy” Arabia in preparation for the first (for many of us, the “justifiable”) Gulf War. And over the past decade and a half thousands of jihadists have specifically attributed their radicalization to U.S actions, whether in actual conflict and the carrying out of drone strikes, or in response to the pointless atrocities of Abu Ghraib and to the more systematic employment of torture in CIA “black sites.” The al Qaeda terrorist attacks of 9/11 preceded the invasions of Afghanistan and Iraq, but came after our first Gulf War. And jihadism intensified and metastasized in the wake of our duplicitous, inept, and counterproductive 2003 invasion and subsequent occupation of Iraq. Donald Rumsfeld has proven to be prophetic. In one of his myriad “snowflake” memos, the then Secretary of Defense feared that we “might generate more terrorists than we could kill.”

Given the role of the West in, not creating, but certainly exacerbating, Islamic extremism, it is worth noting that the ban on images of the Prophet intensified during the early period of European colonization when Muslims were most anxious to differentiate their religion from “image-worshiping” Christianity. The prohibition is particularly stressed by Saudi Wahhabism and Iran’s clerical theocracy. Because of the impact of these most puritanical forms of Islam, what is for most Muslims anti-iconic “respect” becomes, for many of us in the West, an idiosyncratic, irrational, regressive, and intolerant shibboleth regarding “images of the Prophet.” And yet it is a ban we are to “respect,” not on the moral grounds of sensitivity to the beliefs of others, but under compulsion: the “assassin’s veto,” the clear and present danger of retribution, including fatwa and death.

Many, probably most, Christians, Jews, Buddhists, and Hindus wish to be respectful of the beliefs of others and tolerant of difference. When the stakes are as high as they are now, however, this misplaced “tolerance” gives at least the appearance of justifying ignorance and barbarism by labeling religion’s satirists disrespectful, for some, blasphemous. With the advent of contemporary Islamist extremism, the old tensions between the religious and the secular and between freedom and limitation of expression have taken on a new urgency, becoming, literally, matters of life and death. Making fun of faith can put you in the grave.

The pope’s point about predictable retaliation, given the history of the past few decades, is non-controversial. But instead of stating the obvious, that some sort of reaction was “to be expected,” he ought to have questioned how things have come to this pass. Such a discussion would have included the background (Western colonialism), but should also have made it clear that, whatever the oppressive historical circumstances in which it evolved and to which it is reacting, Islamist extremism in its current militant form deserves to be criticized, and needs to be resisted. However flawed the West may be, civilization is preferable to barbarism.

Of course, resisting religious extremism can produce, as unthinking backlash, its own form of religious extremism. To shift from the charge that criticism of religion is “blasphemous,” consider the following manifestation of religious fanaticism, this time Christian, from a Fox News radio host and Fox News TV “contributor.” In recently attacking critics of the box-office blockbuster American Sniper, dramatizing the 160-kill exploits of sharpshooter Chris Kyle in Iraq, Todd Starnes announced that “Jesus would love” the film and would personally thank snipers for dispatching “godless” Muslims to the “lake of fire.”{{1}}[[1]]I have two problems with the well-made American Sniper, one political, one cinematic. Once we are in Iraq, we see Chris Kyle skillfully picking off targets, all of whom, he is certain, are “terrorists” and (as described in his book) “savages.” They were enemies, and in killing 160 of them, Chris Kyle saved the lives of countless American troops; he is a “hero.” Yet many of those he killed do not fit into either of Chris’s categories. But back up: how do we get to Iraq? That political quandary is solved by cinematic legerdemain. In an early domestic scene, Chris and his wife are watching on TV the collapse of the smoldering Twin Towers. A sudden cut, and we are instantly transported to combat, not in Afghanistan, but in Iraq! The effect, intentional or not on Clint Eastwood’s part, is to “fuel” (there’s that verb again) or, rather, refuel, the myth (peddled above all by Dick Cheney) that Saddam Hussein was somehow involved in 9/11 and was also harboring al Qaeda. In short, the invasion of Iraq, whatever our fears about WMD, is still being sold to a gullible or manipulated public as justified retaliation for 9/11. If it’s good enough for a hero like Chris, it should be good enough for us.[[1]]

Far from invoking Jesus to justify violence against Muslims, Pope Francis called for “respect” toward Islam, and, indeed, all religions. In defending religion, theirs and others, from criticism, some Christian and Jewish leaders have invoked the specter of “blasphemy.” To his credit, as earlier mentioned, Francis did not employ that incendiary term, and he was right to refrain. Rather than join them in leveling the charge, we should leave such labeling to the thoughtless defenders of their particular faith, to God-and-country jingoists and to Islamist fanatics.

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It’s not necessary to applaud the often scurrilous Charlie Hebdo cartoons in order to defend the cartoonists’ freedom of expression. Unlike American satire (aside from two of its greatest practitioners, Mark Twain and H. L. Mencken), French satire has a long history of being anti-religious and anti-clerical, as well as being offensive—savagely and equally—across the board, skewering every sacred cow in sight. French satire, like the French state itself, is fiercely secular, as is most of post-World War II Western Europe. This is precisely why the previous pope, the conservative Benedict XVI, was so determined to re-Christianize Western Europe. And this is why the French people and their leaders came out in such numbers in the immediate aftermath of the lethal assault on Charlie Hebdo. Aside from expressing outrage against these particular religiously-inspired murders and this specific assault on free speech, the French marchers were defending their twin, and notably secular, heritages: the Enlightenment and the Revolution—at least the Idea of the Revolution, stain-free, the bloody guillotines of the Jacobin Terror conveniently repressed.

But despite the heartening response in the streets of Paris and elsewhere, rallying in support of Charlie Hebdo (like many others, I wondered where President Obama was, or at least Biden or Kerry), the Islamists have already won to the extent that almost everybody else in the world was, at least initially, too “terrified” to even reproduce the Charlie Muhammad cartoons—just as they were too afraid of violent retaliation to reproduce the famous “Danish cartoons” in 2005. And thereby hangs a cautionary tale about the threat of lethal violence. Though many Danish papers republished the Charlie Hebdo images, they were, significantly, not reproduced in Jyllands-Posten, where the original “Danish cartoons” had appeared. Citing the paper’s “unique position,” and concerned for employees’ safety, the paper’s foreign editor, Flemmings Rose—hardly a coward, indeed, the very man who had commissioned those Muhammad cartoons a decade earlier—candidly admitted to the BBC: “We caved in,” adding that “Violence works,” and that “sometimes the sword is mightier than the pen.” One understands his caution, and the dangerous alternative. But there is an even greater danger in surrendering the pen to the sword. Islamists, whose preferred method of terrifying infidels and recruiting fresh jihadists is the publicly exhibited decapitation of prisoners (or, most recently, burning them alive), may, paradoxically, have made it necessary to be religiously offensive in order to defend the Western concept of freedom, now faced with a challenge as theocratic as it is political.

Not showing the Charlie Hebdo cartoons, or labeling them offensive, insulting, or, worse yet, “blasphemous,” is no longer simply a matter of “good taste” or “respect for others.” In the context of a growing threat by Islamist extremists—ranging from self-appointed jihadists to organized armed forces aiming to establish by the sword a new Islamic caliphate—such normally laudable sensitivity becomes, instead, a caving-in to intimidation by fanatics. The momentarily most ruthless of them (ISIS or ISIL) is determined, in God’s name (Allahu akbar!), not only to forcibly install an “Islamic State” in the heart of the Middle East, but to repeal the Enlightenment and the modern world.

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One can make nuanced arguments against both the Enlightenment and modernity, but NOT when the alternatives are irrationality, atavism, and—for unbelieving secularists—superstition. In the end, in the view of skeptics, the leaders of organized religions, Francis included, are in the business of defending their vested interests, their own particular accumulations of doctrine, tradition, and (for agnostics and atheists) “superstition.” But believers who are not fanatics have a particular responsibility to be unequivocal in condemning religious fanaticism.

No one in the world is better positioned to do so than this deservedly popular pope. The emphases and values that dominate his papacy were forged in the 1970s. When, in 1973, Jorge Bergogli became Provincial Superior of the Jesuit order in Argentina, he distanced himself from a Catholic hierarchy that had acquiesced in the brutal repression by the military junta; intensified his compassionate and Jesuit commitment to the poor; and, while avoiding direct confrontation of the military regime, struggled (in the words of Eamon Duffy, Emeritus Professor of the History of Christianity at Cambridge) “to reconcile the demands of justice and compassion for those suffering atrocity with the need to preserve the order’s institutions and mission and to save Jesuit lives” (the later accusation that he betrayed politically radical Jesuits to the junta is baseless slander). As cardinal, he exercised the same wise leadership and again stressed compassionate concern for the poor.{{2}}[[2]]Duffy, “Who is the Pope?” New York Review of Books (February 19, 2015), p. 12.[[2]]

As pope, taking his name from Francis of Assisi (a notably humble saint cherished for his protective love of the earth and of animals, and for his ministry to the poor), the former provincial and cardinal has, true to both his Jesuit heritage and to the spirit of his chosen name, continued his own focus on the poor and wretched of the earth. In his apostolic exhortation Evangelii Gaudium, on the joy and true meaning of the gospel, he pointedly denounced, to the annoyance of many conservatives, the “economics of exclusion.” He has also emphasized the dangers to the environment presented by global climate change, and even speculated that there might be a place in heaven for animals: a charming thought of which the original Francis might approve, but which doctrinally-concerned Vatican spokesmen felt the need to quickly walk back. In his first Holy Week as pope, Francis performed the solemn Maundy Thursday foot-washing ceremony not, as usual, in the Lateran Basilica but in an institution housing young offenders. He washed and kissed the feet of a dozen prisoners, one of them (though this was, traditionally, a males-only ritual) a Muslim woman, a gesture that, as Eamon Duffy notes, “predictably scandalized the liturgists and canon lawyers.”

As practiced by this pope, the imitatio Christi, following the example of Jesus, differs from the emphasis of sin-obsessed Augustine, and even from the focus on the interior life and withdrawal from the world of Thomas à Kempis in his 15th-century devotional book Imitatio Christi. This Francis follows his namesake, stressing the path of Jesus, born in a manger, preaching to the poor, practicing humility. Unlike his two immediate predecessors, who tended to treat opposition as “dissent,” Francis has been humble and conciliar in conducting meetings, encouraging a frank expression of views. In opening the Synod on the Family in October 2014, he told the bishops that, in discussing what were certain to be controversial issues, no one should be silent or conceal his true opinion, “perhaps believing that the Pope might think something else.” During the papacies of John Paul II and Benedict XVI, deviation from the official line had courted reprimand, even removal. Thus, as Eamon Duffy emphasizes: “For a pope to encourage fearless public outspokenness among the bishops was a startling novelty.” {{3}}[[3]]The most celebrated demotion by Francis has been that of Raymond Cardinal Burke, removed as head of the church’s supreme court, the Apostolic Signatura. A conservative American traditionalist and harsh critic of the “confusing” doctrinal views of the new pope, Burke had been especially “outspoken” at the Synod on the Family, and had certainly violated protocol in describing the church under Francis as “a ship without a rudder.” But he may have been sent off to a largely ceremonial post in Malta at least as much for a sartorial extravagance utterly alien to the humble spirit of this papacy. Though it was long out of favor, even before the advent of Francis, Burke habitually sported the capa magna, a twenty-foot-long train of scarlet watered silk.[[3]]

Given that attitude, one might have expected, if not quite “encouragement,” at least greater “respect” for the “fearless public outspokenness” exhibited by the massacred Charlie Hebdo cartoonists. At the very least, the pope, a remarkably empathetic man pastorally sensitive to suffering, might have displayed greater tact by mourning the dead a bit longer, before admonishing us, with the bodies not yet buried, to always “respect” religion and never “make fun of the faith of others.”

But here, the admirable Francis fell short. At least as viewed from the perspective of a secularist committed to virtually uninhibited freedom of expression—not least when it comes to religion. But that is not the only perspective, and not—as is hardly necessary to add—one shared by Francis. As pope, he is necessarily a man to double business bound, at once a condemner of violence and a defender of religion—any religion, since, in his view, none deserves to be insulted. That includes, of course, his own religion. Just as he had protected the Argentinian Jesuits in his care in the 1970s, so it is his duty now, though a reformer critical of some of its salient shortcomings, to protect the church as a whole.

On that papal plane, in responding to the Charlie Hebdo cartoons and to the retaliatory murders that followed, Francis was talking common sense, decency, civility, and mutual respect. That’s all to the good. In a chaotic world of already inflamed religious-political passions, his intention was obviously to condemn the murders in Paris without adding fuel to the fire. But his equanimity was not altogether disinterested. In asserting his own ban—“You cannot make fun of the faith of others”—the pope was also defending the Company Store: the Roman Catholic branch of a global theological enterprise. In that sense, and to that extent, he was aligning himself, not with the massacred humorists, but with their murderers: fanatics who had killed the cartoonists precisely for “making fun” of the fanatics’ own distorted version of Islam.

Like politics, theology can make strange bedfellows. But far more than this momentary convergence of interests would be required to bridge the moral abyss stretching between Pope Francis and murderers. That would be especially true of murderers who violate his own deeply-held conviction that “to kill in the name of God is an absurdity. ” For him, what happened in Paris was the commission of a supposedly religious act that is, in fact, an “aberration” of the religion and of most of the teachings of the Prophet in whose name they claim to act.

Acknowledgment

Though I learned from the previously-mentioned Le Moyne open forum on the roots of, and responses to, the Charlie Ebdo murders, this essay was originally generated by a casual but serious email exchange with three friends, all Le Moyne graduates: Scott, Jack, and Markus. Some reservations of the latter about the initial draft were incorporated in the revised version. My thanks: to Jack in general, and, on this particular occasion, to Scott, for sending along the AP item that started us off. I’m particularly grateful to Markus, for critically reading the first draft and helping to sharpen and clarify my thoughts, not all of which he will endorse. The same is true of Bruce Erickson, the organizer of the Le Moyne forum, who, along with the four faculty presenters, enriched my understanding. Bruce also responded to my penultimate draft, thoughtfully, graciously, and productively challenging my position.

—Patrick J. Keane

January/ February 2015

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Patrick J Keane smaller

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 (2007).

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After the End: Grief — Michael Bryson

Jan 112015
 

IMG_0002Michael and Kate


PART I (June 2014)

Two years ago I wrote an essay on returning to reading following the death of my wife. She was forty-four. We’d been married four years and nine months. She had breast cancer for twenty-one months. She left me with two kids (eight and eleven) and an ex-husband to negotiate. More accurately, she left her ex-husband with two kids and a second husband and step-parent to negotiate.

I intended to follow up my essay a year later with another on reading through grief, but I couldn’t manage it. The flow of grief left me unsettled to the extent that I never felt secure enough to speak. Never felt grounded, is what I mean. How could I write an essay on anything when every time I tried to put my thoughts together they shifted? Also, I had wanted to write how, one year later, I had “read through” grief, and about how I was now on the other side looking back. Except I wasn’t on the other side. Not only did I feel nowhere near the other side, I felt increasingly in ever deeper, ever more tumultuous water. For eighteen months, I felt concussed. And when those symptoms relieved, I felt something worse.

The grieved get used to people asking, “How’s it going? Better?” Things are supposed to get better. We have clichés for that. Time heals all wounds. We all know about the stages of grief. Denial. Anger. Sadness. Acceptance. As a grieved person, you are granted a certain leeway to be crazy. Emotionally overloaded. Out there. Behaving irrationally, unpredictably, outside the norm. And then you are supposed to “get over” all of that. You are supposed to acknowledge that folks have “allowed” you this period of disrupted expectations. You are supposed to be grateful how everyone has been “there for you,” which they have been, on the whole, even if it really seems that all anyone has really done is try to wait you out. Wait for you to declare, “I’m back.”

Early on I decided I was never going back. In my wife’s final months, I read The Five Ways We Grieve by Susan A. Berger and I’d absorbed the message that grief was transformative. You may respond to it in any number of ways, but you will not remain unchanged. After my wife died, I read Healing Through the Dark Emotions by Miriam Greenspan, a book recommended to me by one of my wife’s friends who’d lost her only son at age four to cancer. The transformation message was reprised there and to it was added a second: feel your feelings. Do not fear the darkness. Open your heart and mind and let the grief process carry you on its current. Healing will come in stages, and you will experience unexpected gifts.

I did experience unexpected gifts. Many involved suffering a rainbow of unremitting pain. All the better to teach you resiliency, my dear. Off in the distance a witch cackles. Ah haha. That I can write this now shows that I am released from this spell, which as I said was concussion-like. After my wife died, I chose to read Waiting for Godot by Samuel Beckett and Mrs. Dalloway by Virginia Woolf. Woolf was my wife’s favorite author, and Mrs. Dalloway was her favorite book. I’d never read it, and I chose it to honour her. Waiting for Godot called to me. I felt I was caught in an absurd, Beckettian situation. I had spent so many hours sitting in hospital waiting rooms with my wife (waiting! rooms), so many months waiting for the disease to progress or not, so many weeks, then days, then suddenly minutes at the end, waiting for death. I felt I had confronted the void, and I felt I needed Beckett. Woolf, too. (And I did.) But what next?

Michael

I once made a list of the ten to twelve books I read that first year. It’s still around the house somewhere, but I’m not going to search for it. There were as many books, likely more, I started and set aside. I fell into no rhythm, felt no progression, struggled against despair. I believed in prescribing myself books. I felt I could self-medicate with literature and get through my hard times, but while some books clicked, in general I felt myself slipping downward. Of course, downward is a literary journey, too, but I decided against attempting Dante. Early on I tried Hamlet, a tale of grief and madness, and I thought it fantastic. I read it about the same period of time after my wife’s death as the period of time between the death of Hamlet’s father and the re-marriage of his mother. Too soon! Holy smokes! I also re-read T.S. Eliot’s essay on Hamlet and thought (again) that he was full of it. The capture of Hamlet by chaos and his urgent need for sense, pattern and meaning gripped me as perfectly sensible. Order had been overthrown, and what was it now?

In my own life, I had lost my role as husband and my role as a step-father became severely ambiguous. The children continue to spend time with me, but half what they spent before. The three of us were the ones closest to their mother, and we have a bond that has been forged in fire and is unbreakable, and my separation from them terrified me. If we can make it through seven more years, and get the youngest one out of high school, then we will have achieved something remarkable. It once seemed barely plausible. Now it seems more likely.

Levi

I decided to read Primo Levi. I started with The Periodic Table. I loved it. I wanted to stay with him forever. I thought, “This is what you do when you confront the void. You turn it into something like this.” Years earlier I had read Philip Roth’s interview with Levi. That was my only previous exposure to him. One of my wife’s friends had also told us a story about professional advice she’d received to help her deal with a toxic work environment. The advice was: read Holocaust literature. The premise was: it will make your toxic work environment seem less severe. At least that was her interpretation. I said, “Maybe it means your work is comparable to a concentration camp.” Except, of course, no mass murder. I had both interpretations in my mind when I started reading Levi. I had found the cancer period Beckettian, and the death administration equally so. Again and again I was confronted with the absurdities of our bureaucratic modernism. Trying to deal with my wife’s estate, I tried to process a cheque through the bank, but they wouldn’t do it. I complained to customer service, and got a lecture on the phone from a woman who explained to me that bank policy trumped the law. “We need to protect our customers,” she said. I explained to her that her customer was dead, and I was her husband and executor and that I WAS THE ONE who was responsible for protecting her, and the she was in fact thwarting her customer’s interests. No dice. I lost. I had to find another way of cashing the cheque.

Now that, it’s clear, isn’t a concentration type problem. No. Never. But the gift of Levi is his incredible ability to classify behaviours and identify sub-strata of groups within groups. Even in this darkest of dark environments, the concentration camp, the lager, Levi shows how meaning can be made and maintained, and how victims can create victims. As he notes, the survivors survived because often they were the ones who were able to find an advantage. An extra bowl of soup. An extra piece of bread. Avoiding beatings. Levi himself survived because of his chemistry training. He was put to work in a lab, and even then barely made it out alive. The Periodic Table is framed around chemistry. Each chapter is named after an element. It tells the story of his early life, his chemistry training, the rising anti-Jewish restrictions in Italy, his budding romances, his radicalization, capture and transport to the camp. The camp itself, and later liberation, his return to professional chemistry, and his interactions with Germans, both through his work at a paint factory and through his writings. What a profound life. What a profound contribution to humanity.

After reading The Periodic Table, I read The Drowned and the Saved, which I also found moving, but not as brilliant as The Periodic Table. I started to read Survival in Auschwitz, but put it down after a couple of dozen pages. My interest had shifted. I felt that Levi had given me as much as I could get from him at that time. I reflected on the horrible bureaucracy of the camps, the savage efficiency they implemented, and the homicidal logic they represented. Going through the healthcare system with my wife, we had often remarked, “You’re just a number.” When sit in the waiting (!) room, anticipating your five minutes with the world class specialist, lining up your questions, and wondering what koan he’s going to drop on you for the next week or three until you see him again, you remind yourself that he doesn’t know you. He doesn’t know your life, your ambitions, your dreams, or anything more about you than the list of numbers he sees on your chart, your blood work results, your hormone levels, your this and that and you don’t even know what because they won’t tell you. In the camps, though, you literally were a number, and it was tattooed on your arm, and the purpose of the camp was to kill you, while the purpose of the hospital is to save you. Except for many, they don’t. For my wife, they didn’t. After her mastectomy, back in her hospital room, she said, “I wonder where my breast is now,” and I said, “I know where it is. It’s in the lab.” Because that’s where the doctor had said it would be, to analyze the cells, and include the results in their database and research project. They had asked her permission to do this, of course, but that didn’t make her any less a statistic and a research subject. Catch-22. As a patient you want the benefit of that research, but as a patient you also want your doctor to see you as a human being. Sometimes this happened, and other times, not so much.

For eighteen months I felt concussed, but when that lifted, I felt worse. What was going on? Emotionally over-whelmed. Exhausted. I had survived the cancer period with the help of anti-depressants, anti-anxiety pills, sedatives, blood pressure meds, extra strength Tylenol, beer, wine, gin of increasing proportions. Little by little, I let go of those. The anti-depressants first, then the blood pressure meds. The need for Tylenol diminished. I cut the sedative dose in half. I tried to cut back on the drinking. I kept the anti-anxiety pills in reserve. I went to grief counselling. “Remember you have a body,” the counsellor said. You can’t think your way out of this. Like Miriam Greenspan said, feel your feelings. I wrote a blog throughout this period. I tried to chart my changing emotions. I felt I was getting better. I’m not sure I was getting better, only changing. I couldn’t convince myself that my wife was gone. I knew she was dead, but she felt present. I cried daily, often in sharp painful jags. They were just about the only thing that offered any relief.

What was going on? I had absorbed a blow so powerful, the bruise was taking months and months to work its way out. My head was a cloudy mess. I couldn’t anticipate a future. I tried to write new fiction, but I couldn’t. I could barely read, and often I couldn’t. Television struck me as trivial and dull. The news attracted me not at all. In her final months, my wife had spent a lot of time playing Scrabble on the ipad. I couldn’t even open that application, but I sat most evenings and weekends (when the kids weren’t here) plugging away at various online strategy games. And then I downloaded Candy Crush Saga. The distance between The Periodic Table and Candy Crush Saga, I’m here to tell you, isn’t as vast as it first seems. The attraction, in fact, was similar. At least in my case. Each both excited and calmed my mind, took the random and chaotic and led it into patterns, filled up the time on the clock. Time heals all wounds, the cliché says. Not so, but wounds do need time to heal. Some lots of time, months, even years. As I am relieved from one wound, I seem to confront yet another and then another. Through the cancer period, we looked only forward, never back, and it was a horrible time that we filled with much joy (because we were alive and together and it was our mission), and at first I thought my wound was her death, but after eighteen months I realized that it was also the way she had died. Just the other day, while I was at work in the office, I found myself asking: “Dear God, Why? If you had wanted to take her, why didn’t you just take her? Why did she need to suffer so first?” Thinking like this, makes me think the comparison to the concentration camps isn’t so misplaced. Except one is an act of God, and the other an act of Man.

In March 2014, I felt violent palpitations remembering her mastectomy surgery in March 2011. The memories came upon me suddenly, unexpectedly. I tried to puzzle out why. I had violent images of her scar and “drainage tubes” and her pain and struggle to overcome the loss of muscle under her arm also removed. At the time, we had remained calm, focused, constructive, forward-looking. In 2012, we hadn’t been looking back. Things for her we so much worse. In 2013, I had only been thinking about 2012, her last months, the process of her dying. In 2014, my memory took me back to 2011. I felt ill. I took a couple of days off work. I felt violently shaken with disbelief that they had cut her breast off. Oh my fucking God! What savagery is that!? And we had just let it happen. We had been glad that it happened. We had praised the good work of the surgeon. What a clean, beautiful scar line! All of this seemed impossible to me now. No way. How horrible all of that was. How abnormal. How perverse. What knots we tied ourselves in to make it all seem permissible. No. It was brutal and horrible and a lasting terror. And then, as quickly as they had come, those dark feelings lifted.

I read three J.G. Ballard novels in the first year after my wife died, and one more in the second. First three: Concrete Island, The Day of Creation, Super-Cannes. The forth: Millennium People. I had read Cocaine Nights previously, and some of his short stories. I had a sense that Ballard would be good to read, and he was. Why?

.

PART II (Nov 2014)

It is now over four months since I wrote the first part of this essay, and I have not written a word towards answering that one word question. Life intervened, and also writing the first part of this essay exhausted me. Reading it recently, I was surprised by the anger it contains. I remembered it as “cool” and “dispassionate,” but it is nothing of the sort. I had written about my wife, Kate, without naming her, a distancing strategy. Coming to terms with grief requires a distancing strategy. It is a distancing strategy. Letting go of the past. Trying to get up some momentum for the future.

In September I attended a three-day “Camp Widow” conference in Toronto. Organized by Soaring Spirits International, a California-based grief support organization, this event brought together 120 widowed individuals (110 women, 10 men) and offered a variety of workshops, seminars and peer support opportunities. I wasn’t sure I would like it. I wasn’t sure I would get anything out of it. But I did like it, and I did get a renewed sense of vigor and momentum out of it. Primarily, it helped me realign my heart and my head, accept that I am a widower now, and a widower forever, and understand, perhaps for the first time, that moving on does not require letting go.

I mean, I knew that. I was living that. But this is where the peer support was so important. In my life, I have no peers. I know no one my age who has lost a spouse. People my age tell me things like, “Divorce is like a death.” And they tell me how horrible it was to lose a parent. These events are horrible, and painful, but these people are not my peers. I go to work day after day and try to be a productive person, but my sense of belonging in my life is shattered. Everyone wants me to get “back to normal,” but there is no normal to go back to. If I have a new normal, it will be something I need to build out of the shattered remains of my former life. “Camp Widow” made that crystal clear.

J.G. Ballard was a widower. His wife died in 1964, suddenly from pneumonia, leaving him to raise three children. Of course, he had also spent part of his childhood in a prisoner of war camp in Shanghai. His novels chart the shattered remains of the (post-)modern world. Life after the catastrophe. If Levi was life within (and after) the catastrophe, Ballard is also charting “after the end.” I felt at home in these novels, which are more often read as pre-apocalyptic visions, but I think that’s a misreading. One paraphrase I read in a book on grief noted Heidegger said it was best to live as if the end had already come. This is exactly how I felt after Kate died. Where was I? How could she suddenly be gone? How could we be separated? That wasn’t supposed to happen. What was this place, without her? It wasn’t the world I had known. It was a place “after the end.” I felt pain, but I also felt free in a way I had never felt before. I could do anything, anything at all, and yet all I wanted to do was nothing. Just sit in front of a fire in the woods and poke at it with a stick.

I told these thoughts to a friend, and he told me about Walter Benjamin and his Angel of History:

A Klee drawing named “Angelus Novus” shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe that keeps piling ruin upon ruin and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.

I believe I had said to my friend that Kate’s death had freed me into a land of infinite choice, and yet I felt powerless. The world rumbled on, and I watched it in horror, wondering why it was full of shit. Violence. Madness. Degradation of such variety it was impossible to keep up. None of this was necessary, and yet none of it could be stopped. I seemed to have a front row seat and an awareness heightened beyond anything I had ever experienced. Propelled backwards into the future, we go. Fuck ya.

Ballard

Concrete Island (1973) is a retelling of Robinson Crusoe, except the island is a traffic island lost in a sea of traffic lanes and overpasses. It’s a slim book, and if I wasn’t specifically interested in Ballard I don’t think I would have picked it up, but it gripped me. A middle-aged man on his way home from a rendez vous with his mistress goes over the barrier in his fancy car, rolls down a hill and is trapped in an odd parallel universe, which is within reality and also outside of it. He discovers the island has other denizens, a self-supporting ecosystem, and no way to escape. His expectations of life are fundamentally and suddenly altered, and he must adjust, or die. I identified with that.

The Day of Creation (1987) is also an “after the end” novel. The action takes place in Central Africa, a parched and desert-like place. An Englishman, Doctor Mallory, goes on a Heart of Darkness-type quest after a mysterious river is suddenly sprung free from the earth. In a chaotic world, ruled by paramilitaries, bureaucrats and a freelance television crew, Mallory brakes free and leads all and sundry upriver, seeking its source. There’s some high adventure in this one, but also lots about a world under stress from capitalism, militarism, technological expansion and, let’s just say it, men. The mystery of the natural world is set against all of this. The power of women and girls, too. The new great river. The land mass of the African continent. A wild, post-pubescent, silent girl, who enters carrying a gun, and is equally terrifying and heartbreaking. The novel quickly reveals the foolhardiness of those who think they “know” anything about anything. Propelled backwards into the future, we go. Fuck ya.

Super-Cannes (2000) takes us into a world of ultra-capitalism and a different kind of desert, a kind of intentional community, though it is built for Forbes 500 companies, not 1960s back of the landers. It is also a post-catastrophe novel, in this case a murder rampage which had disturbed the perfectly controlled, micro-managed village just before the arrival of the protagonists, a husband and wife. She is the new doctor (replacing the doctor turned mass murderer), and her husband is the narrator, who has a lot of free time to investigate the goings on of his new surroundings. The genre explored here is whodunit? Or more precisely, whydunit? The plot thickens and thickens, as our hero is introduced to the reigning psychiatrist, who explains the theory and practice of the super village. It is designed to take care of its residents’ every need, so that they can be as productive as possible, and rake in the dough for the multinationals who are paying all of the bills. Taking care of everyone’s needs leads to an unexpected result. Folks are bored. All work and no play, it turns out, isn’t healthy, and the dark side of the soul needs to be exercised. So the folks organize under-the-cover-of-darkness vandalism brigades. Plus much more. I didn’t identify with the plot here, not in a “post-grief” way. But the undercurrent of swirling chaos felt very real. It made me think of the cancer period. It made me think of the dark truths hidden by systems.

Millennium People (2003) continues down this path. The action is set in contemporary England. A bomb has gone off at Heathrow, in the arrivals luggage area. The protagonist is a senior psychologist and his ex-wife is among those killed by the bomb. Through his job, he becomes involved in the investigation, but he begins his own independent research as well, getting drawn deeper and deeper into a shadowy world of domestic terrorism and anti-capitalist rebellion. The book contains an enlarged critique of big money and the faux surface “realities” of consumer culture and mass media. As with Super-Cannes, the plot plays with the idea that violence leads to a truer engagement with life, an idea that Ballard has returned to for decades. See, for example, Crash (1973), where characters stage car accidents for sexual pleasure. I found Millennium People to be the least satisfying of the four Ballard novels I read in this sequence. Some of the ideas felt recycled. The protagonists were starting to blur together. But the insights about an outer shell of mass media images obscuring and inner crust of essential “being” expressed what I felt to be intuitively true in my post-grief blurriness.

Being in a “liminal” world, is something Kate spoke about, as she lived with terminal cancer. Liminal = in between, life and death, here and there, fear and hope. And so on. I often felt in that space, too. Outside the main flow of life. And as I watched her die I felt as close as you can get to the other side without slipping into the void. Kate had spoken to a friend about the writing of Stephen Jenkinson, a palliative care specialist. She seemed to like what he had to say, but we didn’t talk about it much. She didn’t like to talk about dying, at least with me. She wanted us to just life, stay in our groove. But one of the things Jenkinson focuses on is fear, confronting fear, specifically. One story he tells is how most people when they confront death, aren’t actually confronting death; they’re too lost in the fear. He says that meeting death is like meeting love. You meet a new lover and at first you confront feelings of anxiety and uncertainty. Is this going to work out? Can I actually connect with that person? And you go through those emotions, and then you connect with love. Connecting with death is the same, he says. And that describes what I felt, waiting, watching Kate get sicker, knowing that death would come soon, but never really sure when. Months, then weeks, then days. Imminently.

Five days before she died we were at the hospital for the last time, and her bloodwork was terrible. The numbers were not good, and she knew what that meant. She said, “I guess this is it.” Later, she asked me what my biggest fear was. I said it wasn’t that she was going to die. I wasn’t afraid about that. Now, reflecting on then, I’m stunned. We were there with death and we were both, “Oh, well. I guess it’s really going to happen.” The fears I had were about what would happen after she died. I told her that, but I also told her that I knew she didn’t want to discuss any of that with me. She didn’t. We sat in the sun outside the hospital, and I told her I wished we could just stay there forever. It wasn’t the disease that was the problem; it was time. We said some other things to each other also. It was really beautiful. Then we had to go home and re-enter reality and play the drama out. Three days later she was no longer speaking. She died two days after that.

Have I made it clear how Ballard’s multiple levels of reality felt just right to me? I hope so.

Just recently I recounted Jenkinson’s story about going through fear to get to death to my psychologist. I wanted to make the point to him that nobody told me I would have to go back through the ring of fear to get back into ordinary life. For a long time, I didn’t want anything to do with ordinary life. I liked being in the liminal space. I wanted to just stay there. It was a place full of insight, and a level of quiet peace that was sustaining, even if not fully real. But you can’t stay there. At least, I couldn’t. It’s that infernal engine of time again (another of Ballard’s obsessions, also; there’s some fantastic short stories that attack time savagely, but that’s for another…well…). Time wouldn’t let me drift in a void-like space for long, and getting back to a sense of normalcy was very, very painful. Ballard didn’t help with that. Levi, not so much, either.

I didn’t seek out novels about grief. I tried to read Murakami’s nonfiction about the sarin gas attack. I couldn’t get into it. I thought I would feel an “after the end” connection to it, but I didn’t.

On the first Valentine’s Day after Kate’s death, I bought Dave Eggers’s A Heartbreaking Work of Staggering Genius (2000). God, I hated this book when it came out. Everyone who told me about it made it sound horrible. I found the title unforgiveable. I had tried to read a number of different Eggers titles and found them unwelcoming to my tastes. But Kate liked his stuff. And this was a novel about grief and moving through it and past it, and in a moment of perversity I bought it, then devoured it quickly. I then put it on the shelf with Kate’s other Eggers titles (her books are still separate from mine). I felt, in a way, that I had read it for her. I know that sounds weird. There was more than a little magical thinking going on. I really hated the “Dave” character, pretty much all the way through, but I also got what he was doing, and I knew that I only got it because I was going through something so, so similar. I felt that I was in a place that only I could understand, and I was having visions that were like x-rays, but I knew none of this was because of genius, and also that it was heartbreaking in a quotidian way. It was pretty simple. My wife had died when I was 43. I had been 38 when we married. Eggers was in his early twenties when both of his parents had died from cancer in short succession, leaving him with custody of his much younger brother. Holy fuck, I thought. Now that’s a raw deal. And the novel is often raw, and sometimes it’s just plain stupid, but it is a song of pain that is staggering, heartbreaking, and even, yes, at times, genius. But it still left me trapped in Jenkinson’s wall of fear.

levels-of-life

Julian Barnes lost is wife in 2008, suddenly to cancer. In 2013, he published Levels of Life, a memoir of his grief. In 2011, he published The Sense of an Ending, a novel deeply reflective of the mysteries that haunt our lives. I read both of these books in close succession in the past year, and they are each remarkable and each marked, I believe, with the sharp pain and clarity of vision that grief can bring. Levels of Life is specifically about Barnes’ own grief and he tells of hard, hurting moments, but he also gives us a magical story about balloons. It’s really amazing, how he grounds the reader with enormous weight, and also makes us feel lighter than air. This is an incredible book, and it lifted my heart. The Sense of an Ending is also an incredible book, and now that I think about it it has grief at its core also. The protagonist is an older man, reflecting on the death of a close friend when he was young. Recent events draw him back into the past, and he discovers that things he thought were so, weren’t at all. He wonders if he has made a mess of his life, but he is not without opportunities to correct it, at least partly. I bought this book at Heathrow on a visit to London, and read it in the lounge and on the plane, completing it before landing in Toronto. Both of these Barnes titles are about transition, and in the past two-and-a-half years that has been my life, over and over. Will this bloody transition ever end?

I was already feeling a new sense of something when I went to “Camp Widow,” but that experience broke open emotions I hadn’t felt in a long time. It made me realize and articulate, finally, that Kate would never leave me and that I would also move on past her, and that these two facts weren’t in contradiction. She will always be with me, but I can’t stay here, in the now, which is the past. What is that thing, that sense of an ending? Is it a different level of life? I will have my own, new future, and she will be part of it, but she also won’t be part of it. Is that what happens when you get old? You realize that the past is always with you, and nothing ever really ends?

I said to my psychologist, “Returning to ordinary life is fucking horrible. Ordinary life is fucking horrible.” I meant this in an Angel of History way, but also just: my magical powers are fading. Grief is an extraordinary emotion, and living deep in grief is an extraordinary experience. At “Camp Widow” I heard of others who had contemplated suicide, others who had succeeded. Going back through the ring of fear and re-entering ordinary life is a risky period of “time.” To let go of the magic of the grief: hard. To let go of the dreams of being with the loved one: hard. To accept the new reality of here/not here: hard. Some don’t make it. Eggers’s older sister didn’t make it. Barnes muses about suicide as an option. Levi either killed himself or died in an accidental fall. Ballard’s vision includes violence as a kind of release. I was never suicidal, but one question pounded in centre of my mind: why should I go on? Why, without her? As I have gone on, I’ve realized again and again that I’m not without her. I don’t know how to explain that, except I have a glowing certainty that it’s so. And my PTSD pain, the memories of her suffering, etc., fades, too. The soul is lighter than air, it rises like a balloon.

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CODA

Okay, the PTSD pain. Yes, it fades, but it also comes and goes. The concept of “trigger warnings” is growing in common usage, and I was initially skeptical. I’m naturally skeptical. But the first week of November, the date I’m writing this, is the week Kate had her first chemotherapy. I’m self-conscious of anniversaries, and careful. Better to anticipate feeling crappy than to have it sneak up on you. Well, this week snuck up on me. Yesterday I felt like utter crap. Not as bad as I have often in the past, but worse than I’ve felt in a while. What happened at this time? I asked myself, and then I knew.

Here’s the thing about that first chemotherapy. We took a video camera. I have about a dozen video files of Kate from that day after various stages of the process. I had forgotten that entirely and then a while back found these files. We must have been crazy. We were crazy. Kate was adamant, however, that the disease wasn’t going to change her. She is seen plugged up to the machine and laughing. She is seen at home in bed, towel on her head, complaining of a headache and laughing. In one video she has the camera and she points it at me. I make a funny face. Looking at her doesn’t automatically make me sad any more. Looking at myself, was shocking.

I want to be that guy again, but I cannot. Nor can I tell him, buddy, hold on. You are in for a wild ride. If there was one thing I could tell him (me), it would be that the strategy of laughing your way through cancer will fall apart. You may think, dude, that cancer was bad; and it was; but losing her, this will be worse. (You will not laugh your way through grief, though your step-daughter will expect it of you. So like her mother, she will say, “I don’t like to see you cry.”) To put it in terms of this essay, I read and wrote through the cancer period. I clung to my reading (as did Kate) like a life raft. I read in many hospital waiting rooms. I wrote a book review weeks before she died. All of that fell apart in the tunnel of grief. This essay has been about putting my reading life back together. I have piles of books scattered all over the house, as I did before she died. I am reading widely and randomly, as I have always liked to do. On this good news, I will end.

— Michael Bryson {{1}}[[1]]

Here’s a short list of some books I’ve read recently that I’m enthusiastic about:
Mad Hope, Heather Birrell
How Should a Person Be?, Sheila Heti
Why Be Happy When You Could be Normal?, Jeanette Winterson
Nothing Looks Familiar, Shawn Syms
Interference, Michelle Berry
Polyamorous Love Song, Jacab Wren
Bourgeois Empire, Evie Christie
The Desperates, Greg Kearney
You Must Work Harder to Write Poetry of Excellence, Donato Mancini
The Lone Ranger and Tonto Fist Fight in Heaven, Sherman Alexi
Conversations with a Dead Man: The Legacy of Duncan Cambell Scott, Mark Abley

Here’s some books I hope to get to soon:
Inherent Vice, Thomas Pynchon
What Would Lynne Tillman Do?, Lynne Tillman
Come Back, Sky Gilbert
Stories in a New Skin, Keavy Martin
All the Broken Things, Kathryn Kuitenbrouwer
I know you are but what am I?, Heather Birrell
Ellen in Pieces, Caroline Adderson
The Outer Harbour, Wayne Compton
Girl Runner, Carrie Snyder
Life is about losing everything, Lynn Crosbie
Sad Peninsula, Mark Sampson
Gender Failure, Rae Spoon and Ivan E. Coyote
In the Language of Love, Diane Schoemperlen
Housekeeping, Marilynne Robinson
Boundary Problems, Greg Bechtel
All My Puny Sorrows, Miriam Toews
The Incomparables, Alexandra Leggat
Revenge Fantasies of the Politically Dispossessed, Jacob Wren
Professor Borges, Borges
Rap, Race, and Reality, Chuck D
The Collected Stories of Stephan Zweig
Tobacco Wars, Paul Seesequasis
Voluptuous Pleasure, Marianne Apostolides
Sophrosyne, Marianne Apostolides
Consumed, David Cronenberg

Read on.[[1]]

Link to Kate’s Photos: http://kateorourkephotos.blogspot.ca/

 

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Michael Bryson has been reviewing books for twenty years and publishing short stories almost as long. His latest publication is a story “Survival” at Found Press. In 2011, he published an e-version of his novella Only A Lower Paradise: A Story About Fallen Angels and Confusion on Planet Earth. His other books are Thirteen Shades of Black and White (1999), The Lizard (2009) and How Many Girlfriends (2010). In 1999, he founded the online literary magazine, The Danforth Review, and published 26 issues of fiction, etcetera, before taking a break in 2009. TDR resumed publication in 2011. He blogs at the Underground Book Club.

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A Flag for the Unspoken: Nathalie Bikoro at the Pitt Rivers Museum — Yvette Greslé

Jan 092015
 

Photo by Egle Oddo, 2013.

‘This is a flag about unspoken voices”:
Nathalie Bikoro at the Pitt Rivers Museum

 

Nathalie Anguezomo Mba Bikoro chooses a place in Pitt Rivers Museum (Oxford, England) to sew a flag. She constructs this object from pieces of Dutch Wax fabric, of various colours and designs, sewn together with needle and thread. The meaning of the Dutch Wax fabric Bikoro selects (deliberately and carefully) has already been made visible in the work of Yinka Shonibare MBE (RA).  The cloth, a colonial invention, that came to be equated with Africanness, calls into question the authenticity of objects, and their historical, political and cultural entanglements. First produced in Dutch Indonesia, and then later manufactured in Britain, Dutch Wax was sold in West Africa and came to be equated with African identities (both within the African continent and in Britain). In Bikoro’s performance, the cloth also has personal importance and invokes family memories and narratives, particularly those of her grandmother:  “This kind of cloth made in the Netherlands and India were given as a gift to African countries. My grandmother used to say: ‘What gift? They are asking us to wear what they want us to look like.’ She was excluded from her village in Gabon because she burned the dress that she was given.”{{1}}[[1]]Interview (Nathalie Anguezomo Mba Bikoro and Yvette Greslé) Pitt Rivers Museum, 11 October 2014.[[1]]Bikoro’s grandmother gave her the cloths used in the performance at Pitt Rivers. She speaks of how her grandmother told her to burn them: “I like the metaphorical idea of burning the archive. Burning is a form of cannibalism. You are eating something, projecting something new, digesting something that is given to you and creating something else with it, to then state the voices that are untold and unheard.”{{2}}[[2]]Interview (Nathalie Anguezomo Mba Bikoro and Yvette Greslé) Pitt Rivers Museum, 11 October 2014.[[2]]

IMG_2482Photo: Jonathan Eccles, Pitt Rivers Museum

Bikoro is a French-Gabonese contemporary artist currently based in Berlin. Her interdisciplinary practice explores the possibilities of international dialogues across continents and communities. A ten-year battle with Leukaemia during her childhood in Gabon, the Netherlands, and France informs the narratives and methods that underpin her work and her interest in developing educational collaborative community projects. Her PhD work encompasses philosophy, cultural politics, the arts in Africa and networks between Europe, Brazil and the African continent (including Nigeria, Kenya, Cameroon, South Africa, Senegal and Gabon). Bikoro’s work and her performance and live art practices have appeared internationally, including most recently, in November, at the 7a*11d International Festival of Performance Art (2014) in Toronto.

IMG_2519Photo: Jonathan Eccles, Pitt Rivers Museum

In the Pitt Rivers Museum, in Oxford, Bikoro makes a flag, not for the purposes of a specific country, geography or political affiliation but rather for the sake of her own memories, those of her ancestors, and those who wish to enter into a dialogue with her: “I am creating a flag to contest the idea of freedom. What gives you the freedom to say how I must look, how I should speak, what my voice is? What gives you the freedom to represent me as a flag with these colours?”{{3}}[[3]]Interview (Nathalie Anguezomo Mba Bikoro and Yvette Greslé) Pitt Rivers Museum, 11 October 2014.[[3]] She places herself not in the centre of the museum but rather in an unassuming spot in one of the upper galleries where visitors might choose to engage with her or not. Bikoro’s action of sewing occurs not as spectacle but rather as though an ordinary, everyday activity. She rests the fabric with which she works on a glass cabinet filled with objects and their labels: these things are obscured as she assembles her flag from segments of cloth (some of which lie on the floor at her feet).

IMG_2569Photo: Jonathan Eccles, Pitt Rivers Museum

Visiting the Pitt Rivers Museum is like time traveling: objects from weapons to jewellery are densely packed into cabinets of wood and glass or, in the absence of space, larger objects such as boat paddles are suspended from above. The museum was founded in 1884 to house in excess of 26,000 archaeological, ethnological and antiquarian objects which were given to the University of Oxford by Lieutenant-General Augustus Henry Lane Fox Pitt Rivers (1827-1900).{{4}}[[4]]Cootes, J. ‘Speaking for themselves’, www.ahi.org.uk, Pushing Boundaries, Spring 2011, Volume 16, Number 1, 22-23.[[4]] The collection also includes objects transferred from Oxford University’s Museum of Natural History and the Ashmolean Museum, and was added to by its curators beginning with Henry Balfour: there are now thought to be about 50,000 objects on display and the collection, as a whole, consists of more than 300,000 objects (as well as a comparable number of field photographs, manuscripts and sound recordings).{{5}}[[5]]Ibid. 22-23. I have also drawn from email conversations with Salma Caller (Education Officer, Adults, Secondary Schools and Communities at Pitt Rivers Museum), 10 and 28 November and 1 December 2014.[[5]]

IMG_2486Photo: Jonathan Eccles, Pitt Rivers Museum

The reverence with which museum objects are handled, conserved and displayed is obstructed as the artist re-imagines the museum cabinet as a surface upon which to sew. Her action appears as a private ritual performed within a public space. People, including myself, gather around her. As we watch her thread needle and cotton, and stitch the cloths together, deliberately disregarding precision and allowing for asymmetries and imperfections, we ask her questions which turn into conversations. There is no barrier between us and the artist as she works: we are invited into the space she produces and we stand around and talk and look.  Her performance animates the space of the museum and the objects in the glass cabinets the immobility of which render the lives which brought them into being opaque: “This comes from India. This comes from Africa. Africa is an invention. You can’t say this comes from Africa. It comes from a specific family, a specific place. These objects are also about colonial encounters and came about because of exchanges between different countries and people.”{{6}}[[6]]Interview (Nathalie Anguezomo Mba Bikoro and Yvette Greslé) Pitt Rivers Museum, 11 October 2014.[[6]] Notions of invention, the fictive and the mythical are alive in the narratives embedded within the Dutch Wax fabric, and its circulation as commodity and locus of identity. The idea of invention is brought to life in the spoken exchanges with Bikoro which complicate the meanings of the objects in the cabinets, and the labels and systems which attempt to structure and contain how it is we experience them.

IMG_2515Photo: Jonathan Eccles, Pitt Rivers Museum

Bikoro’s action of sewing a flag enters into a dialogue with Pitt Rivers Museum from the perspective of her own history and subjectivity which she brings to its atmosphere, its aesthetic, and its curatorial approach. Across from her performance is an installation of film and sound. The event as a whole is titled Les Statues Meurent Aussi II a direct reference to the 1953 film Les Statues Meurent Aussi (Statues Also Die), directed by Chris Marker,  Alain Resnais and Ghislain Cloquet. This film places the idea of the colonial collection, and the display of historical African art, under scrutiny and its opening credits acknowledge the support of institutions and individuals which include ‘Mr. le Colonel Pitt Rivers’.{{7}}[[7]]Les Statues Meurent Aussi (Ghislain Cloquet, Chris Marker and Alain Resnais, 1953) (https://www.youtube.com/watch?v=hzFeuiZKHcg[[7]] Bikoro’s film installation (composed of two films projected onto two separate screens) appropriates footage from Les Statues Meurent Aussi aspects of which were filmed in General Pitt-Rivers’s’ private collection held at Farnham in Dorset.  The film was first screened at the Cannes Film Festival in 1953 and subsequently banned by the Centre National de la Cinématographie from 1953 to 1963 (despite being awarded the Prix Jean Vigo in 1954).{{8}}[[8]]Les Statues Meurent Aussi http://sensesofcinema.com/2009/cteq/les-statues-meurent-aussi/[[8]] It was commissioned by Présence Africaine, a literary review and publishing house founded by the Senegalese writer and editor Alioune Diop, established in 1947.{{9}}[[9]]Les Statues Meurent Aussi http://sensesofcinema.com/2009/cteq/les-statues-meurent-aussi/[[9]] Many of the most significant Francophone thinkers and writers on négritude  – including Aimé Césaire and Léopold Sédar Senghor – are associated with Présence Africaine. James Clifford reflects on Césaire’s négritude which, situated in relation to Caribbean history, presents the possibility of an ambiguity that ‘keeps the planet’s local futures uncertain and open’.{{10}}[[10]]Clifford, J. The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art (Cambridge: Massachusetts and London: England, 1988), p.15.[[10]] Clifford asserts that: The “Caribbean history from which Césaire derives an inventive and tactical “negritude” is a history of degradation, mimicry, violence and blocked possibilities.”{{11}}[[11]]Ibid.p.15.[[11]] It is also he adds “rebellious, syncretic, and creative.”{{12}}[[12]]Ibid.p.15.[[12]] He concludes: “There is no master narrative that can reconcile the tragic and comic plots of global cultural history.”{{13}}[[13]]Ibid. p.15.[[13]] Bikoro’s practice is cogniscent of histories and discourses of colonial violence (and her own ancestral links to these) and she works to open up dialogues, with those who encounter her work, in a manner that is neither didactic nor oppositional. Her film installation deploys the devices of avant-garde film encompassing montage and multiple (apparently incongruous) narratives staged simultaneously. She deliberately disrupts linear, causal narration and an unfaltering faith in objectivity and empirical evidence: historical events are deliberately muddled and obscured and merged with the artist’s own memories and experiences (sound includes that of her baby’s beating heart).

IMG_2503Photo: Jonathan Eccles, Pitt Rivers Museum

Despite appearing frozen in time the museum embodies, albeit on the surface largely opaque, a number of museological approaches and histories. Jeremy Coote (Curator and Joint Head of Collections) narrates:  “It is not simple, unilinear history. The museum, the way it is now, has not just developed in a single line.”{{14}}[[14]]Interview (Jeremy Coote and Yvette Greslé) Pitt Rivers Museum, 11 October 2014.[[14]] The glass cases were manufactured and brought in at different times from the nineteenth through to the twentieth-first century, and until the 1960s the roof was glass: ‘The museum was full of light because it was all about rationality and enlightenment. This was about the scientific approach to understanding human technology’.{{15}}[[15]]Interview (Jeremy Coote and Yvette Greslé) Pitt Rivers Museum, 11 October 2014.[[15]] In the 1960s the glass roof was replaced because of the damage caused to organic objects by light. Also in the ‘60s the displays were considered old-fashioned and irrelevant to anthropology (the university wanted to move the museum out to another place). In the 1980s anthropologists again began working on art and material culture, and museums and representation: ‘People began to find positive value in the way the museum was. It preserved certain aspects of museological practice. It had a certain atmosphere. Gradually we have become aware that it is in part an aesthetic that we are preserving.’ {{16}}[[16]]Interview (Jeremy Coote and Yvette Greslé) Pitt Rivers Museum, 11 October 2014.[[16]]

To animate the objects in the museum, and to breathe life into them, requires acts of dialogue and performance. No object is ever really frozen in time or space, no museum display of glass, or descriptive label can immobilise meaning or the narratives, contingencies of time and history, and acts of imagination people bring to things. This is the importance of Bikoro’s performance, which is a political strategy alert to dialogue, conversation and the affective and subjective significance of sites of historical and cultural memory and exchange. As viewers, we see the film, hear the sound and watch the performance only for a short time and then it is over. It exists only in our memories fashioned by what we choose to remember or forget:  “I am sewing a wound, an old wound. This is a flag about unspoken voices.”

—Yvette Greslé

nathalie bikoro performanceNathalie Bikoro, ‘The Uncomfortable Truth’, live performance, November 2011, duration: 40 minutes. Curated by European Performance Art Festival, Warsaw (Poland). Documentation: courtesy of EPAF Warsaw and the artist.

 

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Yvette Greslé

Yvette Greslé is an art historian and writer. She was born in Johannesburg, grew up in the Indian Ocean archipelago of Seychelles, and now lives and works in London. She is an editor at Minor Literature[s] founded by Fernando Sdrigotti and her blog ‘writing in relation’ represents the political issues and questions that propel her work forward as a whole. Yvette’s PhD research, based in History of Art at University College London, explores traumatic memory, historical events and video art by South African women artists. She is a Research Associate at the University of Johannesburg and has written about contemporary art for publications in the UK, Europe and South Africa.

Chance Encounters of a Literary Kind | Montaigne: A Way of Knowing as a Way of Life — Robert Day

Jan 032015
 

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Each summer and into the early fall, my wife, the painter Kathryn Jankus Day, and I take up residence at L’Étang, a 16th-century farmhouse on the estate of Michel de Montaigne just outside the village of St. Michel de Montaigne. The farmhouse sits in a valley near a pond below the Montaigne castle—a huge Disney-like 19th-century Loire valley imitation built after a maid set fire to the original castle in order to steal some jewelry. Or so the local story goes. Montaigne would be skeptical.

Montaigne’s tower (where he wrote his essays) did not burn, and to this day you can take a narrow, circular stone stairway up to his round study where there sits a full-sized cloth mannequin of Montaigne himself. He is arranged as if reading the facsimile of the Bordeaux edition of his essays on the table in front of him.

Above this faux Montaigne are carved into the ceiling beams his beloved quotations from the ancients: I don’t understand, I am in doubt, (both from Sextus Empiricus) among more than 50 others. The judgments of the Lord are a vast abyss (Psalm 35); There is much to be said on all matters, both for and against (Homer, The Iliad).

montaignes-tower-13

It will bring you luck (again, according to local lore) if, during your visit to Montaigne’s tower, you see on the stairs—or in the study itself—a black and white cat. The cat’s name is Balzac. He was once our cat, a lost-and-found kitty we rescued from a poplar woods near St. Michel de Montaigne, a woods we have since named Bois de Balzac. My wife and I not only have our patois, we are the ones who started the story about spotting Balzac in Montaigne’s tower bringing good luck. We believe in local lore.

Montaigne’s famous inquiry is persistent: What do we know? As is its modern corollary: How do we know? The first question was Montaigne’s motto: Que sais-je? The second concerns our age of “expanding information,” superhighways of information that race in an infinite number of lanes around the earth on cosmic beltways, complete with cloverleafs and exits—Paris, Rome, Athens, Bombay, Hong Kong, Los Angeles, Chicago, New York, St. Michel de Montaigne, Bly, Kansas—all going faster by far than “break-neck speed,” a phrase my mother would use to describe cars that passed our two-door Champion Studebaker as my father drove the R&P speed limit (Reasonable and Proper) on the roads of rural Kansas. Where are they going at “break-neck speed?” my mother would wonder. What madness is it? my father would reply.

Where are we all going at our 21st-century cosmic pace?—a pace that is not only to be contrasted with the R&P limits of 1950s Kansas roads, but with the walk-along rate of the Dordogne River that flows in the valley below Montaigne’s tower: past the village of Lamothe, Montravel, then west to Castillon, Branne, Libourne and Fronsac—after which it joins the Gironde near Bourg. Then to sea. Where is the strong brown god of the river going? At what speed? Are we flowing with it? What do we know?

montaigne_towerMontaigne’s Tower

Does it mean something to how we know that it would have taken Montaigne four days on horseback to follow the Dordogne to Bourg and back in order to learn—and return with—the news that the grape harvest along the Côte de Bourg was just as bad as it had been for the Côte de Castillon? Does it make a difference to what we know that my father had to drive to see my uncle (who had no phone) to tell him of a death in the family? And to return with my uncle who wanted to stay with us that night because, as my mother said, he was feeling “mortal,”—and that that was the first time I had heard that word and was afraid to ask its meaning. Is there a ratio of speed to knowledge? Of information to knowledge? Of information to ignorance? Which of these ratios are literal? Which are inverse, ironic? What do we ever know? Seeing Balzac brings you good luck. If you say so.

I like Montaigne’s way of thinking. In college I came to study him—as perhaps we all did—as the père of the essay. He was a master of “form.” There were forms of literature in those days: novels, poems, short stories, essays. We were taught that the French word essai meant “to try,” “to attempt.” I don’t remember any of us asking what we were to “attempt” when we took to writing our own essays; but over the years, it has occurred to me that in main we are to try to think. Not so much to “reason”—as if an essay were a pudgy syllogism—but to think in a contemplative way, a tentative way. An essay as a walk along a road taken in search of a discovered thought provoked by a singular image: the black bird in the cedar limbs just as it is beginning to snow—and is going to snow.

In this way we let our words discover our reason. Is it a way of knowing? Maybe. Is it a way of knowing everything? Maybe. It is a way of knowing yourself, then, to wit Montaigne: “There is nothing so contrary to my style as continuous narrative.” Walks with stops as digressions. Not a four-day, but a six-day trip to Bourg and back if on the way you ride your horse up the steep hill to St. Emillon and consider what there is to see. The Dordogne in the valley below. Someone on horseback riding toward Bourg. An essay on the move. The essay as a form of life. A way of knowing as a way of life.

—Robert Day

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Robert Day

Robert Day’s new novel Let Us Imagine Lost Love premiered here on Numéro Cinq in its entirety as a serial novel and will be published in fall 2014 by Mammoth Publications. Prior to that, his most recent book was Where I Am Now, a collection of short fiction published by the University of Missouri-Kansas City BookMark Press. Booklist wrote: “Day’s smart and lovely writing effortlessly animates his characters, hinting at their secrets and coyly dangling a glimpse of rich and story-filled lives in front of his readers.” And Publisher’s Weekly observed: “Day’s prose feels fresh and compelling making for warmly appealing stories.”

Emotion of Multitudes: Subplots in Novels — Shambhavi Roy

Dec 052014
 

Shambhavi Roy2Shambhavi Roy

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Fiction writers often struggle with various questions related to subplots: How should I structure my subplots? How much space should my subplots consume? What kind of relationship should the subplot bear to the main plot? Should the subplot be congruent or opposed to the main plot? Let’s consider the novels Sense and Sensibility by Jane Austen and The Accidental Tourist by Anne Tyler as an entry point into the study of subplots in general and the related techniques of character grouping and gradation.

Aristotle taught that the best plots proceed through a series of reversals and recognitions. John Dufresne is his book The Lie That Tells a Truth tells us that episodes do not necessarily make a plot. He says, “Plot is the writer’s arrangement of events to achieve a desired effect. It is the magnet to which all other narrative elements attach.”

Plot is something, I believe, that can be coaxed into being. John Dufresne says that “a plot begins to form as soon as you ask yourself the appropriate questions: what does my central character want? What is preventing her from getting it? What does she do about the various obstacles in her way? What is the outcome of what she does? What climax does this all lead to? Does she get what she wants in the end? Plot, then, is the element of fiction that shapes the other elements—character, theme, point of view, language, and so on—into a story.”

JDJohn Dufresne

Now let’s turn our attention to subplots, the main topic of this essay. In The Enamoured Knight, Douglas Glover says this about subplots: “In its simplest and most direct form the subplot is another plot, involving another set of characters, weaving through the novel.” Subplots can vary in size but every novel must have at least one to achieve the resonating or echoing effect that a novelist tries to achieve by modulating or reduplicating situations and characters, by having several people falling in love or dying or praying in different ways—dissimilar people solving the same problem or similar people confronted with dissimilar problems.

In his essay “Emotion of Multitude,” W. B. Yeats says that “the Shakespearean drama gets the emotion of multitude out of the subplot which copies the main plot, much as a shadow upon the wall copies one’s body in the firelight. We think of King Lear less as the history of one man and his sorrows than as the history of one man and a whole evil time. Lear’s shadow is in Gloucester, who also has ungrateful children, and the mind goes on imagining other shadows, shadow beyond shadow, till it has pictured the world. In nearly all of Shakespeare’s plays the subplot is the main plot working itself out in more ordinary men and women, and so doubly calling up before us the image of multitude.” Yeats seems to imply that if we read the experiences of one man, we may imagine it rooted in his own unique personality or providential in nature or the result of unprecedented or uncommon play of events. But if we notice similar dramas unraveling in several individuals’ lives we may be forced to look beyond the characters and we may end up understanding the thematic issues the authors wants to highlight.

Usually, subplots have graded characters closely related to the main characters. On the topic of graded characters, Glover offers us this: “Graded characters are characters in narrative who share, in a more or less exaggerated or more or less attenuated fashion, thematically crucial experiences in such a way as to create structural parallels” (The Enamoured Knight). A group of friends or schoolmates or army buddies make good subplot characters. “The advantage of the near relations between characters on plot and subplot lines is that they can interact with and observe one another naturally” (The Enamoured Knight). However, we must keep in mind that the different character groups we see in novels often—class, family, working groups—are options we see frequently, but they are not the only possibilities for running subplots.

EK

All right, now let’s turn to Sense and Sensibility to better comprehend what might have led Jane Austen to make use of a plot-subplot structure with graded characters. In this novel, after Henry Dashwood dies, his three daughters and his wife inherit a small and insufficient sum, so the Dashwood girls must marry to find respectability and secure their futures. Although their stepbrother, John Dashwood, promised his dying father he’d take care of his stepmother and sisters, he decides to offer them nothing under the influence of his greedy wife, Fanny. Then, a pleasant unassuming man, Edward Ferrars, Fanny’s brother, visits Norland and Elinor, the prudent Dashwood girl, gets attached to him. Fanny disapproves of the match and complains to Mrs Dashwood, Elinor’s mother, which results in the hasty departure of Elinor, her sisters and mother from Norland to a small rental cottage they’ve found for themselves in Devonshire. Marianne, the younger sister, full of fine sensibilities—which is a euphemism indicating her excessively emotional and impetuous temperament—disregards Brandon, an older, mellow, reserved man and finds her soul mate in a dashing young man named Willoughby, who, not surprisingly, resembles Marianne. Demonstrative and passionate, Willoughby and Marianne never leave each other’s side, leading to much public speculation about their relationship. Then, all of a sudden, Willoughby leaves. Marianne, a romantic, suffers a “violent oppression of spirits” while waiting for him to return. Soon she learns of Willoughby’s engagement with someone else for monetary reasons and falls sick and nearly loses her life as a result of the heartbreak. Like Marianne, even Brandon is wronged by Willoughby: Willoughby flirted with and impregnated a girl-child, Eliza, under Brandon’s guardianship. Even Elinor faces ill-luck in love—Edward is secretly engaged to Lucy, a girl who suffers from a want of delicacy and integrity of mind. But Elinor does not share the news of Edward’s engagement with her family for a long time and bears hardship with a sense of forbearance. In the end, Elinor turns out to be the fortunate one, although just by chance: Edward’s fiancé, Lucy, breaks her engagement with Edward so he can unite with Elinor; however Marianne must content herself to be with Brandon, although she didn’t care for him before.

Sense and Sensibility, published in 1811, anonymously, brought its writer no fame during her lifetime, although it was an instant success. With a recent surge of interest in Jane Austen, the novel is more widely read and proclaimed today than it ever was. Written in third person from the point of view of an omniscient narrator, the novel explores the problem of finding a life partner and whether sense or sensibility leads to a better match.

In this novel the plot and the subplot occupy nearly equal space and are accorded equal consideration, forming parallel plot-subplot structure. Right in the beginning, on page three, Jane Austen sets the stage for parallel plots with graded characters.

Jane_Austen_coloured_versionJane Austen

Elinor, this eldest daughter whose advice was so effectual, possessed a strength of understanding, and coolness of judgment, which qualified her, though only nineteen, to be the counselor of her mother, and enabled her frequently to counteract, to the advantage of them all, that eagerness of mind in Mrs. Dashwood which must generally have led to imprudence. She had an excellent heart; her disposition was affectionate, and her feelings were strong; but she knew how to govern them: it was a knowledge which her mother had yet to learn, and which one of her sisters had resolved never to learn. (3)

Note the way Elinor’s character is described in relation to that of her mother and her sister. In the next paragraph, the author offers us this about the younger sister, Marianne.

Marianne’s abilities were, in many respects, quite equal to Elinor’s. She was sensible and clever; but eager in everything; her sorrows, her joys could have no moderation. She was generous, amiable, interesting: she was everything but prudent. The resemblance between her and her mother was strikingly great. (3)

Throughout the novel, the author uses the words “prudence” in reference to Elinor and “eagerness” and “imprudence” in reference to Marianne and her mother, Mrs Dashwood. Elinor and Marianne—sisters, young, unmarried, constrained by their financial situation, the fact they are women, and the fact they must marry to secure a future for themselves—belong to the same character group, even though they are temperamentally apart. They are both well brought-up girls, who enjoy books and are fond of arts, although Marianne’s fondness for arts is more vehement in nature. Elinor draws and Marianne plays piano. They love their mother and each other. But to illuminate the theme of the novel the author must draw out the differences in the outlook of the two Dashwood girls. So to accentuate their heterogeneity, the sisters form pairs with men who reflect their personalities. Like Elinor, Edward has a quietness of manner and is amiable, warm and affectionate. Willoughby is frank and vivacious and as passionate about music and dancing as Marianne. Not just Elinor but even Edward and Brandon represent sense and the pair, Marianne and Willoughby, sensibility and indiscreetness. Edward and Willoughby mirror the dispositions of the women they are with, though not entirely. Elinor is not as shy as Edward, and Edward doesn’t have the same interest in arts as Elinor. The narrator tells us this about Willoughby and Marianne: “The same books, the same passages were idolized by each—or if any objection arose, it lasted no longer than till the force of her arguments and the brightness of her eyes could be displayed.” Jane Austen takes time to define the spectrum of her characters’ beliefs and their propensities, and then these graded characters will trudge along parallel plot lines to explore the central theme of the novel: when looking for a life partner, is it better to follow reason or sensibility? Whether sense or sensibility is the winner in the end?

Both sisters fall in love; they are presented with obstacles and find resolutions. The novel unfolds in a pattern. We see some event bear down upon one of the sisters and observe her reaction to the life event and then we see a similar occurrence in the other sister’s life and witness her response and learn what others think of the whole business. “In fiction,” E. K. Brown tells us, “the rhythmic arrangements that move us most are those where repetition is enveloped in variations, but never so enveloped that it appears subordinate.” That is exactly what Jane Austen seems to want to accomplish. Although the arcs of the two parallel plots cover the same points and are a bit repetitive on the surface, they are designed to achieve the opposite effect: highlight differences and illuminate the theme.

Compare Elinor’s gentle anguish, when she discovers Edward is engaged to Lucy, to Marianne’s finding Willoughby with a woman at a party.

Elinor for a few moments remained silent. Her astonishment at what she heard was at first too great for words; but at length forcing herself to speak, and to speak cautiously, she said with a calmness of manner, which tolerably well concealed her surprise and solicitude—‘May I ask if your engagement is of long standing?’ (87)

Here’s Marianne’s comportment in a somewhat similar predicament.

Marianne, now looking dreadfully white, and unable to stand, sunk into her chair, and Elinor, expecting every moment to see her faint, tried to screen her from the observation of others, while reviving her with lavender water.

‘Go to him, Elinor,’ she cried, as soon as she could speak, ‘and force him to come to me. Tell him I must see him again—must speak to him instantly.—I cannot rest—I shall not have a moment’s peace till this is explained—some dreadful misapprehension or other.—Oh go to him this moment.’ (119)

When the sisters are about to leave their childhood home in Norland, Marianne sheds tears, but Elinor finds the decision to move prudent and refuses to dissuade her mother, even though her love-interest is in Norland.

A romantic, Marianne says, “What have wealth or grandeur to do with happiness?” “Grandeur has but little,” says Elinor, “but wealth has much to do with it.” Elinor falls for Edward who is not handsome, and his manners require intimacy to make them pleasing. Marianne, who doesn’t approve of her sister’s beau entirely because Edward has no spirit and is not striking enough, falls in love with Willoughby, a charming personality in everyone’s opinion. Even Mrs. Dashwood commends Marianne’s choice and finds Willoughby faultless, although Elinor can clearly see a problematic propensity, in which Willoughby strongly resembles Marianne, of saying too much what he thought on every occasion, without attention to person or circumstances.

I counted seventeen different occasions when Jane Austen brings out the striking diversity in the conduct of these two sisters. The sisters form two parallel mountain ranges reflecting sound off each other so the echo reverberates in the reader’s mind. The author seems to pitch antithetical ideas because, I believe, human beings do not understand in a vacuum but in relation to one another. In E. K. Brown’s terms, the two sisters “irradiate each other and become clearer by irradiation.” By offering contrasts and similarities the author is according greater depth to these characters and the social milieu, while trying to get at the hidden truth.

In the end, Elinor, although prudent, selfless, calm, hardly fairs better than Marianne, even though Marianne is eager and imprudent. Elinor’s cautiousness is not entirely a helpful trait, given that she cannot discuss her feelings openly and is unsure how Edward feels for her. Ultimately, she unites with Edward only because of happenstance. So, in a way, the author declares “sense” as the winner somewhat grudgingly. We see the same pattern reappear in the cast of characters supporting the two parallel plots: Willoughby, Brandon, and Edward Ferrars. Shy and sensible, Edward loves Elinor but gets engaged to Lucy because of a past commitment. If Lucy didn’t abandon him, he could count on a miserable life ahead of him. Brandon, another calm, rational, caring man, never marries his first love, fails to protect the child, Eliza, under his guardianship, and finally unites with Marianne only after Willoughby deserts Marianne. True, Willoughby finds himself in a frightful place toward the end of the novel, but then, he has abandoned sense and even sensibility for that matter—he has lived a life of extreme indiscretion: rejected Marianne, flirted with and impregnated a young girl, and married solely for monetary reasons. The author has placed Willoughby near the edge of the spectrum of her characters, but with the help of her other characters, she argues for and against her ideas imparting depth to the discourse.

It is clear that the main benefit of having closely related characters and a tightly interwoven plot-subplot structure is to act as the glue holding and unifying the story and bestowing a direction and a sense of purpose. The author shows several characters struggling to find life partners so we get a flavor of the emotion of multitudes. The plots and the subplots point in the same direction so the theme is emphasized and we get a sense of the larger world. How else would we recognize the complexities inherent in identifying a life partner, and the fact that it is so hard for anyone to be right in this matter?

So what other benefits Jane Austen reaps by having parallel plots with graded characters. As I read Sense and Sensibility and considered the topic of graded characters, I also realized that having two sisters driving parallel plots was also serving as a subtle memory rehearsal device by reinforcing and comparing constantly. When Elinor expresses her thoughts on the subject of move from Norland and then Marianne wails over the same issue, the reader knows for sure the family is moving. Let’s take a moment to appreciate the role this repetition plays. The more a bit of information or an idea is repeated or used, the more likely it is to eventually end up in long-term memory, to be “retained.” People tend to more easily store material on subjects that they already know something about, since the information has more meaning to them and can be mentally connected to related information. So if you want your readers to retain bits from your novel in their long term memories you may want to consider closely related characters and an interlaced plot-subplot structure so these characters can frequently cross each other’s paths and reflect on each other.

In the end, we must recognize that narrating Marianne’s story, along with Elinor’s, doubles the length and makes the novel more interesting. Far more engrossing, Marianne and Willoughby serve as a balance against Elinor and Edward, who are shy, reserved and not so amusing. Does that mean if a protagonist is ill-tempered or morose, we should consider a lively and more engaging character driving a subplot to relieve the strain off a difficult topic? Definitely something we should keep in mind.

Now let’s turn to The Accidental Tourist to see the plot-subplot structure in that novel. After Macon Leary’s twelve-year-old son gets shot and killed, Macon and his wife Sarah separate, because Sarah cannot find any comfort in her husband.

Left alone with just an unruly dog for company, Macon has difficulty sleeping and wishes his wife would return. Then he breaks his leg and is forced to move to his sister Rose’s house where Rose and Macon’s two brothers, Charles and Porter, live. To help train his dog, whose violent tendencies have increased as a result of the move, Macon hires Muriel Pritchett. She is a divorced woman and the mother of a seven-year-old reclusive boy with medical problems from the time of his premature birth. At first Macon refuses to get involved with Muriel, but, ultimately, her eccentricities and her problems draw him out of his shell. He cohabits with her in her house, which is in a slummy neighborhood, and teaches her son math and plumbing techniques, even though he is not in love with her or even entirely comfortable with her, for that matter. Disorganized, unsettling and unpredictable, Muriel has a “nasty temper, a shrewish tongue and a tendency to fall into spells of self-disgust.” Not surprisingly, Macon’s siblings disapprove of the relationship and try to convince him she is not the right woman by reminding him she is much younger and just out there to catch a man so he could provide for her. At this point, Macon’s ex-wife, aware of Macon’s live-in relationship, tries to woo him back. As Macon has never really gotten over Sarah, he cannot help but move back with Sarah; but Muriel, unwilling to give up on Macon, follows him around when he goes on a business trip to Paris. Finally, after an argument with Sarah, Macon realizes that he and Sarah “have used each other up.” He realizes he must embrace his new life with Muriel and leave the memories of his dead son and his ex-wife behind.

SS

Anne Tyler’s tenth novel, written in 1985, The Accidental Tourist was a finalist for the Pulitzer Prize and won the National Book Critics Circle Award for Fiction. With a clear plot-subplot structure, the main story has Macon Leary as its lead character, and the subplot features his sister Rose. The minor subplots are about Macon’s two older brothers, Porter and Charles.

Just as in Sense and Sensibility, the subplots in The Accidental Tourist are driven by close relatives, the sister and brothers of the protagonist. As if the fact that Rose and Macon are siblings isn’t enough to bring them together often, Rose has a relationship with Macon’s boss, Julian, and this gives the author an opportunity to talk about Rose every time Macon meets Julian. Even Macon’s estranged wife, Sarah, is close to Rose and when Macon and Sarah reconcile they discuss Rose’s situation in life. The relationships form a tightly woven pattern so the characters can observe each other and compare and contrast.

Just as the two sisters in Sense and Sensibility are both similar and different, Macon and his sister and his two brothers resemble each other and have traits that establish their distinctness as human beings. All of the Leary children are grammar fanatics, orderly, somewhat socially stunted, and idiosyncratic. They even look alike: “Their hair had an ashy cast and their eyes were a steely gray. They all had that distinct center groove from nose to upper lip. And never in a million years would Alicia [their mother] have worn an expression so guarded and suspicious.”

Rose has her kitchen so alphabetized that she keeps allspice next to ant poison and considers it perfectly normal to live with her brothers. Macon sleeps in a body bag, does not use a dishwasher, and stalks around in circles while showering, sloshing the day’s dirty clothes underfoot. Even though the details differ, the siblings have the same strange quirky feel about them, as if they are different shades of each other. But the siblings wouldn’t become real in our eyes if the author didn’t list their unique characteristics to round them up as human beings.

Books Anne TylerAnne Tyler

So Anne Tyler lets us know that Rose is the only social Leary, who helps out neighbors and old relatives; Porter is the best looking Leary kid, talkative, and able to run finances and plan taxes; Charles, a sweet-faced man who never seems to move; and Macon, even though he shares several character traits with his siblings, is not always comfortable with the idea of abiding with Rose and his brothers. He experiences moments of anxiety when he wonders if has gone any further in life since his childhood days. And he is also the only one who considers the fact that that they might be unconventional. When Julian visits Rose’s home, Macon tells Rose that Julian was there just because “he hopes we’ll do something eccentric.” Macon wishes none of his siblings would say or do anything awkward around Julian.

Unlike her three brothers, Rose wants to experience love. Rose says, “Love is what it’s all about. On soap operas everything revolves around love.” But Charles and Porter, after their failed marriages, seem content in Rose’s house with Rose overseeing the housekeeping for them. Even Macon does not seek romantic associations actively, although he can get entangled into them. To a certain extent, Macon and Rose share the desire to be in romantic relationships, and therefore, their lives evolve in a similar fashion, creating a congruent plot-subplot structure. After Rose marries Julian and lives with him for a while, she begins to get disoriented with the newness of her life and moves back with her brothers. Similarly, Macon abides with Muriel for some time and then moves back with his estranged wife. In the end, both Macon and Rose unite with their lovers, although in variant ways—Macon leaves his estranged wife and goes back to Muriel and Julian begins to live with Rose and her brothers. .

Now let’s focus for a minute on the textual space devoted to Macon versus that devoted to Rose. As this novel has a clear plot-subplot structure, Macon enjoys the lion’s share of space. Rose does not appear in the first chapter—there is not even a mention of her. She appears for the first time in the second chapter and then disappears till the end of the fourth. The fifth chapter is dedicated to describing Macon’s siblings, particularly Rose. And from then on, Rose is mentioned in every chapter, even if it is just to let us know that she drove Macon to Julian’s place. In the last chapter, although we don’t get to see Rose, Macon’s ex-wife, Sarah, informs Macon that Julian has moved in with Rose and the brothers. Of the twenty chapters in this book, Rose occupies significant space in just four and the brothers are given much less consideration.

So why have Rose and the brothers? What purpose do they serve? Several, in my opinion. First, with the help of these subplots, the author highlights the theme of the novel—the nature of love and the fact that for successful love relationships one has to reach a point of wisdom or a compromise between the desire for order and chaos. As we see Macon and Rose struggling to understand what they want and where they belong, we get the “emotion of multitudes,” a feeling that even though we are reading a novel with a simple structure and few characters we are in a large and teeming world where everyone is trying to fathom the meaning of love, marriage, and compromise in an ever changing world.

Note how all the Leary kids seem to drift back to their place of origin. After Macon breaks his legs, he moves in with Rose and his brothers and experiences quiet contentment. Macon gets involved with Muriel only because his dog, Edward, is unsettled in unfamiliar surroundings and begins to attack everyone. Even though Macon misses some aspects of his life at Rose’s place, he is lulled by the ease and simplicity of his childhood routines and hardly seems to desire new relationships. Even though he says his lack of interest in sex is a result of his son Ethan’s death, one cannot help notice that he has always shunned newness and unfamiliarity. Even when he was young, it was Sarah who initiated and drove the relationship forward, not Macon. Anne Tyler sheds light on the same appeal for one’s native environment through Rose. Rose, fascinated by the concept of love because she’s never been in a relationship before, falls for Julian and marries hastily, but within a few days of her wedding, she leaves her marital home and comes back to live with her brothers. She unites with Julian only because he sheds his traditional idea of a marital home and moves in with her brothers. Julian says, “She’d worn herself a groove or something in that house of hers, and she couldn’t help swerving back into it.” Even Charles and Porter have the same regard for familiarity as Macon and Rose. And all the Leary children love and deeply care for each other. Rose ministered to the needs of her ailing grandfather and cooks and cleans for her brothers, and they, in turn, care for her in a subtle, heartwarming way. Looking at Macon, Rose, Porter and Charles, readers may begin to wonder if, at some level, we all have the same affinity and weakness for our first homes. We do not know if this is the effect Anne Tyler wanted to achieve but nevertheless with the help of her subplots and graded characters, she underscores the human tendency to value familiarity—the sense of well-being we associate with our childhood home—and the intimacy we share with our siblings and other blood relations.

What other purpose do the subplots serve? What other “emotion of multitudes” does the author hope to evince? Let’s consider the partners the Leary kids are attracted to. Rose, a sober, prim woman, who “folds her hair unobtrusively at the fact of her neck where it wouldn’t be a bother” and wears “spinsterly and concealing” clothes, finds love in Julian, a playboy, living in a Singles apartment. Rose’s brothers try their best to dissuade her from getting involved with Julian but for some reason she cannot resist. Even Porter and Charles were married to women unlike them, who made fun of them. Macon, a man in his forties, obsessively organized, grammar fanatic, has a strange attraction for Muriel, a talkative, neurotic, disorganized woman. Every one of Macon’s siblings thinks Macon and Muriel are unsuitable for each other. But when Macon moves back with his ex-wife, he misses Muriel’s eccentricities and her misusages. Even though Macon and his sister and brothers have a fondness for the familiar, they are also enthralled by the unfamiliar, and the same can be said about their spouses. We, the readers of The Accidental Tourist, wonder if most of us “in a more or less exaggerated or more or less attenuated fashion” exist in a confused state, drawn toward and repelled by the familiar.

Accidental Tourist

Now let’s turn our attention to the two married couples in The Accidental Tourist. Even though Macon and Sarah have been together for decades, even though he loves her dearly, the only comfort they seem to accord each other is the comfort of routine. When Muriel tells Macon she wants to marry him, he says, “I don’t think marriage ought to be as common as it is; I really believe it ought to be the exception to the rule; oh, perfect couples could marry, maybe, but who’s a perfect couple?” And then later, thinking about a conversation Macon had with his wife, we learn this: “Thinking back on that conversation now, he [Macon] began to believe that people could, in fact, be used up—could use each other up, could be of no further help to each other and maybe even do harm to each other.”

On the other hand, Macon enjoys the cozy, sloppy presence of Muriel, a woman he does not love. At times he is ashamed of Muriel but still ends up making a home with her. And Rose loses her fascination for marriage soon after she gets married and returns to her childhood home. Although she is attracted to Julian, a traditional wedding and a married life provide no comfort to her. Ultimately, her marriage survives because Julian moves back with her forming an unconventional arrangement. So is there some truth that the author wants to shed light on here? Is it possible to live and find comfort in unorthodox relationships and arrangements outside of marriage with people we do not even love? Is marriage as an institution worthy of the respect we accord to it, given that people and their conditions change so frequently?

After studying these two novels, Sense and Sensibility and The Accidental Tourist, it is clear that their subplot structures are different in key ways. Rose occupies far less space than Marianne, probably because Jane Austen wants to initiate a dialogue with her readers, but Anne Tyler seems to open our minds to a new idea, one that may not have too many takers in the middle class. The key thing to note is the fact that subplots must parallel or reflect the main plot, otherwise the various elements of a novel fly apart and the text lacks rhythm and unity of thought.

—Shambhavi Roy

 

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Shambhavi Roy, a graduate of Vermont College of Fine Arts, lives in Saratoga, CA, with her husband and two kids.

Assembly + Departure: Text Art — Chaulky White

Dec 012014
 

Chaulky-WhiteChaulky White is the pen name given to the combined effort of Derek (R) & Kevin White (L) in creating ‘SSES” ‘SSES” “SSEY’, a book that is forthcoming from Calamari Archive in 2015.

The following is an excerpt from ‘SSES” ‘SSES” “SSEY’—a book that is based/extrapolates on an MFA thesis my brother Kevin White wrote in 1990 entitled ‘SSES” ‘SSES” wherein he recapitulated Joyce’s Ulysses‘ recapitulation of Homer’s Odyssey to a trip he took across Asia in search of our father (who committed suicide a few years before). ‘SSES” ‘SSES” “SSEY’ takes his recapitulation 1 step further, folding in his journals, unpublished stories + artwork he made before himself dying of a drug overdose. ‘SSES” ‘SSES” “SSEY’ is also a literary work that reflexively interrogates the very transcription processes used to produce/copy it, mobilizing reflexive loops between original imagined intent + editorial deterritorialization … a «gift of tongues rendering visible not the lay sense but the first entelechy, the structural rhythm»—as Stephen Dedalus says in Ulysses.

This is episode 1 (the 2nd episode—episode 0 is up on Sleepingfish if are interested in seeing the continuity/more background on the project: http://sleepingfish.net/13/000_SSES.htm).

Chaulky White is the pen name given to our combined effort.

—Derek White

SSEY 01-1Click on the individual pages for larger views.

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Chaulky White is the pen name given to the combined effort of Derek (R) & Kevin White (L) in creating ‘SSES” ‘SSES” “SSEY’, a book that is forthcoming from Calamari Archive in 2015.

Through a Glass Darkly: Mirror Scenes in Contemporary Scandinavian Detective Fiction — Warren Motte

Nov 132014
 

CaptureNarcissus by Caravaggio via Wikipedia

In pre-revolutionary Cuba, they used to tell the story of an hidalgo who had emigrated from Spain as a very young man, and who had amassed a huge fortune in the sugarcane industry. Old and ill, he gathered his many children around him in order to give them his final instructions. “If I should die here in Havana,” he told them, “promise me that you will send me back to Spain to be buried there.” One after the other, all of his children swore that they would carry out his will to the letter. “However, if for some reason I should die in Spain,” he added, “I want you to bring me back here to Havana to be buried.” “Of course, Father,” his eldest son assured him, “That too we shall do. But tell me: why do you wish this?” “Oh, I don’t know,” replied the old man, “Just to fuck around.”

It is in such a spirit that I would like to propose a brief meditation on mirror scenes in contemporary Scandinavian detective fiction. Gratuitously in other words, in a largely unfettered and fundamentally playful perspective, one not driven by the prospect of immediate utility, but rather by simple (and very nearly idle) curiosity.

The burgeoning of the detective novel in Nordic countries during the last couple of decades is a remarkable phenomenon, comparable in many ways to the Latin American “boom” of the 1960s. Working in the wake of Maj Sjöwall and Per Wahlöö, whose ten-volume Martin Beck series (1965-75) set the terms of the trend, an impressive diversity of writers has broadened the genre’s horizon of possibility in significant ways. I’m thinking here of figures such as Henning Mankell, Stieg Larsson, Åsa Larsson, Kristina Ohlsson, Kjell Eriksson, Åke Edwardson, and Håkan Nesser (Sweden); Karin Fossum and Jo Nesbø (Norway); Yrsa Sigurðardóttir and Arnaldur Indriðason (Iceland); Peter Høeg and Jussi Adler-Olsen (Denmark). Among the many intriguing features one may find in this body of work, it abounds in mirror scenes, that is, moments when a subject comes face to face with her or his reflection in the mirror.

That the detective novel should deploy a topos such as this one makes a great deal of sense. For that literary genre is all about discovery after all; and perhaps, as much as anything else, it is about the prospect of self-discovery. Think for instance of Oedipus, an excellent example of an early detective, and consider especially the way he solved the riddle of the Sphinx. When asked what creature walks on four legs in the morning, two at noon, and three in the afternoon, he replied “Man,” and that answer of course did the trick. Yet the real answer to the Sphinx’s question is “Me”—as the rest of Oedipus’s tale clearly demonstrates, to his doom. The moral is clear enough: no riddle can be solved if the subject cannot first come to terms with himself or herself. And in certain cases, the subject need look no further than that. Such is the lesson of the gnothi seauton, the imperative of self-knowledge that has animated Western culture from its very beginnings. And such, too, is the impulse that subtends the mirror scene wherever we may find it these days, in our increasingly specular culture.

CaptureOedipus and the Sphinx (detail) by Gustave Moreau

The other key figure in the tradition of mirror gazing is of course Narcissus. There are many versions of his myth, and the lessons they put on display are varied. The most harrowing among them is the version that Ovid recounts. Asked if Narcissus will live to a ripe old age, a seer remarks, “Yes, if he does not come to know himself.” It’s a sly answer, and a very perverse one, too, cutting across the grain of cultural commonplace as it does. Its moral is more immediate than that of the Oedipus myth, and less equivocal with regard to the gnothi seauton. Both tales, it must be recognized, paint a dark picture of the encounter with the self, one where deliberate, uncompromising introspection leads to catastrophe for the subject. All of this is to say that the mirror scene is a cultural topos more than passingly vexed, and more than usually fraught with contradictory messages. When contemporary literature turns to that topos and puts it to use, even in offhanded ways, its trappings come along with it, which may help to explain why even the most apparently innocent mirror scene typically creates a disturbing moment in a text, a moment of exceptional reflection.

In what follows, I would like to consider the different shapes those moments assume in the Scandinavian detective novel, proposing along the way a loose, heuristic typology that may help us to think about them more efficiently. My own sense is that those scenes are deeply involved with the poetics of the gaze in literature, with the representation of the self, with the way the human subject grapples with his or her humanity, and with what we may hope to find when we look into the mirror of the text.

CaptureKarin Fossum

Before we leap into those moments, it is important to point out what is not a mirror scene; and in doing so it is best to be both draconian and exhaustive. First, it should be noted that the mere mention of the object does not suffice. When Karin Fossum writes, “I got up every morning and went out to the bathroom, and there was his toothbrush below the mirror” (Don’t Look Back 255), there is indeed a mirror in the scene, but the subject fails to encounter herself therein. Fossum is particularly fond of events like that, sometimes wagering upon pure (and from the devotee’s point of view, purely otiose) analogy: “A mirror-like tarn, no bigger than a large pond, lying among the spruce trees like a secret space” (Don’t Look Back 26). One gets the same sense of missed opportunity when the mirror is invoked in a figural, metaphorical manner. “The same questions. Again and again,” complains Håkan Nesser’s Inspector Van Veeteren, as he grapples with a particularly thorny problem, “Over and over again. Reflecting themselves in the mirror” (Mind’s Eye 19). Those questions may reflect themselves till the cows come home; they are not human beings, and their specularity has no psychological or moral depth. More cruelly still, Åsa Larsson insists upon the absence of the mirror, and we benighted readers are left to muse upon what the moment might have been like if only a mirror had been present: “‘What gorgeous clothes,’ smiled Sanna, her cheeks flushed with pleasure. ‘Look at this jumper! Pity there isn’t a mirror in here'” (Sun Storm 26).

One must also dismiss a category that I would like to call the mirror scene manqué. “He was in such a hurry,” remarks Yrsa Sigurðardóttir, “that for once he didn’t stop to admire himself in the little mirror hanging beside the coat rack by the door. If he had, he would have seen that his aura was heavy and dark. Almost black” (My Soul to Take 131). Here, the subject’s encounter with the mirror is conjectural, rather than actual, and thus unsatisfactory. A more literal example of that species presents itself when Jo Nesbø’s Harry Hole finds himself nose to nose with a great white shark at the Sydney Aquarium: “At first he thought it was his own reflection he could see, then his eyes became accustomed to the light and he felt his heart register a last pounding beat before it froze. The Great White was beside him, watching him with cold, lifeless eyes” (The Bat 168). Though this is not a mirror scene, it should be noted that there is an ironically specular dimension to it, for as he gazes in horror at the shark Harry Hole realizes that he, too, may have something of the coldblooded predator about him.

Jo nesboJo Nesbø

We must also agree to turn aside from scenes of simple introspection, moments of self-appraisal undertaken without the mediation of the mirror. Consider this passage from Henning Mankell’s The Man Who Smiled: “He sat at his desk, feeling that he could now examine himself at arm’s length: the man staggering around in the West Indies, the miserable trip to Thailand, all those days and nights when everything seemed to have ground to a halt apart from his bodily functions. He was looking at himself, but he realized that that person was somebody he no longer knew. He had been somebody else” (57). Perhaps he was indeed “looking at himself,” but not in the literal sense; and in a rigorous consideration of mirror scenes, we owe it to ourselves to be as literalist as we possibly can.

When one character in Mankell’s The Pyramid asks another, “Have you even seen what you look like?” and that latter individual testily retorts, “I don’t spend my time looking at myself in the mirror” (9-10), the suggestion is that looking at oneself in the mirror is something that vain, lazy people do, something that is unfit for people of a more active, engaged, and robust constitution. And perhaps it is for reasons such as those that Inspector Kurt Wallander upon occasion deliberately eschews the mirror: “He splashed cold water on his face and took a long leak. He avoided looking at his face in the mirror” (Henning Mankell, One Step Behind 333). Other passages in Mankell’s writing are a bit more difficult to dismiss, because while the mirror therein is virtual rather than literal, the subject’s encounter with himself has a great deal of flesh on its bones: “Sometimes he imagined himself as an image in a mirror that was both concave and convex at the same time. No-one had ever seen anything but the surface: the eminent jurist, the respected minister of justice, the kindly retiree strolling along the beach in Skäne. No-one would have guessed his double-sided self” (Sidetracked 14). I realize that I have been relying heavily upon Henning Mankell here. Having read him so attentively, and with so much pleasure, over so many years, I feel now that he is a close personal friend. I’d like to go to IKEA with him. More pertinently, his writing provides a very rich vein of classic mirror scenes, as we shall see in a moment, undoubtedly the mother lode insofar as Scandinavian detective fiction is concerned.

Before we get there however, and having now plucked most of the low-hanging fruit in the non-mirror scene orchard, let me invoke a few examples of passages that hover right on the threshold of mirror scenedom. Consider this passage from Karin Fossum’s Don’t Look Back: “Each time he looked at the picture of his father, his own old age seemed to advance uncomfortably on him” (35). Clearly, the subject sees something of himself when he gazes at the picture of his father; but to call this a mirror scene is to reach too far. It offers, in a sense, a negative image of a mirror scene, a notion that can be confirmed by comparing it to a positive image of the same topos, such as this passage in Henning Mankell’s The Dogs of Riga: “He examined his face in the mirror and saw that he was getting more and more like his father” (201). Yet when the subject gazes at a photograph of himself, rather than one of his father, the elements of a full-blown mirror scene fall easily into place, as Åke Edwardson understands: “He removed the cloth and stared at a photograph of himself, taken shortly before high school graduation” (Death Angels).

Then there are textual moments when the encounter with the mirror is implicit, rather than actual. “She sat anesthetized at the kitchen table,” writes Åsa Larsson, “and recalled the joy she had felt earlier; the bike ride to the city and back, how she already felt more fit, the feeling of putting on the black skirt and the neat blouse, her new appearance that the hairstyle and her more conscious application of makeup gave her” (Sun Storm 329). Any reasonable person would infer that the subject had put her makeup on while looking in the mirror; yet the narrative elides that moment maddeningly.

As much as it pains me, it must be said that in certain mirror scenes nothing happens—or nothing of real interest. “Gullberg was completely exhausted after all his efforts on Monday,” writes Stieg Larsson. “He did not wake until 9:00 on Tuesday morning, four hours later than usual. He went to the bathroom to shower and brush his teeth. He stood for a long time looking at his face in the mirror before he turned off the light and went to get dressed. He chose the only clean shirt he had left in the brown briefcase and put on a brown-patterned tie” (The Girl Who Kicked the Hornet’s Nest 124). The moment is flatly constative; it provides nothing beyond the simple fact of the encounter; it has no depth. A passage in Sjöwall and Wahlöö’s The Terrorists is similar: “They returned to their own base, where there was no one but the chief of the Stockholm Police. He was standing in front of the mirror combing his hair with great care. Then he eyed his tie, which as usual was of plain colored silk. Today it was pale yellow” (226). In both cases, alas, we learn more about the tie than we do about the subject. Certain other passages of this sort set up the encounter with the self, and then shy away from it, as it were: “While she was putting on her coat, Thóra looked at herself in the large mirror. She knew it was important to make a good impression at the first meeting, especially if the client was well-off” (Yrsa Sigurðardóttir, Last Rituals 12-13).

When the devil holds the candle

Still other instances put mirror substitutes into play, and I think we can agree that they clear the bar when those proxies are functional. Here are two examples of that ilk, the first borrowed from Karin Fossum, the second from Åsa Larsson: “Zipp could see the outline of his own face in the black of the television screen: a cowardly, wavering thing” (When the Devil Holds the Candle 222); “She looked at her reflection in the mirror that the roll of aluminum foil attached to the wall provided and where her face appeared cracked in a thousand wrinkles, before she tore off a sheet and handed it to Johnny” (Sun  Storm 172). Sometimes those proxies are human. Arnaldur Indriðason is especially fond of moments like that: “Looking at Steve, she saw her own anxiety reflected in his face” (Operation Napoleon 237); “Marion Briem’s eyes revealed clear pity and a sad certainty that they were looking at their own reflection” (Jar City 121). Other people’s faces can serve as very efficient mirror substitutes, often reflecting an image of the subject that is no less faithful than one that a more literal mirror might provide, if one is willing to embrace the phenomenon of projection that such scenes put on stage, that is. For this specular relation between the self and the other is patently a matter of projection, as Henning Mankell points out: “Wallander looked at Martinsson’s and Hanson’s tired faces and wondered what his own face must be like” (Firewall 68). In other instances of the same effect, Mankell underscores the fidelity of that projection for our benefit, confirming the information that the other’s gaze conveys by a more literal encounter with the mirror: “‘At your age you shouldn’t stay up all night,’ she said. Wallander looked at her with surprise. ‘Is it so obvious?’ She bent down and got her bag from behind the counter, then fished out a make-up mirror and handed it over to him. She was right. He was pale and had dark circles under his eyes. His hair was a mess” (One Step Behind 239).

Capture

As we move beyond these dubious, hybrid, or limit cases toward sturdier and more compelling examples of mirror scenes, it should be noted that their fundamental discursive mode is interrogative. That is, whatever else they may put on offer, mirror scenes portray a questioning subject; and the vector of that questioning points directly toward the subject herself. Gazing at his own reflection, a character in Kjell Eriksson’s The Cruel Stars of the Night articulates the question that quickens any mirror scene at all, be it overtly or more subtly: “‘Who is Stig Franklin?’ he asked the mirror” (275). We are squarely in the orbit of the gnothi seauton here, of course, and that’s just where we’ll remain as we trace the subject’s fate through three types of encounters with the mirror. The first type involves simple recognition, a moment wherein the subject comes across a mirror and recognizes himself or herself unproblematically. In the second type of scene, such recognition is not immediate, but progressive, and it involves a process that runs the gamut from the mildly difficult to the outright traumatic. In the third type, finally, the subject fails utterly and definitively to recognize himself—and I hereby promise not to dwell upon that morbid eventuality more than is strictly necessary.

Having postulated those categories so very categorically, allow me to temper their terms just a bit. For it must be said that the scenes of simple recognition one finds in contemporary Scandinavian detective fiction are very rarely simple. One does come upon scenes of that sort—”As the coffee was brewing, Wallander went into the bathroom. He noticed with pleasure that he looked healthy and energetic” (Mankell, The Fifth Woman 20)—, but they are few and far between. Most of the time, scenes of this first type involve something beyond the subject’s mere recognition of himself. In The White Lioness, for instance, Wallander’s recognition may be immediate, but it is problematized by the recognition of far broader truths about himself and about his manner of being in the world: “When he got back to his apartment, he stripped and stood naked in front of the hall mirror. ‘Kurt Wallander,’ he said aloud. ‘This is your life'” (182). He reads himself in the mirror in this moment of naked truth—and of course we read him reading himself, recognizing as we do so that what is fundamentally at stake in scenes like this is interpretation itself. Obviously, the principle of self-knowledge is deeply imbricated in scenes such as this one. Yet upon occasion the promise of unique identity that is implicit therein is put into question by the encounter: “He saw himself in the mirror and realized that he looked like thousands of other young people” (Sjöwall and Wahlöö, Cop Killer 274). In that instance, the subject recognizes himself without difficulty, but he fails to recognize his particularity, and by virtue of that the encounter has gone badly awry.

CaptureSjöwall and Wahlöö

For it is almost always the other who vexes the encounter with the mirror, whether that other be real or virtual. Sometimes, it’s a matter of checking one’s appearance in order to appreciate how other people will see us. That sort of moment can be relatively uncomplicated, like in this passage from Håkan Nesser: “She checked how she looked in the mirror. It’ll do” (Borkmann’s Point 131). Or this one, from Sjöwall and Wahlöo: “It was now eight o’clock on Monday morning and she was standing in front of her large mirror in her bedroom, admiring her suntan and thinking how envious her friends at work would be” (The Fire Engine That Disappeared 144). Alternatively, the moment can be significantly more fraught: “Carl took a step toward the mirror and ran one finger along his temple where the bullet had grazed his head. The wound had healed, but the scar was clearly visible under his hair, if anyone cared to look. But who the hell would want to do that? he thought as he studied his face” (Jussi Adler-Olsen, The Keeper of Lost Causes 3). Who indeed? But that’s just the point, of course, because whoever else may choose to look at Carl, we readers are looking at him, and in that sense we constitute one of the others that lurk on the edges of these scenes.

But we’re not the only ones, I think. For even if there are no other flesh-and-blood witnesses to these events in the fictional world, mirror scenes always suggest a doubling of the subject. That effect can be more or less pronounced. Sometimes it is merely a question of a subject seeing himself in an unexpected way, projecting an image of himself that he had not anticipated: “In the mirror behind her he saw himself sitting with an idiotic grin on his face” (Jo Nesbø, The Bat 80). Other cases suggest a deeper alienation of the subject from himself, as if I really were an other: “The mechanic stands next to me, gazing at his own reflection as if it belonged to some stranger” (Peter Høeg, Smilla’s Sense of Snow 213). Who is that stranger one sees in the mirror? Is he merely a pretext, a figment, a convenient and temporary construction enabling us to see ourselves objectively? Or is it really someone else, someone with whom we are largely unacquainted? If it is true, as Peter Høeg’s Smilla argues, that “you see yourself clearly only when you see yourself as a stranger” (Smilla’s Sense of Snow 395), are we to take that assertion literally or figuratively? For if it is indeed the case that mirror scenes put the act of interpretation itself in play, the manner in which we choose to interpret them must be deeply involved in the success or failure of the wager they stake.

Capture

Consider for example this passage from Sjöwall and Wahlöö’s The Laughing Policeman: “He had looked in the mirror as recently as the evening before and seen a tall, sinister figure with a lean face, wide forehead, heavy jaws and mournful gray-blue eyes” (55). One may choose to read that passage in a literal sense, in which case the moment becomes a very strange one indeed, and in some respects the reading experience is enriched thereby. Or one can read it more figuratively, imagining that the subject is impressed by the alterity of the image he sees, but not duped thereby. Those choices are conditioned by a wide variety of factors—and not least by extremely thorny questions of readerly desire. Like the White Queen, we can easily believe six impossible things before breakfast in the looking-glass world of fiction. And we may well seek the thrill of the uncanny while simultaneously attempting to normalize and rationalize a given narrative event. Faced with a passage such as the one I just quoted, most readers would opt for a figural interpretation, I imagine. And all the more so insofar as they are acquainted with the supremely rational Martin Beck. For he is a man who never forgets who he is, and no matter how unrecognizable his reflection may seem, he is always able to bring himself back to himself: “While he hung up his coat he glanced at his face in the mirror. He was pale and looked sallow and he had dark circles under his eyes. This was no longer due to the flu but to the fact that he had gone without much sleep” (Sjöwall and Wahlöö, Roseanna 61).

Other subjects are not as lucky. Karin Fossum’s Zipp Skorpe, for instance, is a badly broken man: “He stopped in front of a store that sold mirrors and looked at the dozens of tiny Zipps. It suited the way he was feeling: shattered into thousands of pieces” (When the Devil Holds the Candle 175-76). Still other individuals embrace that estrangement effect, putting it to use in an effort to get outside of themselves. Such is the case of a teenager in Henning Mankell’s Sidetracked, who makes himself up as an Indian warrior before committing the first in a series of murders: “The first strokes on his forehead had to be black. It was as if he slicing two deep cuts, opening his brain, and emptying the memories and thoughts that had haunted him all his life, tormenting him and humiliating him. Then the red and white stripes, the circles, the squares, and at last the snake-like designs on his cheeks. None of his white skin should be visible. Then the transformation would be complete. What was inside him would be gone. He would be born again in the guise of an animal, and he would never speak as a human being again” (12). In other cases, the recognition of one’s image in the mirror is a fundamentally unhappy event, because it triggers a sense of self-loathing. “She was 16, and had gone to stay with her mother in Malmö,” writes Henning Mankell. “It was a time of crushing defeats, the kind only a teenager can experience. She hated herself and her body, shunning the image she saw in the mirror while strangely enough also welcoming the changes she was undergoing” (Before the Frost 24). At least this character comes by her self-loathing honestly, for she is none other than Linda Wallander, the daughter of Kurt Wallander. And he is someone who has honed self-loathing to an art: “You flabby piece of shit,” he tells his reflection in the mirror, “Do you really want to look like a pitiful old man?” (Mankell, Faceless Killers 27).

Henning-Mankell-007Henning Mankell

In order not to end my discussion of recognition scenes on that sour note, let me point out a final topos that they commonly exploit. I have argued that the recognition of one’s image in the mirror is typically accompanied by the perception of broad truths about oneself. It is useful to imagine those truths as significantly mobile ones. That is, they shift over time, and that process of shifting leaves perceptible traces upon the face. “When he looked at his face in the rearview mirror, he thought that every scratch, every lump, every discolouration from purple to black was a memento of the week’s events” (Mankell, Faceless Killers 217). The cultural cliché upon which this passage plays is a familiar one, of course, but it bears special scrutiny in the present context. For if the face is indeed a kind of text in which a person’s experience may be read, two considerations follow. First, the situation of a subject gazing at her face in the mirror and reading the story of her experience thereupon is very much like the situation that we are in, as gazers and readers. Second, each of these scenes, whatever else it may seek to put on display, is not simply specular, but rather doubly so: that is, the mirror function is itself mirrored in a reflection upon representation and its possibilities.

Scenes of difficult recognition are fewer in Scandinavian detective fiction than in certain other regional traditions one might name, though I hesitate to draw sweeping cultural conclusions from that fact. As to the shapes they assume, I mentioned a moment ago that difficult recognition scenes run the gamut from incidents that are mildly disturbing for the subject to events that are far more traumatic. On the former end of that horizon, one finds scenes where it is merely a question of momentary hesitation before recognition sets in. By way of example, consider this scene from Håkan Nesser’s Mind’s Eye, where Inspector Van Veeteren gazes absently into a mirror as he makes a phone call: “While he was waiting for a reply he observed the grotesque face glaring at him from the shiny surface above the telephone. It was a few seconds before it dawned on him that he was looking at his own reflection” (68). Those “few seconds” are readily dismissed, and the uncanniness of the moment can easily be rationalized by appealing to Van Veeteren’s distracted state, the fact that the “shiny surface” was not obviously a mirror, and so forth. Yet the face that confronts him is nonetheless “grotesque,” and its expression is “glaring.” Both of those features serve to heighten the strangeness of this encounter, and to broaden the distance between the subject and his image. Moreover, rather than dismissing the incident out of hand, Van Veeteren continues to reflect upon it, gazing upon his face as another person might do, or even as if it belonged to another person. “He was smiling,” he notes. “The corners of his mouth were raised to form a generous curve and gave his face an expression suggesting a touch of lunacy” (68). That coldly phenomenological description of a smile, and the conjecture of lunacy (rather than a more reassuring and conventional interpretation of a smile as a sure sign of happiness) testify to the difficulty Van Veeteren finds in coming to terms with his reflection. That impression of difficulty is further underscored by the comparison that Van Veeteren next invokes. “Like a posturing male gorilla,” he muses (68), and the analogy seems so apt to him that he pursues it: “he stood there glowering at the gorilla” (69). In other terms, what we find in this incident is an apparently trivial scene that opens onto an event far more disturbing, a conversation of self with self wherein the interlocutors stray ever further one from the other. Without wishing to belabor the point, it should be noted that, just as “simple” recognition is never really simple, so “difficult” recognition is actually difficult, in every case.

the-minds-eye

If time is at issue in that scene from Nesser, it is only a brief moment in time, those “few seconds” that it takes for Van Veeteren to recognize himself. More consequential stretches of time are often at stake in scenes of difficult recognition, however. Most characteristically, these occur when the subject finds it hard to accept that she or he has grown old. These scenes are highly variable, to be sure, but they tend toward the latter end of the spectrum I described, that is, toward trauma. “The face I saw in the mirror terrified me,” remarks Fredrik Welin in the final moments of the story he tells. “I had become old” (Henning Mankell, Italian Shoes 240). On the one hand, Mankell is playing on a cultural commonplace here, the one that holds that as we age, our sense of ourselves does not age at the same rate, so that we are often unconscious of how old we have actually become. On the other hand, when we do come face to face with our aged selves (and whatever the particular vehicle of that encounter may be), it is most often an occasion for mild surprise, rather than outright terror. Yet clearly mild surprise pays fewer dividends than does terror, when it is a matter of storytelling; and just as clearly, Mankell has chosen to accentuate the strangeness of this moment in his novel in order to heighten its narrative effect.

A similar phenomenon can be noted in Sjöwall and Wahlöö’s The Abominable Man, when Lennart Kollberg confronts himself in the mirror after having shot someone in the line of duty: “That person there has killed a man” (108). It is not that Kollberg cannot recognize himself; instead, that recognition is “difficult,” because it entails the acceptance of a harsh truth about himself. The estrangement effect is very pronounced when he designates himself as “That person,” and the effect is further amplified when he muses about other killers he has known: “During his years on the force he’d stood face to face with more murderers that he cared to think about” (108). What distinguishes him now from those others? And, more disturbingly still, what distinguishes the self he has always believed himself to be from the self he has now so unmistakably become? In other words, has he become someone else entirely?

Questions of that ilk can make the encounter with one’s reflection in the mirror a very painful experience indeed. “Every morning he looked into the little mirror on the wall and asked himself if he was staring into the eyes of a madman,” Mankell says of a character in Before the Frost (246). And of course that’s one way to rationalize the estrangement effect: I look unfamiliar to myself and thus I must be going crazy, because otherwise I would recognize myself easily. Yet such a gesture obviously creates a kind of feedback loop whereby alienation is accentuated rather than attenuated, and it thus points tantalizingly toward catastrophe. For pushed relentlessly to their limits—and why would we readers wish it to be any otherwise?—such moments can have only one outcome: the utter failure of the subject to recognize herself.

Throughout my discussion of mirror scenes, I have argued more or less stridently that the way they function is closely bound up in questions of readerly choice and semiotic desire. That is especially true of this third and final type of scene, which puts on offer an I who has in fact become an other. Now, whether we read that metamorphosis in a literal or a figural manner is entirely (or mostly, rather) up to us. For my own part, speaking as a mirror scene fundamentalist, I would argue that we must take mirror gazers at their word whenever possible. I am forced to concede, however, that some cases strain our credulity more than others. Consider the moment when Stieg Larsson places Lisbeth Salander in front of the mirror in The Girl Who Played with Fire: “She studied herself in the mirror and decided that Irene Nesser looked a little bit like Lisbeth Salander, but was still a completely different person” (68). It is very difficult to imagine that Salander fails to recognize herself here. For one thing, she is an exceptionally astute individual. For another (and more compellingly), she has just disguised herself as this “completely different person,” Irene Nesser, and she is checking the effect of her disguise in the mirror. In other terms, she is assessing the effect her disguise will produce when other people look at her. We have already discussed gestures like that one, of course, and I think it is prudent to dismiss this moment, reluctantly, from our catalogue of failed recognition scenes.

CaptureNoomi Rapace as Lisbeth Salander in The Girl with the Dragon Tattoo.

Another moment, again involving Lisbeth Salander, occurs in The Girl with the Dragon Tattoo, and it is far more difficult to dismiss: “She had a dazzling view of Lake Zürich, which didn’t interest her in the least. But she did spend close to five minutes examining herself in the mirror. She saw a total stranger” (442-43). The encounter is far more uncanny than the one in The Girl Who Played with Fire. The abyss between the self and the reflection of the self yawns more broadly, and the language is more uncompromising. Reason tells us to interpret this figuratively, but desire urges us to read it literally. In this instance, one can really go either way; it is a shining example, I think, of a passage that teeters in precarious equilibrium right on the brink of this third and final type of mirror scene. Sort of like a funambulist, in other words. And what is it about funambulists that fascinates us, other than the possibility that they might fall off the wire? It is the very precariousness of their situation that keeps us breathless, and the danger that awaits them, below. Insofar as mirror scenes are concerned, that danger is defined precisely by the possibility that the subject might fail to recognize herself. It is a fear that haunts many of us, notably including those people who inhabit the worlds of Scandinavian detective novels: “What she feared most of all was to walk down the street and not exist, to step into the elevator at work and discover that the mirror reflected someone else, to exit the elevator and hear the poisonous tongues gabbing behind her back” (Kjell Eriksson, The Cruel Stars of the Night 110).

Jo Nesbo

It is that kind of fear, and the fascination it provokes in us, that fuels our reading of passages such as this one: “Harry went to the lavatory, splashed some cold water over his face and confronted his reflection in the mirror. Beneath his wet, closely cropped fair hair he saw a pair of bloodshot eyes with dark bags under them and drawn, hollow cheeks. He tried a smile. Yellowing teeth grinned back at him. He didn’t recognize himself” (Jo Nesbø, The Devil’s Star 40). And this one: “Kristín closed the door. A mirror hung in the hall and when she caught sight of her reflection in the glass on her way back to the living room, she did not recognize the figure in it: a gaunt-faced stranger with dark circles under her eyes and dirty hair, matted around her ear which was now red with fresh blood where the wound had reopened. She was wearing the thick snowsuit which was still stained with Steve’s blood. She did not know this woman. Did not know where she had come from. She stared at her, shaking her head with incomprehension” (Arnaldur Indriðason, Operation Napoleon 307-08). And this one, too: “He turned on the cold tap and tried to rinse the blood off his face. He did not recognize his reflection in the broken mirror. His eyes were staring, bloodshot, shifting” (Henning Mankell, The White Lioness 293). Each moment creeps closer to the moment of no return, to the moment of absolute catastrophe. Because if the subject can no longer recognize himself, what in the world will become of him? And what will become of us, granted that we have willingly suspended our disbelief in order to dwell in these fictional worlds?

For it is largely a question of suspense, I think. Moreover, in that very perspective it is we readers who are the funambulists, suspended vertiginously between what we know and what we wish, between experience and imagination, the real and the virtual, recognition and bewilderment. In such a parlous, tensive state, with all of our senses on the alert, we can learn a great deal about who we are and how we read literary texts. For each of these mirror scenes reflects us, too, and the gestures we sketch as we interpret them. They are eminently welcoming, integrationist tropes, in other words, pointing toward the permeability of the boundaries between the fictional world and the phenomenological world. They suggest that even the most committed rationalist among us has a role to play in an imaginary drama, whether that drama be bound up in the struggle of crime and punishment or in the dynamic of writing and reading, whether it be staged on the foggy plains of Skåne or on the comfortable hillocks of one’s own couch.

—Warren Motte

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Works Cited

Adler-Olsen, Jussi.  The Keeper of Lost Causes.  Trans. Lisa Hartford.  New York: Plume, 2012.

Edwardson, Åke.  Death Angels.  Trans. Ken Schubert.  New York: Penguin, 2009.

Eriksson, Kjell.  The Cruel Stars of the Night.  Trans. Ebba Segerberg.  New York: St. Martin’s Press, 2007.

Fossum, Karin.  Don’t Look Back.  Trans. Felicity David.  New York: Harcourt, 2005.

—.  When the Devil Holds the Candle.  Trans. Felicity David.  New York: Harcourt, 2007.

Høeg, Peter.  Smilla’s Sense of Snow.  Trans. Tiina Nunnally.  New York: Farrar Straus Giroux, 1993.

Indriðason, Arnaldur.  Jar City.  Trans. Bernard Scudder.  New York: Picador, 2005.

—.  Operation Napoleon.  Trans. Victoria Cribb.  New York: Picador, 2012.

Larsson, Åsa.  Sun Storm.  Trans. Marlaine Delargy.  New York: Delta, 2007.

Larsson, Stieg.  The Girl Who Kicked the Hornet’s Nest.  Trans. Reg Keeland.  New York: Knopf, 2010.

—.  The Girl Who Played with Fire.  Trans. Reg Keeland.  New York: Knopf, 2009.

—.  The Girl with the Dragon Tattoo.  Trans. Reg Keeland.  New York: Knopf, 2008.

Mankell, Henning.  Before the Frost.  Trans. Ebba Segerberg.  New York: Vintage, 2006.

—.  The Dogs of Riga.  Trans. Laurie Thompson.  New York: Vintage, 2004.

—.  Faceless Killers.  Trans. Steven Murray.  New York: Vintage, 2003.

—.  The Fifth Woman.  Trans. Steven Murray.  New York: Vintage, 2004.

—.  Firewall.  Trans. Ebba Segerberg.  New York: Vintage, 2003.

—.  Italian Shoes.  Trans. Laurie Thompson.  New York: Vintage, 2010.

—.  The Man Who Smiled.  Trans. Laurie Thompson.  New York: New Press, 2006.

—.  One Step Behind.  Trans. Ebba Segerberg.  New York: Vintage, 2003.

—.  The Pyramid.  Trans. Ebba Segerberg with Laurie Thompson.  New York: Random House, 2009.

—.  Sidetracked.  Trans. Steven Murray.  New York: Vintage, 2003.

—.  The White Lioness.  Trans. Laurie Thompson.  New York: Vintage, 2003.

Nesbø, Jo.  The Bat.  Trans. Don Bartlett.  New York: Vintage, 2013.

—.  The Devil’s Star.  Trans. Don Bartlett.  New York: Harper, 2011.

Nesser, Håkan.  Borkmann’s Point.  Trans. Laurie Thompson.  New York: Vintage, 2006.

—.  Mind’s Eye.  Trans. Laurie Thompson.  New York: Vintage, 2008.

Ohlsson, Kristina. Unwanted.  Trans. Sarah Death.  New York: Atria, 2012

Sigurðardóttir, Yrsa.  Last Rituals.  Trans. Bernard Scutter.  New York: Harper, 2009.

—.  My Soul to Take.  Trans. Anna Yates.  New York: Harper, 2010.

Sjöwall, Maj, and Per Wahlöö.  The Abominable Man.  Trans. Thomas Teal.  New York: Bantam, 1974

—.  Cop Killer.  Trans. Thomas Teal.  New York: Vintage, 1978.

—.  The Fire Engine That Disappeared.  Trans. Joan Tate.  New York: Vintage, 1977.

—.  The Laughing Policeman.  Trans. Alan Blair.  New York: Vintage, 1976.

—. Roseanna.  Trans. Lois Roth.  New York: Bantam, 1971.

—.  The Terrorists.  Trans. Joan Tate.  New York: Vintage, 1978.

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Warren Motte

Warren Motte is Professor of French and Comparative Literature at the University of Colorado. He specializes in contemporary writing, with particular focus upon experimentalist works that put accepted notions of literary form into question. His most recent books include Fables of the Novel: French Fiction since 1990 (2003) Fiction Now: The French Novel in the Twenty-First Century (2008), and Mirror Gazing (2014). He lives in Boulder with a wife, two sons, and a couple of dogs, in a house full of books.

Hyperrealism in Words: Lisa Moore and the Ethics of Intensity — Maria Jesús Hernáez Lerena

Nov 122014
 

MooreLisa Moore

Alligator teaches us to embark on an absolute concentration on what the eye receives. Like hyperrealist painting, it alters our sensory perceptions of objects around us; we start noticing them and pausing on them once we are out of the novel. She [Moore] concentrates on the defocalizing power of a random element that does not fit within the machinery of life. —María Jesús Hernáez Lerena

Alligator

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The philosopher apparently meets our expectations by spelling out what the “reverie” of the refined poets and the commitment of the contemporary artist have in common: the link between the solitude of the artwork and human community is a matter of transformed “sensation.” What the artist does is to weave together a new sensory fabric by wresting percepts and affects from the perceptions and affections that make up the fabric of ordinary experience. […] What is common is “sensation.” Human beings are tied together by a certain sensory fabric, a certain distribution of the sensible, which defines their way of being together; and politics is about the transformation of the sensory fabric of “being together.” (Jacques Rancière, The Emancipated Spectator 2009, 56)

I am similarly ensnared by consumer products and culture, especially “junk foods” such as chocolate bars: I like to celebrate their blaring colours and slogans, and I like the noisy, chance juxtapositions of everyday things: the newsagent’s sweet counter, the magazine rack, the stall of souvenir t-shirts.” (Cynthia Poole “Exactitude IV” 2008, 1)

x

Lisa Moore’s novel Alligator is fashioned by conferring the still life —the depiction of inanimate objects— primacy over other kinds of discourse. The narrative opens itself up to another medium in order to imitate methods of composition that would be otherwise fully realized in painting, thus resisting the naturalized impulse of narrative to become a transition or temporal process. By this transfer of the still life from one medium to another, I do not only mean that there are abundant descriptions of place and objects in the novel, since all novels depend on this explanatory apparatus {{1}}[[1]]Description and narration are not clear‐cut categories, there is usually instability of their boundaries. Nevertheless, some texts show a marked tendency to one or the other direction. See Heffernan (1993, 6).[[1]], but that the mere sight of objects —a view the reader shares with the characters at all times—, becomes the center of gravity in their lives. Novelistic and biographical discourse is thus counteracted and transformed into a mode of understanding which does not depend on the disclosure of meaning through time but on the peculiarities of shape, color, and brightness that objects possess.

In this article I will attempt to describe Lisa Moore’s method of composition in Alligator and relate it to an analogous form of composition in the visual arts, particularly an artistic movement called hyperrealism, in order to throw some light on the epistemological implications of their common strategies. I will then discuss whether this perspective in the novel —a besetting representation of external reality— addresses or contests certain ideas of cultural distinction and community which are ever-present within the cultural context Lisa Moore belongs to, Newfoundland {{2}}[[2]]Some of the recurrent topics in Newfoundland literature have been the idea of extreme geography, rugged individuals, fraternal communities in the outports, a tradition of orality, and loss of nationhood. See O´Flaherty (1979), Adrian Fowler (1985), Seifert (2002), or MacLeod (2006).[[2]]. “Burning Rock” is the name of the writers’ collective where Lisa Moore began her career as a writer in St. John’s. The phrase refers to an unidentified burning object which fell into the sea off the Newfoundland coast. With this name, its members wish to point to the emergent incandescent energy coming from Newfoundland, The Rock, which until relatively recently was seen as marginal to or lagging behind Canada. They wish to conjure up “images of isolation and extreme subject matter”:

Geographically, we have always been an extremity: on the edge of a new, unknown world, the cusp of the Atlantic Ocean and the North American continent, our topsoil scraped by glaciers and dumped into the Grand Banks. An island on which, for centuries, it was forbidden to settle. And now, economically and culturally we have drifted to a state of emergency. The ball of lightning has burned past us and we stand stunned, dumbfounded by the experience. […] We live in a bruised landscape which cultivates extreme people with extreme stories. (Michael Winter Extremities 1994, xi-xii)

I will address two different but interrelated questions: first, how to think critically about our response to Lisa Moore’s particular invocation of reality in fiction; and second, does Moore’s particular depiction in Alligator of a group of characters in St. John’s constitute some kind of statement about sense of community in Newfoundland? {{3}}[[3]]Lisa Moore belongs to a young established generation of Newfoundland writers who, after Wayne Johnston, have become well‐known beyond their region. Together with other writers such as Michael Winter, Michael Crummey, Kenneth Harvey, Ed Riche, Jessica Grant, Joel Thomas Hynes, etc., they represent the literary present and future in Newfoundland.[[3]]

My approach is conducted by a basic idea that underlies much of the theories of Susan Sontag, John Berger, and Jacques Rancière: the belief in the dichotomy between seeing and understanding. John Berger’s quote “Yet the knowledge, the explanation, never quite fits the sight” (1972, 7) points at this basic premise: an awareness of the mismatch between what we perceive through our sense of sight and the elaborations of discourse. The idea that the image does not make you understand, that it only activates your sensory system, also runs through much of Susan Sontag’s interpretation of the photograph (1977, 110). For her, photography is the opposite of understanding, “which starts from not accepting the world as it looks” (1977, 23). How the world functions must be explained in time. “Only that which narrates can make us understand” (1977, 23; 2003, 89). According to her, muteness in a photograph is an attraction, a provocation; it “makes us feel that the world is more available than it really is” (1977, 24). The art of photography makes no invitation to understanding the world, but to collecting it (1977, 82). For Jacques Rancière, viewing is also the opposite of knowing: “The spectator is held before an appearance in a state of ignorance about the process of production of this appearance and about the reality it conceals” (2009, 2). Additionally, he believes that viewing is also the opposite of being active, “to be a spectator is to be separated both from the capacity to know and the power to act” (2009, 2).

Both critics agree that the photograph, the image in general, is a moral anesthetic, in spite of the fact that it may produce distress (Sontag 1977, 109-110). Our impression that we have come into possession of the essence of tragedy, for example, neutralizes horror, it distances us from it. As a result, history is transformed into spectacle because it possesses the qualities of beauty and eternity (Sontag 1977, 109-110; 2003, 99-103). “Despite the illusion of giving understanding, what seeing through a photograph really invites is an acquisitive relation to the world that nourishes aesthetic awareness and promotes emotional detachment” (Sontag 1977, 111). {{4}}[[4]]Rancière poses that the intolerable image, the image which shows pain or infliction of pain does not necessarily imply or call for action or engagement, since we live “a single regime of universal exhibition”: “the mere fact of viewing images that denounce the reality of a system already emerges as complicity with this system” (2009, 85).[[4]]

This idea of the binary image/word is supported, on a different front, by critics who could be termed sociologists of identity: Nicholas Rose (1997, 244), Charles Taylor (1996, 51), or Anthony Giddens (1991, 54), for example. For them, the self cannot be constructed outside words, it requires verbalization and narration: it requires the story of how things happened. There can be no such thing as instant identity. {{5}}[[5]]Fernández Prieto (1994, 124‐25) claims that there is no identity previous to the act of narration. In order to achieve a sense of the self, we have to become a narrator and construct a plot in which we fashion some of our pasts as characters. Giddens (1991, 54) asserts that we are not to find a person’s identity in behavior, or in the others’ reactions, but in his or her ability to keep a particular narrative going. The self is no longer a list of qualities, but a narrator in search of coherence.[[5]] For Rose “Language is one of the keys to our assembly as psychological beings. Only through lexicons, grammars, syntax and semantics can we organize our thoughts and formulate our intentions” (1997, 234). Psychological language is, for him, the main key to the modern soul (1997, 238).

In Sources of the Self, Charles Taylor (1996 18, 48) rejects the value of the immediate experience or the sudden rupture by explaining that our notion of ourselves only comes through the story of how we have become, the unfolding of how we have travelled to get here. According to him, not to use this framework for one’s life is to fall into a life which is spiritually senseless. “The sense of the good has to be woven into my understanding as an unfolding story” (1996, 47). The self cannot be punctual or instantaneous. Self-understanding necessarily has temporal depth and sense of direction, and incorporates narrative. If we think that we become different persons each time we are in a different situation or if we fail to meet the full challenge of making sense of our lives we destroy our chances for a meaningful life. When analyzing confessional narrative, Dennis Forster remarks that “[n]o matter how one’s experiences may be present in memory, the events of these narratives are understandable only when they are transformed into objects of consciousness, into histories rather than sensations” (1987, 10). His argument clarifies the dilemma of our considering images as mere stimuli that cannot substantiate “real” knowledge, which is only to be accessed through a contextualized historicity. {{6}}[[6]]Melnyk (2003, x) is another author who has reflected on this dilemma: “We know that reality is separate from language and beyond language, although language claims to offer us the truth of reality. At the same time we are not comfortable in a reality beyond the explanations of our language. If we find ourselves in a situation that is unexplainable we become either fearful or we struggle to find within our language some explanation. Trapped in the discourse created by our culture and our time, we are lost without it.”[[6]] Thus, we seem to be immersed in a battleground where the warring forces are the dissociated images —objects which belong to the realm of suspended temporality— and articulated plots sustained by informed rationalizations. {{7}}[[7]]Photographs make us confuse beauty with truth, according to Sontag (1977, 112): “the truths that can be rendered in a dissociated moment, however significant or decisive, have a very narrow relationship with the needs of understanding.”[[7]]

One paradox inherent in Alligator is that, although the novel’s plot is action-packed, it is structured around the perception of a few objects whose presence becomes overpowering. A jar, a metal Christmas tree, the walls of an elevator, the arrangement of objects on a restaurant’s table, a plastic bag that contains food, reflections of the city in a car door. The visual qualities of these objects are a magnet around which events and thoughts seem to rotate. Due to the intensity of gaze these objects are given, the novel’s plot, events, even the thoughts of the characters, seem to be beside the point. The characters’ past also appears to them in a clear and crystalline form: like light falling on surfaces.

In a narrative, a description does not materialize into a still life merely because an object is being described; the description resembles a pictorial still life when the reader feels that a frame has been put around a small section of static material reality and the surrounding area remains out of sight. The same object may be shown again but, contrary to common poetic strategies which turn the object into a symbol once it has appeared several times in the narrative —and it has become interwoven with events and feelings—, the still life retains its specific characteristics in isolation, impervious to the meaning-making processes that narratives per se impose. Alligator opens with a young woman, Colleen, watching some footage where a man surrounded by a crowd is taming an alligator. For some time the narrator focuses on a helium balloon tied to a little girl’s wrist:

The balloon looks like a hole burned through the sky. There’s no wind, but the balloon jerks when the little girl shifts her weight. It jerks to the side and bobs and then settles, becomes still. There isn’t a cloud. The little girl’s blond hair is spread over her shoulders and bits of sunlight come through it and some of her hair is full of static and it stands up and the sun makes it buzz with light. (1)

A spellbinding fascination arrests the pull of the narrative. We are clinging to a sort of tableaux vivant whose mise-en-scène leaves the temporal processes of the plot without a sense of purpose. Both character and reader are given the position of a stunned viewer, what we see is sharply outlined but slowed down and torn from context. This ocularcentric approach presides over Alligator; the reader is put inside metaphorical bubbles which somehow prevent a rationale. The impression that characters are in a bubble returns many times:

On the street the boy from next door was playing with a bubble wand. He pressed a lever in the handle and the wand opened out into a large diamond shape and bubble liquid shot up from the clear handle and coated the plastic diamond when he tipped it into the breeze and a giant bubble wobbled into the air and lifted from the wand, and it caught the reflection of the landlord’s Jaguar, which was parked outside the bed-sit and the black streaky gleaming car slithered on the curve of the oversized bubble. (225)

Slavoj Žižek claimed that repetition turns an element into a symbol, that it ascribes a metaphorical import to an event due to our need for transcendence. “The crucial point here is the changed symbolic status of an event: when it erupts for the first time it is experienced as a contingent trauma, as an intrusion of a certain nonsymbolized Real; only through repetition is this event recognized in its symbolic necessity” (1989, 61). However, this direction of meaning is at odds with the dynamics of our understanding in Alligator: the objects depicted do not become symbols. What we perceive is the intensity with which the narrator or the characters look at them. Once an object becomes a reference for something else, the still life somehow loses its force. This is because the reader’s pleasure originally lay in the actual physicality of the thing, not in its evocative or allusive power. This is contrary to painting, where still lifes have historically gone hand in hand with fixed metaphorical traditions. Whether or not we wish objects to become metaphors, the actual achievement in a medium formed by words is to be found in the materiality they seem to bring to life, in their rotund visibility.

Thus, the usual methods of characterization in novels are somehow put on hold in Alligator; there is no panoramic setting that may hold or explain characters. Readers encounter mainly the exigent presence of objects. The first time we meet Frank, a street hot dog vendor in St. John’s, we read:

FRANK’S GOT THE windows open and the warm night breeze jostles the handful forget-me-nots sitting in a Mason jar of yellowish water on the windowsill. A few petals move on the surface of the water like tiny boats on a still lake. The glass jar and the submerged flower stems are coated with silvery beads of air. There’s a housefly near the jar, bluish and iridescent, lying on the crackled paint of the windowsill, since Frank moved in a few months before Christmas, two days after his nineteenth birthday. (10)

After this still life we are informed of the string of events in Frank’s past that the narrator recollects for him: Frank’s mother died of cancer, he sold her furniture, he was evicted and moved to a bed-sit, he became a hot dog vendor in a sleazy street in St. John’s, an Inuit man hanged himself in an apartment above his, the police came and removed the body. But all these chunks of experience are related as if in haste, while Frank himself is standing, having a shower, thinking. There is no analysis, no comment: meanwhile the way objects stand before Frank’s eyes while he is thinking acquires a full dimension. The objects are explored as if with a magnifying glass: minimal spaces which the narrator makes conspicuous by describing the way the light makes them appear. These descriptions are not ornamental or explanatory, they form the very substance of the tale.

At this early point in the narrative the reader may not yet suspect that the overwhelming presence of objects may in fact not be there for the sake of our understanding of the characters, their moods, or their plights. After all, we could agree that the image of a preserve jar and a dead fly on an old window sill may evoke the emptiness, the silence, the vacuity of a life. As has been previously mentioned, having objects as projections of the character’s situation is indeed a common literary device. However, at the end of this chapter, Frank leaves the room and we read:

Inside Frank’s empty bed-sit, water drops travelled in hesitant, zigzagging paths down the plastic shower curtain, and in the window several air bubbles on the stems of the flowers in the Mason jar floated to the surface and broke soundlessly. The breeze nudged the flowers into one another and the stems tippytoed across the bottom of the jar. (17)

Then we realize that objects, this object here, is not a thing which irradiates emotion coming from a human source. The relevance given to the physicality of the jar, its inner workings —so to speak— alters our idea of Story itself, story defined as sequence of events or a flow of emotion. Alligator becomes a medium to render life as externality attached to trivial, inconsequential objects we do not normally care to perceive in their full essence. At the end of the chapter we have been given a glimpse of Frank’s life but after he leaves, the object (the Mason Jar) is the element that remains there to give a sense of closure to the chapter. The attention paid to the jar seems to reduce everything else to insignificance, to diminish the pull of narration by having us stare at a random element when the room is empty. What stays is the solidity of the object, the little changes in its appearance; the rest seems to be ephemeral, pure silence. Narrative as such evaporates and the way an object impacts our retina remains. The personality of the object becomes the priority.

The abundance of examples of the previous strategy in Alligator implies that the novel articulates our dependence on the visual mode as a mode of conscience. This affects the reading experience structurally: all fiction strives to make the reader visualize but some fictions, such as this one, engage in the visual as a literal index to reality, even when the image itself is outside the drama of the story. That does not make its “reality” less urgent. When we experience a moment of intensified perception, we put continuity and sequence on hold. And this is the way suspense is created here: it defines experience as visibility in a strictly physical sense and stops short at that, without offering reasoning in transitions. The author refuses to provide the consolations often implied in novelistic, biographical, or historical narrative. These explanatory structures often assure us that life is a journey which can be explained by the author, that we have access to the characters’ minds and understand them, and that we can morally assess their decisions.

The presence of objects through their materiality of glass, metal, clothing, plastic, skin, is insistent (Fig. 1). Their solidity is sometimes offputting, even fierce, and it upsets the fluidity that events, feelings, and thoughts are supposed to be given in a narrative. To focus on the way objects are depicted in stories leads us to the question of narrativity and narrative resistance, that is, to the questions: Is reality amenable to storytelling? and, can we translate reality into a continuous and coherent temporal sequence? Any story is the abstraction of a temporal trajectory, a humanized sequence of events or emotions, of accomplishments and frustrations, or psychological deepening and sometimes of healing. Objects, on the contrary signal an impasse, an impenetrability, the indifference of the inanimate world.

Fig.1-StevenSmulka-SolarSystemFigure 1. Steven Smulka. “Solar System.” 2011, Oil on Linen, 76.2 x 116.8 cm.

Other explanations of the function of objects in literature have run against the above-mentioned interpretation of objects as repository of absence and of aloofness. The latter interpretation of the role of objects in narrative has been given, for example, by genre theory. The short story as a genre does not seem to depend on the rendering of temporality in the degree that the novel does, and one recurrent strategy to enhance meaning is to use objects to which characters become emotionally attached in order to express, through them, the characters’ ordeal. {{8}}[[8]]See Elizabeth Bowen (1994, 262) and Michael Trussler (1996, 558).[[8]] This paradigm for understanding the characters’ dilemmas is a model usually called “feeling behind the surface,” that is, trivial objects embodying conflicts. The objects contain a quality of latent lyricism and speak on behalf of the characters. They signal turning points in their lives, they implement a revelation or show the manifestation of something hidden. The effect is usually of tragic awareness: a detail, an object from the past, emits significance without explicative intrusion; it discloses the character’s essence. {{9}}[[9]]Well‐known examples are the pear tree in Katherine Mansfield’s story “Bliss” (1920) or the snow in Joyces’ story “The Dead” (1914).[[9]] Our associations may be false but they show us the mechanism of our thinking: we like to believe our actions and feelings do have an effect on our environment, on the objects around us.

However, the objects we find in Alligator are not so obviously there for the sake of the distillation of meaning. If they are disturbing and their presence cannot be shaken away it is because of the fetishized relationship characters have with them and also because of the author’s frantic attention to visual compositions of objects and light: they are not peripheral, they always remain sharply focused in a close-up mode. Lisa Moore creates a certain kind of bond between words and things, a certain responsibility within language to render ocular arrangements. A focus sharper than you’d thought possible, as a fellow writer said. {{10}}[[10]]See Tracy Whalen’s (2008) view on the scope of Lisa Moore’s rendition of hyper‐sensory details.[[10]]

Madeleine is another character whose experiences we trace and whose life is patterned through vivid perceptions of a number of objects. She is an aging film director, obsessed by making a film with iconic images from Newfoundland: a priest, a cliff, the foaming sea, the rocks, horses running wild. She tries to put together this scenario for the film, she gets into trouble because of the transportation of horses, she has imaginary conversations with the archbishop whose letters she found in the Roman Catholic Archives. But her obsession with capturing the essence of Newfoundland becomes somehow secondary when, almost at the end of the novel, she gets inexplicably, almost pathetically, fascinated by a metal Christmas tree in the middle of the summer. The narrator says on her behalf:

It was as though she had unleashed all of her loneliness. Her loneliness had been imprisoned in a tree, which happens all the time: and she had been forced by some evil spell to walk up and down the aisles of Canadian Tire, forgetting why she was there (clothespins), until she found the tree. When she got it home, the tree leapt out of the box, screaming absurd loneliness in eight different languages. A burning bush of shame, how old she is and weak-feeling lately and the film is lost and how profoundly alone with a ball and chain of a film around her neck. (180) (My emphasis)

This passage may be interpreted as a parody of one the best known revelations or epiphanies in the history of English literature, the one rendered in Katherine Mansfield’s story “Bliss”: an upper class woman looks at a tree in her garden and comprehends how mistaken she was about her life and achievements. When looking at a tree in full bloom, she realizes she has lost her husband and her best friend. Madeleine wants to uplift the idea of Newfoundland through images but instead finds herself attached to a cheap commercial object. Moore is responding here to the often trotted-out western tradition which unites objects and feelings. This becomes even more conspicuous when Madeleine says in addition to the previous comments: “There is no need to question the rightness of the tree. She wanted some stone stupid objects in her life that are irrevocably themselves” (181) (my emphasis). Clearly, objects do not have to stand for emotions. Moore is explicitly defining objects outside our need to turn them into bearers of significance. Their solidity may be the only source of comfort.

Thus, in Alligator, Madeleine makes her final, important point: objects are, after all, just objects, and not any other thing or idea, and she claims their validity as such. But although objects are that, just commonplace things, even if we need to attach to them some psychological import, the very juxtaposition of objects and feelings hints at the monstrous separation between inanimateness and the continuity of ordinary life, at the abyss between life and non-life. The act of looking at something and the way Alligator is studded with these images increases this very distance. No quantity of words can make up for life’s opacity. There are no doors for in-depth revelations. However, the final issue in this novel does not seem to be the encounter with the untameable inhospitality of reality; Moore’s novel conveys a recognition of its impenetrability as well as an offer of a certain kind of pleasure, a call to pause on the objects’ idiosyncrasy. Experience is both blazing and numb, as one character in the novel says about love (263). By inflating the status of the sense of sight, Lisa Moore offers us narrative as bondage: this term, taken from dictionaries of fantasy —so concerned with alteration in narrative– means: “an engagement with story not as process but as bondage, that is, being trapped by a particular place or physical shape that keeps you immobile, under a spell” (Clute & Grant 339).

Alligator does not only represent the case of one medium (narrative) and a genre (novel) taking on the nature of another medium (painting or photograph) and genre (the still life): it contains an explicit dialogue with a painting style, a certain method of rendering external reality that an artistic movement, hyperrealism, has made well-known in the last few decades. {{11}}[[11]]See Takacs for a definition of the hyperreal in the context of digital art and the contemporary indiscernibility between the actual and the virtual.[[11]] Lisa Moore’s interest in genre hybridity may have to do with the fact that she is an art critic. She studied Art at the Nova Scotia College of Art and Design and is an art journalist for a variety of Canadian newspapers and magazines. In Alligator, a meeting between two characters takes on the iconic quality of the paintings of photorealists and hyperrealists: a shaltshaker is foregrounded, “It was ordinary, with a stainless-steel screw on perforated lid and a fluted glass bottom. The salt looked very white” (83). Two friends meet at a restaurant: “There were white truffles in small jars under lock and key. The ceiling was stucco with bits of mirror and the tablecloths were checked and the balsamic vinegar and olive oil were poured into a saucer that must have a matching teacup in the back” (174).

Frank visits Kevin, another poor child who, like him, had to be kept in a home as a child. Both have been beaten down by life and they meet at Kevin’s run-down flat many years later:

The rain came down hard, drilling the metal garbage tin, rising up like white fur from the slabs of the concrete that made up the patio, spiking off the arm of the plastic lawn chair. Kevin unwrapped the bologna and, peeling off the wax rind, dropped each slice in the sizzling margarine. (259)

The embarrassment they feel at the uneasiness of being together is replaced by a concentration on objects (their conversation revolves around a frying pan). These are all very clear cases of ekphrases, literary representations of visual art. Ekphrasis is a mode of narrative which speaks to and for works of art, not only about them (Heffernan 1993, 7): it is the “art of describing works of art, the verbal representation of visual representation” (1-2). Its difference from pictorialism is that the latter “represents natural objects and artefacts, not art.” Ekphrasis represents pictures. And in this case, pictures which represent photographs, which look like photographs, as is the case with hyperrealism.

Whenever there is a shock experienced by the characters it is associated with a certain kind of brightness, a colour, a piece of clothing that assaults the characters’ memories persistently after seeing it. Scenes in Alligator are transformed into “metal experiences,” also plastic and glass: electrified fences, coins, saltshakers, plastic nozzles, meat in fridges, sun striking the doors of cars, the remains of food on a dish, bottles: precisely the icons that hyperrealist writers have painted over and over again. There are too many coincidences to be overlooked. Coincidences in subject-matter, method and purpose, even ethics. One could even say that Lisa Moore is establishing an open dialogue between her strategies of written composition and the pictorial approach to reality that has become the trademark of hyperrealism. She has gone beyond fiction to converse with visual art.

Hyperrealism is a style of painting, although some painters and critics consider it a proper artistic movement, which seeks a perfection of resolution above all other painterly interests (Head 2009, 16). {{12}}[[12]]See Clive Head (2009, 8‐19) and John Russell Taylor (2009, 20‐53) for a manifesto of hyperrealist principles. Some hyperrealist painters of a variety of nationalities are Tom Martin, Tjalf Sparnaay, Cynthia Poole, Pedro Campos, Ben Schonzeit, Paul Bèliveau, Cesar Santander, Steve Smulka (Fig. 1), etc. Literature on and reproductions of hyperrealist paintings can be found at the following websites: http://www.justart‐e.com/; http://www.meiselgallery.com/; http://www.tjalfsparnaay.nl/home.html; http://hyper‐tom.deviantart.com/. Apart from Bèliveau, there are other Canadian hyperrealists who use the photograph as their starting point: Robert Potvin, Wayne Mondock, Merv Brandel, Olaf Schneider, Brandi Deziel, Evan Penny (sculptor), etc. however, not all their work would be closely related to the hyperrealist impulse. In Newfoundland we can also find paintings by Helen Parsons Shepherd and Mary Pratt. Lisa Moore’s iconicity in Alligator, however, does not seem to be related to the Canadian painters but to less panoramic artists who obsessively represent certain kinds of objects mainly related to an urban American tradition.[[12]] Hyperrealists seek to achieve a hypnotic sense of objective presence. They want to make the real and the illusory indiscernible: reality in their paintings looks like a photograph. The photograph is indeed their technical starting point and from that primal source, they enrich its photographic reality, they make it more palpable, larger, impossible to obviate. The real is translated onto the canvas through the camera and then it is “photographed” by painting it. They make of minimal spaces and objects magnificent feats of physicality. Some say their work is more realistic than photography. They do not leave marks of brush strokes on the canvas; functionality is emphasized. They are said to be an outgrowth of the photorealist movement which started in the 1960’s especially in America, whose subject-matter was mainly cars, motorcycles, diners, fast-food emporiums, etc. They believed that their work should adhere strictly to the information found in the photo, as the photo was the object to imitate because in their time it was the supreme reality. They zoomed in on shop windows and through doorways. Most of the time they approached a culturally charged subject matter (American everyday objects) while retaining the objective stance: their aim to reveal banality and beauty, but also address the industrial wastelands of our civilization. Some well-known photorealists are Richard Estes, Ralph Goings, Charles Bells, John Baeder, Tom Blackwell, et al. {{13}}[[13]]See Louis K. Meisel (2002) for an introduction by Linda Chase and for excellent reproductions of paintings by most photorealists.[[13]] (Fig. 2 and 3)

Then again, at the beginning of the 21st century painters from a number of nationalities mainly exhibiting in One Plus Gallery in London, England, formed a movement called “Exactitude.” They showed a similar approach to reality to that of the photorealists, but this time they expanded their techniques and their range of subjects. They abandoned their fidelity to the photograph too. They added more detail than any photo would ever show and from the emphasis on urban wastelands and American cultural icons, they would move on to other less panoramic views in order to bring the contemporary commonplace to our attention. A certain amount of explicative literature has been gathered by them and about them. Certainly, the language painters and visual critics have used to describe their hyperrealistic methods and philosophy helps us to understand better the artistic qualities displayed by Lisa Moore in Alligator.

Figure 2-Ralph GoingsFigure 2. Ralph Goings. “Double Ketchup.” 2006, Pigmented Inkjet on rag paper. 22×32.75 in. Edition of 30.

Figure 3.- Randy Dudley, Coney Island Creek at Corpse Ave, 1988Figure 3. Randy Dudley. “Coney Island Creek at Corpse Ave.” 1988, Oil on Canvas. 28 1/2 x 54 in.

One of their maxims is that things deprived of their functions and of their context reveal their real status: “A thing stripped of its real function […] revealed to me the poetry of reflection, distortion and light!” says Dutch painter Tjalf Sparnaay (2002, 34). For him, the object is explored and discovered down to the smallest detail: “Under the realistic surface of this painting is the soul of the object, and essence we were never aware of before” (Introduction). He usually paints fried eggs, banana peels, half-eaten food, dishwashers, packaged meat, etc. He tries to find beauty in ordinariness and is fascinated by banal subjects unrelated to mainstream aesthetic traditions, the question being “is this thing really so ordinary?”:

Clean Crockery! A fresh start, gleaming as if nothing has happened, ready to be dirtied again. But then that is the whole point of crockery —and of the dishwasher. We are happy with it, although we never take the trouble to see how nice it really is. So I’ve done that for you. Our domestic and eating tools shine in all their clean-lined stupidity. (2002, 56). (Fig. 4)

Fig. 4-Sparnaay-DishwasherFigure 4. Tjalf Sparnaay. “Vaatwasser” (“Dishwasher”). 1998, oil on canvas, 185 x125 cm.

When trivial objects are contemplated in their timelessness, we obtain a renewed sense of reality:

Time stands still when I place these objects in a classical arrangement, removed from the context of their day-to-day surroundings. Ideally, this sense of timelessness is the way in which my technique is close to the 17th century Dutch tradition” (http://www.tjalfsparnaay.nl/index_eng.html)

Sparnaay talks back to classical painters by having their iconography transformed into a consumerist product, his most famous painting being that of “Meisje Van Vermeer in Plastic”, a version of Vermeer’s “Girl with a Pearl Earring” wrapped in plastic and with a price tag (Fig. 5) (see http://www.tjalfsparnaay.nl /overview/meisje_vermeer.html).

Figure 5-Tjalf-Sparnaay-MeisjeVanVermeerInPlasticFigure 5. Tjalf Sparnaay. “Girl with a Pearl Earring in Plastic”. 2002, oil on canvas, 75 x 60 cm.

These painters share an acute awareness of the visual overload in our contemporary society, but they accept the ubiquity of consumer products and attempt to create new relationships with them: “The visual overload we are exposed to day in, day out, has deprived us of the ability to look “purely”, in the same pure way a child, for instance, looks at reality. The visual harmony of things is dictated not, as consumer society would have us believe, by perfection, but by imperfection, idiosyncrasy and unpredictability.” (Sparnaay 2002, 46).

Another hyperrealist, Cynthia Poole, says:

Many of the pictures are of chocolate bars and crisp packets, either in newsagents’ displays or in vending machines. I like their vivid colour and strident competitiveness. These objects are normally only perceived as signage, their actual visual qualities, particularly in combination, are invisible —yet they make up much of the visual fabric of contemporary life. […] Again, that captivating combination of ordinary objects, vivid colours, and strong signage. Still close-cropped, taking still life outside into the larger urban context. {{14}}[[14]]In http://www.plusonegallery.com/Artist‐Info.cfm?ArtistsID=382&InTheNews=1&Object= #Press (Last retrieved April 2, 2012).[[14]]

Cynthia Poole is interested in the surfaces and signage of everyday things, mass-market, consumer items, so that she can rescue them from our familiarity with them. She thinks of her work as “contemporary still life.” (Fig. 6)

Figure 6-Cynthia Poole -DisplacedMintsIIFigure 6. Cynthia Poole. “Displaced Mints II.”2011. Acrylic on canvas. 100 x 120 cm.

Thus, they promote a sense of seeing anew through an intense gaze at objects that are otherwise background and meaningless. Their aim is to activate a sense of visual excitement with our immediate environment (Clive Head 2009, 12). They share a common optimism “which asserts humanity’s ability to create beautiful objects” (10). Sometimes they represent reality in an almost forensic way, like Vania Comoretti; {{15}}[[15]]See her pictures at http://www.vaniacomoretti.com (Last retrieved April 2, 2012).[[15]]  their purpose being to bring clarity and focus to our lives, suspend disbelief, realize meaning in the mundane. Sparnaay claims that: “As a painter I seek my personal reality in almost trivial subjects. […] even a till receipt offers a voyage of discovery.” (2002, 102).

They also like to experiment with the borderline of meaning: how close does a close-up have to be before becoming blurred and decontextualized?:

I like to arrange the objects in a ‘modern’ way: thanks to the camera, we are overwhelmed by images; we are used to seeing multiple views of the same thing. […] I am also interested in the close crop: how close can you go before the composition becomes entirely abstract, or the context incomprehensible? (Cynthia Poole at http://www.plusonegallery.com/Artist-Info.cfm?ArtistsID= 382&Object=#Bio)

They sometimes openly manifest that theirs is not an art of social illustration or comment (Head 2009, 10-12), it is not an art which raises issues, or cultivates irony. {{16}}[[16]]An exception would be Denis Peterson, whose astonishing paintings of poverty and marginality pose as call‐to‐action photographs. See, for example, “A Tombstone Hand and a Graveyard Mind” in his exhibition “Don’t Shed No Tears” at http://www.denispe terson.com/.[[16]]  Their dedication is to a world that has already shaped its identity; that is, there is no troubled relationship with “objective reality.” They say, we see what others miss and then make it compelling (Fig. 7).

Most of these painters are interested in a corner and not in the big picture, not in the architectonics of place and the archways of biography or feeling but, like Lisa Moore, only in that restricted visual space (or object) our eyes can apprehend with intensity. {{17}}[[17]]These painters had a hostile or rather indifferent critical response. According to Clive Head, the brainchild of Exactitude in Europe, “The art world is predominantly a place for political or social pronouncement, not a forum for aesthetic development” (2009, 14). After so much conceptual art, they think of their realism today in terms of avant‐garde. There are websites devoted to them which engage in making this kind of art known to the public. See, for example, “Deviant Art” (http://hyper‐tom.deviantart.com/gallery/#). Clive Head (2009, 18) claims that “Exactitude occupies a very particular stance within the contemporary scene. Undeniably rooted in their own personal creativity, these artists nevertheless present a collective position against the philosophical underpinnings of the mainstream. What might be seen as a conventional pursuit in another era could be regarded as radical in today’s context. The failure of the media and large art institutions to embrace this art only intensifies its outsider status, consolidating it as an avant‐garde movement.” A return to representation was seen as a retrograde step. See also Russell Taylor (2009, 33‐45) for a discussion on the criticism to this art and a meditation on the use of photography in painting.[[17]] They wish to possess the world and remove it from chaos (Head 2009, 12), or what is the same, from time. The world, or better, certain parts of the world are presented in a state of permanence, their object apparently, as Jean Baudrillard (1976, 1018) had claimed, “to enclose the real in a vacuum, to extirpate all psychology and subjectivity in order to represent pristine objectivity.” This project was common, for example, to the Nouveau Roman. It was an attempt to elide meaning by exhibiting the attrezzo of a meticulous reality.

Figure 7- TomMartin-OneofFiveFigure 7. Tom Martin. “One of Five.” 2009, Acrylic on panel, 90 x 90 cm.

Hyperrealism has sometimes been harshly criticized for being an art without soul, without a transformational end, that is, it has been regarded as unable to awaken consciences. Hyperrealist ethics, an extreme commitment to the reproduction of reality, seems not to be enough. After all, so-called “objective realism” has been downgraded from the early 20th century. Is this just art for art’s sake and therefore just barren aesthetics? Perhaps we are still clinging to a very limited definition of aesthetics, forgetting its capacity of awakening us into the qualities of the world. Or, could we say that hyperrealism represents the aggressive triviality of modern life and that therefore, Lisa Moore´s method liberates her portrait of contemporary St. John’s from all duty to depict inner states or to raise social issues?

Is the effect “glacial”, as some have said? Hyperrealists have been accused of not trying to depict inner states, to eliminate the presence and the interpretation of the painter. These questions about artistic positioning, as well as about method and subject-matter, bear on the impulse which generates Lisa Moore´s novel: her penchant for the still life, her close-ups of objects from kitchens and restaurant tables, her insistence on the city reflections on cars and windows, her habit of rendering people (characters) as patches of colours. The prominence of the surfaces of everyday consumer products turns her novel into a hybrid form: “The meticulous investigation of the events in a minimal space” as Vania Comoretti says of her work.

The way the biographies of the characters shape up in the novel is inextricably linked to their perceptions of a world made of glass, of metal. But do we perceive it as lacking in depth? Indeed, as in the case of Madeleine, there is a hitch between the character’s aims and their actual experiences; their sensorial input sends them off their tracks. Colleen, a young woman who wishes to act against the environmental destruction of developers in Newfoundland is caught out when she pours sugar into the fuel tanks of some bulldozers which belong to a business man in St. John’s. She wanted to save the Newfoundland pine marten from extinction. Her meeting with the judge is put in these terms:

THE ELEVATOR DOORS fling open and Colleen sees a judge heading toward her from the end of a long hallway. He’s in full stride, forehead first, the arms of his black robes billowing. The reflection from a tube of fluorescent ceiling light runs over his oily bald head like a charging train […] Colleen looks at the judge’s reflection in the brass panels of the elevator. His eyebrows hang down into his watery eyes. His face is warped in the polished metal. (18-9)

Just after this view, a whiff of perfume hits her and she immediately remembers a gift package of four bottles of Aqua Velva that she gave to David, her stepfather, for Christmas. The relationship of Colleen with her stepfather —the most important familial tie she’s ever had— will be told from now on through this object.

The Aqua Velva was the first gift Colleen had ever picked out by herself. A tower of boxes ingeniously piled one on top of the other, each with a corner slightly off-kilter so the stack rose like a spiral staircase. There were giant Christmas bulbs hanging from the rafters, carols bubbling wordlessly through the overhead speakers, shoppers in bright coats rushing forward and away like the bits of coloured glass in a kaleidoscope (20).

Before and after this passage, people seen at the supermarket are described within a dynamics of visual pyrotechnics. They become shreds of colours, the buttons on their clothes blinking: suddenly a close-up shows us the head of an obese woman in a wheelchair. “The grooves made by her comb were still visible and the pink of her scalp showed through.” (21)

How can Colleen remember the past in such a visual literality? Narrative is supposed to be the main medium to transform reality into psychological information, i.e., useful, therapeutic, but here narrative becomes a static medium more akin to a certain style of painting. Also, characters only remember themselves seeing something, their past only becoming remembrance through the visibility of objects. This approach gives a certain vision of identity. The self is defined as more punctual and instantaneous than narrative oriented; it is not given real agency. The cologne is the last agent in the chapter which tells about Colleen’s relationship with her stepfather:

The cologne eventually made its way up to the cupboard under the sink in the guest bathroom, behind the pipes, containers of Comet, cleaning rags. It remained there, even after David died, the plastic window of the box covered in a fur of dust (31).

The presence of this object permeates at least three chapters, but it does not crown an important episode in Colleen’s life. The cologne is placed outside a gigantic mechanism of causes and effects, rescued from a then-and-then narrative, from any kind of purposeful biographical arrangement. As a consequence of the high status given to the sense of sight, the narrative becomes the story of how objects put their imprint on us, how they assail us: in fact, everything else is defocalized by the spell that a banal element casts on us. It definitely blocks our reading habit of uniting objects and symbols: although the bottles of cologne can indeed be considered to stand for disappointment and forgetfulness, that dusty box that is waiting for our look there in the bathroom is not totally subservient to the character’s mental summary of her past. The visuality of the package challenges the passing of time, it refuses to be made absent, it makes the reality of feelings, the crazy turmoil of experience, recede, become tangential. It is as if the narrative proper, with its incertitude and all too human mistakes, would lie far away, muted.

An art critic said: “Stories may be told about animals, or even inanimate objects, but most Western narrative art depicts the vicissitudes of individuals in human form: men, women, children and the gods who take on their semblance” (Langmuir 2003, 11). Certainly here, humans seem to be more absent than objects, their burning wishes and fulfilments swallowed by a whirlpool, sent back in another direction, inapprehensible, unmanageable. In contrast, the permanence of everyday, commonplace objects becomes too familiar, almost threatening. And this method of composing a novel certainly reflects the way characters think of themselves. Beverly, Colleen´s mother, says:

She had come to think of life not as a progression of days full of minor dramas, some tragedy, small joys, and carefully won accomplishments, as she figures most people think of life —but rather a stillness that would occasionally be interrupted with blasts of chaos. (46) (my emphasis)

Alligator takes on the nature of the still life as a painting genre, and when it moves beyond it into a temporal dimension, the world of the characters explodes with grief and physical pain, like Frank, who is literally burned alive, one of the most horrifying sights we are made to look at in the novel. We see how his skin is transformed by the effects of fire; it is one of the climaxes of the novel rendered in descriptive slow down. The acts of perception of each character seem to originate in different dimensions of existence, there seems to be no thread that connects their personal circumstance so that we can reach a common platform for social analysis. The very idea of cruelty embodied in the dehumanized Russian exile Valentine, who sets a house and Frank himself on fire, is put in the background in view of the narrator’s fascination with the transformations of Frank’s body in the flames.

As in hyperrealism painting, in Alligator we have an altered state of reality through a meticulous depiction, taking human observation of the visible to an almost impossible realm. {{18}}[[18]]“There are certain qualities produced by the camera that do not exist in reality; they are only present in the hyper‐realist world of photography”, says Simon Hennessey, a hyperrealist painter who exaggerates the qualities in conventional photographic portraits of people. (Bollaert 2009, 144).[[18]] But does this heightening of visibility inevitably provoke a trivialization of humanity? Is it a flat, clean, and thrilling art where the image is liberated from all metaphysical troubles?

Conclusions
Characters in Alligator are dissociated from large-scale setting and attached to common-place “universal” objects: crockery, cars, gifts, consumer items. These objects seem to bulge out of the page and they are presented to us at critical moments for the characters. They become pivotal and replace the role that psychological discourse often plays in fiction. The characters’ bond to the appearance of objects intensifies their isolation, trapped as they are by their overinflated visual perceptions. As a consequence of their fascination with the “outwardness” of objects, the idea of collective —of a common experiential space— is difficult to assemble or imagine in a novel where characters are given a more sensorial than social existence.

This narrative environment close to ekphrasis prevents the past from being memorialized. It cannot be passed to others as a legacy because it creates situations that are outside time. It precludes the possibility of offering a regional representational continuum made up of images that could be regarded as the epitome of Newfoundland, powerful as its iconicity has been historically in the literature of the province. In Alligator we find recognizable geographical and cultural facts of St. John’s, its streets, institutions, businesses, tourism, although the overall impression readers assimilate is that of the bleak realities of a city overridden by greed and short-sighted development practices. However, close attention to the dynamics of the novel prevent us from giving primordial importance to an interpretation revolving around loss or dilution of cultural identity. This is a fact at the start of the novel and the tone is not elegiac. Life is not seen as a collective enterprise and the transmission of information between individuals is not effected through storytelling; {{19}}[[19]]This is somehow surprising for an author coming from Newfoundland, an island who has historically possessed an acute sense of independence based on a distinctive cultural legacy and a political past separate from Canada. Moore’s style is at odds with usual modes of transmission of cultural memory, namely storytelling, usually revolving around episodes of the national past, sense of place, the rural idyll (or tragedy), and on a reassuring sense of human connectedness in small communities.[[19]] there is either the isolation of intense perceptions, often happening in miniature domestic spaces, or an exposure to the violent realities of the world through the internet. The novel opens with a teenager, Colleen, watching an accident during a stunt performance with alligators in Louisiana; she then watches a man’s beheading on the internet while she eats a sandwich. In the unobserved intimacy of her room she can view the world’s detritus.

Rancière defined aesthetic and political communities in the quotation that opened this article. Through tactics similar to those of hyperrealist painters, Alligator shows us that the “sensory fabric” (Rancière 56) that characters share is personal and untransferable and if there is to be a community of sensations, it lies in those objects that everyone shares nowadays, objects that accompany us when we eat, watch TV, or shop at a mall. The second quote opening this article by hyperrealist painter Cynthia Poole attests the validity of that idea. This is the collective enterprise, “the distribution of the sensible” that Rancière alluded to, a globalized reality wedged into little worlds that, like Newfoundland, not so long ago were very different.

Another strategy which overrides the evocation of the uniqueness of geography —and the notion of connectedness among individuals in a community—, consists of forcing the reader to reconsider the status of narrative as process or plot by creating suspense through images unaided by any rationalization. Lacerating memories retain their physicality and cannot be appeased by the comforts of narrative: narratives are therapeutic, they tie things up. In a different kind of adventure —closer to the ecstatic nature of visual art—, Moore, like the hyperrealist painters, brings clarity of vision into focus by the isolation of detail. Moore makes us look at objects purely, as was Tjalf Sparnaay’s desire. There seems to be a resistance to take a step further than the impact caused by an assailing stimulus. Alligator teaches us to embark on an absolute concentration on what the eye receives. Like hyperrealist painting, it alters our sensory perceptions of objects around us; we start noticing them and pausing on them once we are out of the novel. She concentrates on the defocalizing power of a random element that does not fit within the machinery of life. The power of sight dismisses the significance of plot. By doing this, Moore makes problematic the conventional bond between image and message in narrations by showing us that the power of sight may reduce everything else to insignificance, to fuzziness. The paradoxes of hyperrealist art are the same paradoxes implicit in Moore’s style: does it give an intimate or a detached vision? Is her rendering of reality matter-of-fact or hallucinatory? Are objects reliable or menacing? This is a kind of psychic ambush, but it certainly does not foster a sedate or stultifying approach to reality, as some critics have claimed about hyperrealism.

The novel does show some concern with the modern overexposure to images, a problem which deeply troubled Sontag and Rancière, disturbed as they were by our “chronic voyeuristic relation to the world which levels the meaning of all events” (Sontag 1977, 11, 28 and 30; Rancière 2009, 87). Photography negates the ephemeral quality of an event and once it makes everything permanent, the fact of considering one thing important and another trivial becomes arbitrary; discrimination is often beside the point. These critics have sensed the moral problems resulting from our saturation with the image, with the photograph; the analgesic effect of living in a world made up of overpowering visual display. At one point in the novel, Madeleine, the film maker, comes across a digital photograph of a naked man with his cuffed hands over his genitals. She is deeply shocked:

She brought the picture close to her face to see if she could see pixels, how the colour had been reproduced; she tried to understand the image. A blooming horror made her skin prickle; what was this photograph? It was a homemade joke about torture, folksy and kitsch, full of abject glee and hatred. She had left the egg boiling. The egg was boiling over. She went back to the kitchen and put the paper on the table. The shock of the photograph receded; shock smacks and recedes. She would not let herself think the word evil. The egg was rubbery. The photograph was evil. (170-71)

In this excerpt and the text that follows, we realize that extreme cruelty is unavoidably implicated and overridden by the little urgencies in our daily life. Madeleine soon forgets about the Iraqi prisoner, even after she notices his broken shoulder.

Although characters are occasionally allowed brief glimpses of the pain of others, Moore does not bear in the novel any representational burden, neither from the icons that may represent Newfoundland’s culture nor from an overly exhibitionist capitalist system. Thus, she somehow questions Sontag’s negative ethical interpretations of the overexposure to photographs that citizens in the first world are inevitably subjected to. Like hyperrealist painters, she has turned this overload of images of commercial items into a visual gift which can work toward creativity in art. There is celebration rather than rejection: of shapes and colours, also an impulse to foster a capacity for acute visual focus. Time and again in her novel we realize she does not show impatience with the image, that her approach is not fatigued or mournful, nostalgic for a time where the world was not so imaged-choked.

In Alligator people are defined for what they are, a portable kit of images. With them we try to possess the past and grapple with the present (Sontag 1977, 8). This definition of humankind rooted in the sensory does not mean that the novel’s final statement is to opt for visual entertainment removed from social discord. {{20}}[[20]]See T. J. Demos (2010) for a meditation of the status of storytelling in contemporary art and cultural industry.[[20]] There is deep reverberation beyond the sensorial. The emotionally neutral temperature of the still life in its coolness and detachment in fact intensifies the heated chaotic state of discomposure that the characters are experiencing. The intractability of reality, the resistance of objects and circumstances to bend to the characters’ purposes or understanding is a basic factor in realizing that the relationship between characters and objects is not one-way road.

There is another dimension added to this celebratory mode: all the characters seem to be spectators rather than actors. They do try to become agents in their own lives but cannot help behaving only as viewers. They build private spaces within which to be able to build protection against aging, failure, poverty, loneliness. Walter Benjamin (1936) and Susan Buck-Morss (1992) described a mental state where the individual, by looking at something other than himself, lets this otherness, usually inhospitable, invade his senses. As a result of this saturation of the senses, the powers for thought are paralysed. This understanding of reality as shock was explored by Benjamin to explain how modern society has created artistic mechanisms and commodities (phantasmagoria) that protect people from the excessive energies of external stimuli and from the harshness of industrial societies. The creation of cushioned spaces in the professions and in art is further developed by Buck-Morss, who located the threat of bewilderment and pain in the relationship between humans and the image. According to her, we possess a synaesthetic system through which the images we store in our memory get connected with external stimuli, thus creating an internal language that cannot be conceived of in conceptual terms (see Sarikartal 2005, 106). This language threatens to betray the language of reason, endangering its philosophic sovereignty. What is absorbed unintentionally resists intellectual comprehension, it baffles notions of knowledge as comprehension and confers instead climactic status on states of bewilderment. As Susan Buck-Morss explains, “all of the senses can be acculturated […]. But however strictly the senses are trained […] all of this is a posteriori. The senses maintain an uncivilized trace, a core resistance to cultural domestication […] they remain part of the biological apparatus” (1992, 6).

This existential stance undermines the polarity used against hyperrealist painting: the accusation that there is a prioritizing of aesthetic creation over reflexive criticality. Moore shows us in her novel pop-up images and the fascinating labyrinths of the mundane. Yes, she portrays characters as spectators, however, she shows the dangers of spectatorship. Characters keep trying to make cushioned versions of their reality that would fit their purposes, yet they live in a world of digitality which inhibits metaphor and transcendence. The digitalization of reality itself troubles definitions of what is real. Moore shows a world that is itemized through the image (see Sontag 1977, 22-3) and novelizes what to expect after humanity has gone through the saturation point, the image-choked world Sontag referred to. The consequences were diagnosed by Sontag (1977, 28): “The arbitrariness of considering some elements as trivial and some as important has been superceded long ago.” When all events are levelled, the result is lack of empathy: the world in Alligator has withdrawn the lines between the extreme and the trivial, between the relevant and the inconsequential or frivolous, the cruel and the desirable.

If we bring to mind how the notion of “Newfoundlandness” is usually codified, we perceive a marked contrast between Lisa Moore’s literary practices in Alligator and some manifestoes of national or regional identity, such as the one previously quoted, Extremities, which explained shared objectives by writers bearing witness to the same landscape and history. This declaration revolved around notions of extreme geography and extreme experiences, however, Alligator is constructed upon a foregrounding of globalized consumer objects.

Certainly Alligator’s message is not that geography is destiny, an idea which permeates much of the literature by Newfoundland writers and others writing about Newfoundland; the novel is almost a visual treatise on the materiality of new capitalist spaces. Alligator also runs against the idea of constructions of Newfoundland as a therapeutic space, where victims of capitalist modernity can pull themselves together and recover meaning. {{21}}[[21]]See Danielle Fuller (2004) and Ian McKay (1993) for the ideological dangers of romantic constructions of Newfoundland and Nova Scotia. A notorious case is Annie Proulx’s novel The Shipping News, harshly criticized in Newfoundland for its inaccurate and stereotyped representations of the place (see Tracy Whalen 2004).[[21]] Characters are not cultural artefacts and the plot is not contaminated by the stitches of historicity because the arbitrary intersections of emotions and circumstance provoke not so much a meditation on cultural heritage as an engagement in a densely displayed net of affective intensities. Moore’s technique prevents the past from being memorialized: she works on a common contemporaneous fabric of sensation that is often unnoticed but that nevertheless reaches everywhere.

How do we describe place now? Lisa Moore has shifted our ocular bondage to place from an evocation of landscape or cityscape to the hypnosis produced by readymade objects which do not transmit transcendental meaning or collective memory but a common sensory fabric, a certain quality of palpability devoid of conciliatory epilogues. {{22}}[[22]]An earlier version of this paper was published as “Still Lifes: The Extreme and the Trivial in Lisa Moore’s Novel Alligator” in the electronic journal Canada and Beyond 1, 1‐2 (2011). http://www.canada‐and‐beyond.com.[[22]]

—María Jesús Hernáez Lerena

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References

Baudrillard, Jean. “The Hyper-realism of Simulation” (1976). Art in Theory 1900-2000. An Anthology of Changing Ideas. Eds. Harrison, Charles and Paul Wood. Oxford: Blackwell Publishing, 2010: 1019-1020.

Benjamin, Walter (1936). “The Work of Art in the Age of Mechanical Reproduction” Illuminations. Ed. with an introduction by Hannah Arendt. Trans. Harry Zohn. London: Fontana Press, 1992: 211-243.

Berger, John. Ways of Seeing. London: BBC and Penguin Books, 1972.

Bowen, Elizabeth (1994). “The Faber Book of Modern Short Stories” (1937). The New Short Story Theories. Ed. Charles May. Athens: Ohio University Press. 256-262.

Buck-Morss, Susan. “Aesthetics and Anaesthetics: Walter Benjamin’s Artwork Essay Reconsidered.” October: Art, Theory, Criticism, Politics. 62, Autumn 1992: 3-42.

Clute, John and John Grant (eds.). The Encyclopedia of Fantasy. London: Orbit, 1997.

Comoretti, Vania. http://www.vaniacomoretti.com (Last retrieved April 2, 2012).

Demos, T. J. “Storytelling in/as Contemporary Art.” The Storyteller. Eds. Claire Gilman and Margaret Sundell. Independent Curator’s International. Zurich: JRP/Ringier, 2010. 83-107.

Fernández Prieto, Celia. “La verdad de la autobiografía.” Revista de Occidente, 154, 1994: 116-130.

Forster, Dennis A. (1987). Confession and Complicity in Narrative. Cambridge: Cambridge University Press.

Fowler, Adrian. “The Literature of Newfoundland: A Roundabout Return to Elemental Matters.” Essays on Canadian Writing, 1985: 118-141.

Fuller, Danielle. “Strange Terrain: Reproducing and Resisting Place-Myths in Two Contemporary Fictions of Newfoundland.” Essays on Canadian Writing. The Literature of Newfoundland, 82, Spring 2004: 21- 50.

Giddens, Anthony. Modernity and Self-Identity. Self and Society in the Late Modern Age. Cambridge: Polity Press, 1991.

Head, Clive. “Foreword.” Exactitude: Hyperrealist Art Today. Ed. Maggie Bollaert. Plus One Publishing. London: Thames & Hudson, 2009: 8-19.

Heffernan, James A. W. Museum of Words: The Poetics of Ekphrasis from Homer to Ashberry. Chicago: The University of Chicago Press, 1993.

Hennessey, Simon. “Simon Hennessey.” In Exactitude, 2009: 144-153.

Joyce, James. “The Dead.” (1914). Dubliners. London: Penguin. 1992: 199-256.

Langmuir, Erika. Narrative. London: National Gallery Company London, 2003.

Mansfield, Katherine. “Bliss” (1920). The Collected Stories of Katherine Mansfield. New York: Penguin, 1981: 91-105.

McKay, Ian. “Helen Creighton and the Politics of Antimodernism.” In Myth and Milieu: Atlantic Literature and Culture 1918-1939. Frederictown, NB.: Acadiensis Press, 1993: 1-16.

Meisel, Louis K. Photorealism at the Millennium. New York: Harry N. Abrams Inc. Publishers, 2002.

Melnyk, George (2003). Poetics of Naming. Edmonton: The University of Alberta Press.

MacLeod, Alexander. “History Versus Geography in Wayne Johnston’s The Colony of Unrequited Dreams.” Canadian Literature: The Literature of Atlantic Canada, 189, Summer 2006: 69-83.

Moore, Lisa. Alligator, A Novel. Toronto, Anansi, 2005.

O’Flaherty, Patrick. The Rock Observed: Studies in the Literature of Newfoundland. Toronto: University of Toronto Press, 1979.

Poole, Cynthia. 2008. “Exactitude IV” http://plusonegallery.com/Shows-Detail.cfm? ShowsID=195 (last retrieved April 2, 2012).

Proulx, Annie. The Shipping News. New York: Scribner, 1994.

Rancière, Jacques. The Emancipated Spectator. Trans. Gregory Elliott. London, New York: Verso, 2009.

Rose, Nikolas.“Assembling the Modern Self.” Rewriting the Self: Histories from the Renaissance to the Present. Ed. Roy Porter. London and New York: Routledge, 1997: 224-248.

Russell Taylor, John. “Introduction.” In Exactitude, 2009:20-53.

Sarikartal, Cetin (2005). “Shock, mirada y mímesis: La posibilidad de un enfoque performativo sobre la visualidad.” Estudios visuales: La epistemología de la visualidad en la era de la globalización. Ed. Jose Luis Brea. Madrid: Ediciones Akal. 105-114.

Seifert, Martina. Rewriting Newfoundland Mythology: The Works of Tom Dawe. Berlin: Galda + Wilch Verlag, 2002.

Sontag, Susan. On Photography. London: Penguin, 2008 (1977).

Sontag, Susan. Regarding the Pain of Others. New York: Farrar, Straus and Giroux, 2003.

Sparnaay, Tjalf. Mega-Realism. Tjalf Sparnaay. Oilpaintings. Shilderijen. Amsterdam: Paul Baars Design BNO, 2002.

Takacs, Narayana. “The Ecstasy of Hyperrealism.” 14th International Symposium on Electronic Art. http://www.isea-webarchive.org/content.jsp?id=115442 (Last retrieved April 2011).

Taylor, Charles. Sources of the Self: The Making of Modern Identity. Cambridge: Cambridge University Press, 1996.

Trussler, Michael. “Suspended Narratives: The Short Story and Temporality.” Studies in Short Fiction, 33 (4), 1996: 557-577.

Žižek , Slavoj. The Sublime Object of Ideology. London: Verso, 1989.

Whalen, Tracy. “′Camping′ with Annie Proulx: The Shipping News and Tourist Desire.” Essays on Canadian Writing. The Literature of Newfoundland, 82, Spring 2004: 51-70.

Whalen, Tracy. “An Aesthetics of Intensity: Lisa Moore’s Sublime Worlds.” Newfoundland and Labrador Studies, 23 (1), 2008: 1-20.

Winter, Michael (ed.). “Introduction.” Extremities: Fiction from the Burning Rock. St. John’s, NL: Killick Press, 1994. xi-xii.

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San Sebastian-2014
María Jesús Hernáez Lerena is an Associate Professor of American and Canadian literatures at the University of La Rioja (Spain). She is author of the books Exploración de un Género Literario: Los Relatos Breves de Alice Munro (1998), Short Story World: The Nineteenth-Century American Masters (2003), and co-author of Story Time: Exercises in the Study of American Literature for Advanced Students of English (1999) with Julieta Ojeda and James Sullivan. She co-edited the volume Canon Disorders: Gendered perspectives on Literature and Film in Canada and the United States (2007) with Eva Darias Beautell. She is the former editor of Journal of English Studies (University of La Rioja) and teaches graduate courses on Canadian literature within a doctoral program awarded a quality distinction by the Spanish Ministry of Education. She has published essays on English, American and Canadian writers such as Wyndham Lewis, Sarah Orne Jewett, Alice Munro, Carol Shields, Douglas Glover, Katherine Govier, Barbara Gowdy, Michael Crummey, etc. Some of her articles and interviews can be found in the journals Toronto University Quarterly, Canadian Literature, British Journal of Canadian Studies, Arc Poetry Magazine, Wyndham Lewis Annual, Atlantis, Journal of Tourism and Cultural Change, etc., and in the books Visions of Canada Approaching the Millennium (1999); Wyndham Lewis the Radical: Essays on Literature and Modernity (2007); Canada Exposed/ Le Canada à découvert (2009); Unruly Penelopes and the Ghosts: Narratives of English Canada (2011); Short Story Theories: A Twenty-First-Century Perspective (2012). Forthcoming is her edited book: Pathways of Creativity in Contemporary Newfoundland and Labrador.

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The Art of the Long Sentence — Frank Richardson

Nov 082014
 

Frank Richardson bio pict 2The author outside a bakery in Bamberg, Germany

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For a long time, as I read, I paid no more attention to the length of sentences than I did to their grammar or syntax. It wasn’t until I discovered Marcel Proust’s À la recherche du temps perdu that I learned to appreciate how long and short sentences can be juxtaposed for emphasis and how syntax can mimic the flow of thought and action. Of course, Proust is famous for his long sentences, some of which extend well beyond 200 words; these sentences intrigued me the most. The closest analogy I can imagine is that discovering Proust’s long sentences was like discovering a new genre of music, as if I had lived my life without knowing there existed such things as symphonies. If prose is like music, then some types of writing must resonate with particular people just as we have different musical tastes, and Proust’s swirling syntax certainly resonated with me. Eyes opened, I pursued the subject and discovered the rich variety of ways other writers employ long sentences to dramatize the actions and thoughts of characters.

But why labor to construct a 200-word-long sentence when a dozen shorter sentences can communicate the same information and not task the reader’s attention and patience? A sentence is greater than the sum of its propositions. A sentence’s syntax – the order in which the words of the sentence are arranged – affects its emotional impact, e.g. placing a proposition at the end of a sentence engenders suspense. But the possibilities extend far beyond this simple example. In Artful Sentences Virginia Tufte limns an incredible range of syntactic arrangements that function symbolically. She describes “syntactic symbolism” as when “syntax as style has moved beyond the arbitrary, the sufficient, and is made so appropriate to content that, sharing the very qualities of the content, it is carried to that point where it seems not only right but inevitable” (271). In the following excerpt from the novel Correction, Thomas Bernhard uses repetitive syntax to symbolically represent the protagonist’s mania for perfection, viz. he corrects himself while explaining the process of correction:

We’re constantly correcting, and correcting ourselves, most rigorously, because we recognize at every moment that we did it all wrong (wrote it, thought it, made it all wrong), acted all wrong, how we acted all wrong, that everything to this point in time is a falsification, so we correct this falsification, and then we again correct the correction of this falsification . . . (242)

Tufte cites many examples to illustrate the diversity of emotional and mimetic effects of syntactic symbolism. What Tufte calls syntactic symbolism, David Jauss calls “rhythmic mimesis” and notes that “sometimes the syntax does more than convey the appropriate emotion; sometimes it also rhythmically imitates the very experience it is describing . . .” (70-71).{{1}}[[1]]Jauss’s italics.[[1]] The rhythm of the syntax in Bernhard’s prose conveys the protagonist’s exasperation while simultaneously informs on his character. But the “experience” Jauss refers to can mean movement, whether physical action or the more nebulous movement of human thought. I’ve found these types of motion mimesis to be particularly effective applications of the extended syntax of long sentences.

Thomas.BernhardThomas Bernhard

It is important to note that neither Tufte nor Jauss restrict their examples to long sentences; rhythmic mimesis can be conveyed by sentences of all lengths. But given my penchant for longer sentences, I began looking for how they might be used in the manner Jauss and Tufte describe. After surveying a wide range of fiction (different time periods, genres, narrative modes, etc.), I noticed a pattern whereby authors applied long sentences effectively to create a rhythmic mimesis of motion, speech, consciousness, and even character. In the last category a long list can be used to communicate a fictional character’s character, as exemplified by Nicholson Baker’s obsessive memoirist in The Mezzanine. Motion mimesis – using prose to imitate actions – is an excellent use of long sentences with stunning examples found in such diverse works as The Adventures of Huckleberry Finn, many of Faulkner’s stories, and the fiction of David Foster Wallace. Spoken language is no less rhythmic than written, and the Czech writer Bohumil Hrabal demonstrates that long sentences can be used to capture the personality and style of a teller of tall tales in his 1964 Dancing Lessons for the Advanced in Age. In the depiction of the conscious mind in fiction, James Joyce’s achievement in Ulysses still exemplifies how the syntax of long sentences can mimic the rhythm of thought. Two contemporary writers who answered the challenge of capturing the mind’s stream of consciousness include: David Foster Wallace, who in Infinite Jest takes the reader into the realm of the subliminal, of dreams and drug-induced states; and the French writer Mathias Énard, who pushes the boundaries of what we call a sentence even further than Joyce, with his book-length sentence in his 2008 novel Zone.

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The List

The most obvious reason to add propositional content to a sentence is to increase the amount of descriptive detail, and long sentence constructions often contain lists. But the point isn’t to string together a random catalogue of items just to fill the page: lists can elucidate character.

Nicholson Baker’s novel The Mezzanine is a daydream, a meditation on life, on questions large and small. The story, presented as a memoir, is told in first-person point of view by Howie, a thirty-year-old factotum obsessed by his childhood. The novel is short, 135 pages, composed of fifteen chapters, many of which have long, detailed footnotes wherein the narrator indulges his love for digression. Howie’s conflict is with himself. He wants to achieve what he calls a “majority,” that is, a moment when he will have “amassed enough miscellaneous new mature thoughts to outweigh and outvote all of those childish ones” – the age of forty, by his calculations – but his obsessive recollections, his seeing the world through the screen of childhood memories, remains his primary obstacle (Baker 58). The novel’s plot is built around a single event – an escalator ride – during an ordinary day five years prior to the novel’s present (its fictional time of writing). At that time, Howie worked at an unnamed corporation and takes us from his lunch break back to his office on the building’s mezzanine, with the escalator ride serving as the focal point. In a narrative where there are more tangents than forward motion, a reader might become overwhelmed with the apparently superfluous anecdotes, but these memories, meditations, and observations – and Baker’s seamless segues between them – are the real magic of The Mezzanine.

Nicholson_BakerNicholson Baker

The story begins as the Howie’s lunch hour is ending and he is approaching the escalator leading to the mezzanine of his office building. Howie is an obsessive, voracious observer of the world around him and delights in sharing his observations in this “memoir.” Mid-way through the second paragraph he digresses to inform us about his activities during his lunch hour, including a two-page-long footnote on the history of drinking straws. Thus, it becomes clear early that this escalator ride is going to take some time to complete; indeed, it will take the remainder of this engaging and richly imagined novel. By chapter five Howie hasn’t even stepped onto the escalator; the story has focused on his past. The first paragraph of chapter five is composed of three short sentences and one long cumulative sentence (341 words) that enumerates Howie’s favorite “systems of local transport” as a child, including rotisseries, rotating watch displays, hot dog cookers, and, of course, escalators:

Other people remember liking boats, cars, trains, or planes when they were children – and I liked them too – but I was more interested in systems of local transport: airport luggage-handling systems (those overlapping new moons of hard rubber that allowed the moving track to turn a corner, neatly drawing its freight of compressed clothing with it; and the fringe of rubber strips that marked the transition between the bright inside world of baggage claim and the outside world of low-clearance vehicles and men in blue outfits); supermarket checkout conveyor belts, turned on and off like sewing machines by a foot pedal, with a seam like a zipper that kept reappearing; and supermarket roller coasters made of rows of vertical rollers arranged in a U curve over which the gray plastic numbered containers that held your bagged and paid-for groceries would slide out a flapped gateway to the outside; milk-bottling machines we saw on field trips that hurried the queueing [sic] bottles on curved tracks with rubber-edged side-rollers toward the machine that socked milk into them and clamped them with a paper cap; marble chutes; Olympic luge and bobsled tracks; the hanger-management systems at the dry cleaner’s – sinuous circuits of rustling plastics (NOT A TOY! NOT A TOY! NOT A TOY!) and dimly visible clothing that looped from the customer counter way back to the pressing machines in the rear of the store, fanning sideways as they slalomed around old men at antique sewing machines who were making sense of the heap of random pairs of pants pinned with little notes; laundry lines that cranked clothes out over empty space and cranked them back in when the laundry was dry; the barbecue-chicken display at Woolworth’s that rotated whole orange-golden chickens on pivoting skewers; and the rotating Timex watch displays, each watch box open like a clam; the cylindrical roller-cookers on which hot dogs slowly turned in the opposite direction to the rollers, blistering; gears that (as my father explained it) in their greased intersection modified forces and sent them on their way. (35-36)

Howie follows this long catalogue with a short sentence, telling us that the escalator shared qualities with these systems with one notable exception: he could ride the escalator. This telescopes his childhood obsession into adulthood – he can, after all, still ride escalators – where the escalators stimulate Proustian involuntary memories of childhood including, he tells us, memories of his and his father’s shared “mechanical enthusiasms” and of the specific memory of his mother taking him and his sister to department stores and instructing them on escalator safety. This memory, in turn, stirs his concern that he spends too much time (in the present of his writing, not the time of his riding the escalator) thinking of things exclusively in terms of his childhood memories, an epiphany that sets up the last paragraph, a précis for the novel:

I want . . . to set the escalator to the mezzanine against a clean mental background as something fine and worth my adult time to think about . . . I will try not to glide on the reminiscential tone, as if only children had the capacity for wonderment at this great contrivance.{{2}}[[2]]Despite wanting to divest himself of childhood memories, he never does; even the last page includes a reference to “when I was little.”[[2]] (39-40)

True to his digressive tendencies, however, the escalator won’t be mentioned again until chapter eight, and it is not until the midpoint in the novel that Howie actually boards the escalator.

Baker’s long list sentence adds character detail to this dense tale. First, note his eye for specifics: the “blistering” of the hot dogs, the “men in blue” at the airport. Second, he uses metaphor and simile: the “new moons of hard rubber” and watch boxes “like open clams.” Thus, the list not only informs on Howie’s whimsical, yet poetic and reflective nature, but also shows us, by example, his obsessive behavior. Howie acknowledges he likes the things other children liked, only he liked something else more, something odd, something unusual; and then he shows us how much it all meant to him with his detailed recollection. Once Howie begins his recollection, he becomes lost in it; his list goes on and on and he can hardly break free from its hold on him as new things are added and elaborated in fractal-like digressions. Howie spirals into many such lavishly detailed memories and the long sentences convey his sense of being lost in contemplation. Despite his continuing attempts to escape the gravitational pull of his childhood, Howie keeps being drawn deep into memory. A convincing stylistic choice, this long list sentence adds detail while simultaneously revealing character through syntactic symbolism – the long, uninterrupted flow of Howie’s list shows us his obsession with his childhood.

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Motion Mimesis

Syntagmatic extension of a sentence always has one consequence: it keeps the reader in the moment. Except for perhaps sentences that run for pages, most readers will read to the end of a long sentence before making a full stop at the period. Dwelling on the action can have several effects depending on the subject, including heightening the emotional impact of the moment, whether that is grief or joy, ecstasy or terror. When actions are depicted by the sentence, the rhythm of the prose can lend itself to mimicking the character’s movement. An excellent example of such motion mimesis is found in the climax of William Faulkner’s 1939 short story “Barn Burning.”

“Barn Burning” is a coming-of-age story set in the post-Civil War American South. The 23-page story has a linear timeline, is written in the past tense, and covers six days, from a Monday through a Saturday. The third-person limited point of view focuses on the thoughts of the protagonist, the ten-year-old Colonel Sartoris “Sarty” Snopes, youngest of the four Snopes children. The paterfamilias, Abner Snopes, is a violent sociopath, and at the beginning of the story he is a suspect in the burning of a barn. After being found not guilty, he loads up his family for the twelfth time in ten years and moves to the next hamlet to find a work on a farm. The day they arrive Snopes indulges his hatred and jealousy by going to the house of the landowner Major de Spain and deliberately soiling an expensive carpet with horse manure. When asked to clean the rug, Snopes destroys it in the process. In court for the second time within a week, Snopes is fined ten bushels of corn; enraged, that night he sets out to burn de Spain’s barn. When he sees that Sarty is shocked, he becomes worried that his son will thwart his plans and has him held back by his mother. After Snopes and the older son leave, Sarty breaks loose and runs to the de Spain mansion where he bursts in and warns them of the imminent arson. Sarty flees down the road toward the barn and is soon passed by de Spain on horseback. Hearing three shots, Sarty believes his father dead and runs away, leaving his family forever. The primary image of “Barn Burning” is “blood,” which Faulkner uses eight times and always in the context of Sarty and his father or family. In the climax Sarty must choose between his father, his blood, and what he feels is the moral, right choice of warning de Spain.

lg-portrait-of-william-faulkner-896William Faulkner

Young Sartoris has an apparently instinctive sense of right and wrong that jars with his father’s violent, malicious behavior. In the opening scene when his father is before “the Justice,” the boy knows his father is guilty: “He aims for me to lie, he thought, again with that frantic grief and despair. And I will have to do hit” (Faulkner 4); and two days later, after his father is told by Major de Spain that he’ll have to pay twenty bushels of corn for destroying the rug, Sarty, working in the field, hopes that this will mark the end of his father’s reign of terror; he thinks: “Maybe it will all add up and balance and vanish – corn, rug, fire; the terror and grief, the being pulled two ways like between two teams of horses – gone, done with for ever and ever” (17). He can’t believe it when his father tells him to get the oil; he knows what his father intends to do. As Sarty is fleeing down the road after warning de Spain, his “blood and breath roaring,” he is in a semi-fugue state:

He could not hear either: the galloping mare was almost upon him before he heard her, and even then he held his course, as if the very urgency of his wild grief and need must in a moment more find him wings, waiting until the ultimate instant to hurl himself aside and into the weed-choked roadside ditch as the horse thundered past and on, for an instant in furious silhouette against the stars, the tranquil early summer night sky which, even before the shape of the horse and rider vanished, stained abruptly and violently upward: a long, swirling roar incredible and soundless, blotting the stars, and he springing up and into the road again, running again, knowing it was too late yet still running even after he heard the shot and, an instant later, two shots, pausing now without knowing he had ceased to run, crying “Pap! Pap!”, running again before he knew he had begun to run, stumbling, tripping over something and scrabbling up again without ceasing to run, looking backward over his shoulder at the glare as he got up, running on among the invisible trees, panting, sobbing, “Father! Father!” (24)

The motion described by the sentence begins with de Spain’s galloping mare gaining on Sarty and continues with him flinging himself into the ditch. After the stunning pause with the juxtaposition of “furious silhouette” and “tranquil . . . night sky (“stained” as blood stains), the motion then gathers momentum as Sarty resumes his sprint. What follows are sixteen more verbs, mostly action verbs, expressed as present participles{{3}}[[3]]Q.v. The Mezzanine excerpt wherein eleven present participle action verbs describe the motion of the various systems of local transport.[[3]] (as opposed to the past definite). This creates a sense of simultaneity and continuous motion. Faulkner repeats “running” four times and “run” twice within the second half of the sentence; this emphasis extends beyond the motion it is describing to become a metaphor for Sarty and his future. Following the gunshots, he pauses briefly crying the familiar “Pap! Pap!” – his blood; his blood now severed he resumes his run but now he is running away as he had imagined when his father asked him to get the oil: “I could run on and on and never look back . . .” (21). This horrible moment, the defining moment of Sarty’s life, when the choice he made results in the death (at least as far as he can tell) of his father, this desperate race, is captured wonderfully by the Faulkner’s long sentence. The reader is held in suspense as the Sarty runs toward his father and as de Spain rushes to defend his property and is finally swept along with the boy as he runs and runs, never to look back.

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The Never-ending Story

As anyone who has ever listened to a speech knows, there is a rhythm to the spoken word. A speaker may drone on and on and put the audience to sleep, or he can be dynamic, lyrical, and modulate his tone to keep the audience’s attention. Generally we need pauses in a speech; they are necessary moments of reflection and break the monotony of an unchanging cadence. Aside from soliloquy, fictional characters rarely have unmitigated speech; otherwise the writer, like the droning speaker, might lose his audience. So it is intriguing to find a writer who is willing to take up the challenge of writing a continuous monologue without chapters, without section breaks or line breaks; indeed a monologue as a single sentence that captures the rhythm of language while still entertaining the reader. Such is Bohumil Hrabal’s Dancing Lessons for the Advanced in Age.

First published in Czechoslovakia in 1964 and in an English translation by Michael Henry Heim in 2011, Hrabal’s single-sentence book defies categorization. His friend and reviewer Josef Sǩvorecký called it a “long short story” (Sǩvorecký 7). Adam Thirlwell, who wrote the introduction for the 2011 edition, called it a “novel in one monologue” (Hrabal viii). Semantics aside, this unique story, or collection of tall tales, is a wonderful example of how a writer can sculpt a very long, yet engaging sentence that mimics the spoken word. Hrabal developed his style of story-telling, what he called páblitelé – which Sǩvorecký translates as “tellers of tall tales” and which Thirlwell translates as “palavering” – based on the free-association rambling of oral story-tellers in his life. But this is not a form of automatic writing or free writing – genuine craft is expressed in Hrabal’s prose; the narrator’s monologue (it isn’t really a speech – speeches are organized logically and are intended to communicate specific information – neither of which applies here) is by degrees whimsical, ribald, lyrical, poignant, and profound.

Bohumil-HrabalBohumil Hrabal

Superficially, the book represents the uninterrupted speech of a septuagenarian shoemaker named Jirka who is regaling a group of sunbathing women with his stories of being a soldier during the Austro-Hungarian monarchy, his sexual exploits, his opinions on the church and religion, and his humorous digressions of tall tales. It is told in the first-person, mostly in the past tense, and follows real time in that the amount of time it takes to read the 117 pages approximates the time it would take to actually listen to the narrative. Jirka’s desire is to be listened to, to flirt with the ladies; his conflict is keeping his listeners’ attention. But unlike a random, garrulous old man droning on and on, one who won’t let you go until you hear every variation of the same big fish story, Jirka keeps us listening:

neither Havlíček nor Christ ever laughed, if anything they wept, because when you stand for a great idea you can’t horse around, Havlíček had a brain like a diamond, the professors went gaga over him, they tried to make him a bishop, but no, he chose justice, a little coffee, a little wine, and a life for the people, stamping out illiteracy, only perverse people dream of rolling in manure (better days ahead) or of chamber pots (your future is assured) because the thing is, dear ladies, you’ve got to rely on yourselves, take Manouch, who thought he had it made because his father was a jailer and all he did was drink and pick up bad habits, which leads to fights like the quarrel in the days of the monarchy between the social democrats and the freethinkers and clerics over whether the world comes from a monkey or God slapped Adam together out of mud and fashioned Eve from his insides, now He could have made her out of mud too, it would have been cheaper, though nobody really knows what went on, the world was as deserted as a star, but people twitter away like magpies and don’t really care, I could set my sights on a charmer, a prime minister’s daughter, but what’s not to be is not to be and could even take a bad turn, Mother of God! the crown prince had syphilis and that Vetsera woman shot him, but then she got shot by the coachman, though any young lady will tell you you might as well be buried alive if the man in your life has a faulty fandangle, when I was serving in the most elegant army in the world I told our medical officer, Doctor, I said, I’ve got a weak heart, but all he said was, So have I, boy, and if we had a hundred thousand like you we could conquer the world, and he put me into the highest category, so I was a hero . . . (3-5)

For the purposes of this essay I’ve selected this 340-word excerpt of the 117-page long sentence so that a sense of the rhythm can be appreciated. In the book as a whole, after the comma, the most common punctuation mark Hrabal uses is the question mark, then the dash, then the exclamation point; there are no colons or periods (even at the end) and only one semicolon.

In this relatively short passage there is an astonishing variety of subjects. He begins with philosophizing about the writer Havlíček and Christ (a favorite subject); then makes an aphoristic statement (a common habit); he reflects on Havlíček’s history with clear parallels to his own (Jirka’s) values; he quotes ironic entries from his favorite book of dream interpretations, refers to his audience, and then drops another aphorism. He interrupts himself at one point with the exclamation “Mother of God!” (another habit) indicating that he has just remembered something that he absolutely must tell the ladies right away. Note that Hrabal doesn’t let us forget the scene: more than a dozen times in the book Jirka refers directly to the women he is speaking to, but here he also says “though any young lady will tell you,” an indirect nod in their direction and a preface to his flirting. He concludes this part of his never-ending sentence with a tale of the absurd, a lampoon of his time in the military (another favorite subject).

Sǩvorecký writes that Hrabal’s importance “lies predominantly in this language, in how his stories are told” (8). The book’s forward momentum is carried by Jirka’s engaging voice and the bizarre, often humorous tales he tells. Narrative voice isn’t carried by subject matter and diction alone, but by the order of words, i.e. the syntax with which those words are arranged.

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The Persistence of Thought: Mind Mimesis

One of the most elusive subjects in fiction, as in life, is the nature of human consciousness. Philosophers have been arguing about how we know (or think we know) what we know and how we know what others know since the emergence of language. Epistemological questions aside, how can a writer convey – or attempt to convey – the nature of human thought?

Methods for representing a character’s thought span the range of narrative modes. Consider first-person. It seems straightforward enough: have the character simply tell us what he is thinking. When addressing another character, this is dialogue, or if alone, a soliloquy. Soliloquy typically follows the rules of grammar and is logically organized. And soliloquy, although spoken alone, is presented as if to an audience, which requires it to be more coherent (Humphrey 35). But what if the language is internal self-address, i.e. the language we “speak” only to ourselves? The narrative mode used to describe this is variously called free direct thought, internal monologue, or autonomous monologue. Interior monologue, in contrast to soliloquy (or dialogue) is more associative; prone to spontaneous, illogical shifts; and is rich in imagery (Cohn 12). The acme of internal monologue in literature is found in the “Penelope” chapter of James Joyce’s Ulysses.

James Joyce’s 1922 Ulysses is the ur-text for modernism. Published in 1922, this canonical “stream of consciousness” novel is the story of the lives of three principal characters, Leopold Bloom (who works in advertising), his wife Molly (a professional singer), and a family friend Stephen Dedalus (an aspiring poet) on a single day: June 16, 1904. The book is divided into eighteen sections and is organized according to Homer’s Odyssey, with Bloom in the role of Odysseus (Ulysses in Roman myths). Bloom’s journey takes him from home, through his day in Dublin, and then back again; along the way he is joined by Stephen. Almost all of the chapters focus on Bloom, but the last chapter, commonly referred to as “Penelope” in reference to Odysseus’s wife, takes place in the mind of Molly while she tosses and turns, unable to fall asleep after her husband returns home and joins her in bed at approximately two in the morning. “Penelope” is divided into eight “sentences,” although the only reason for designating them thusly are line breaks with indentation; the chapter has no punctuation except for two periods, one at the end of the fourth sentence; one at the end. The run-on nature of the chapter is the point, that thought doesn’t stop; it keeps flowing in an endless stream until you either fall asleep (except for dreaming) or die, i.e. you can’t turn thought off.

james-joyceJames Joyce

Molly has had a singular day: she has had an affair with her manager Hugh “Blazes” Boylan. Lying awake in bed, her thoughts roam: she thinks about Boylan and compares his sexuality with Bloom’s; she thinks about her marriage and that she and “Poldy” (whom she suspects has had an affair too that day) haven’t have sex since their son Rudy died shortly after he was born eleven years prior; she thinks about the future and is worried about their finances, she fantasizes about the twenty-something Stephen; and she thinks about her past, including the men she has known, her childhood in Gibraltar, and (famously) when Bloom asked her to marry him and she said yes. The only indication of an external world is a train whistle she hears; the only action, when she gets out of bed to use the chamber pot. Molly’s character is highly nuanced and through her unedited stream of consciousness the reader empathizes with the conflicts she faces in her life. After her fantasy of seducing Stephen concludes, her thoughts turn back to Boylan, then to Bloom as the last sentence of the chapter begins. She is annoyed with Bloom for having kissed her bottom after he crawled into bed. Her annoyance leads to sexual fantasies with other men until she is distracted by Bloom crowding her on the bed; she thinks:

O move over your big carcass out of that for the love of Mike listen to him the winds that waft my sighs to thee{{4}}[[4]]Reference to a song: “The Winds that Waft My Sighs to Thee,” by W. V. Wallace.[[4]] so well he may sleep and sigh the great Suggester Don Poldo de la Flora if he knew how he came out on the cards this morning hed have something to sigh for a dark man in some perplexity between 2 7s too in prison for Lord knows what he does that I dont know and Im to be slooching around down in the kitchen to get his lordship his breakfast while hes rolled up like a mummy will I indeed did you ever see me running Id just like to see myself at it show them attention and they treat you like dirt I dont care what anybody says itd be much better for the world to be governed by the women in it you wouldnt see women going and killing one another and slaughtering when do you ever see women rolling around drunk like they do or gambling every penny they have and losing it on horses yes because a woman whatever she does she knows where to stop sure they wouldn’t be in the world at all only for us they dont know what it is to be a woman and a mother how could they where would they all of them be if they hadnt all a mother to look after them what I never had thats why I suppose hes running wild now out at night away from his books and studies and not living at home on account of the usual rowy house I suppose well its a poor case that those that have a fine son like that theyre not satisfied and I none was he not able to make one it wasnt my fault we came together when I was watching the two dogs up in her behind in the middle of the naked street that disheartened me altogether I suppose I oughtnt to have buried him in that little woolly jacket I knitted crying as I was but give it to some poor child but I knew well Id never have another our 1st death too it was we were never the same since O Im not going to think myself into the glooms about that any more . . . (778)

This 392-word excerpt depicts the silent, unmediated self-communication of a fictional mind saturated with thoughts that transition associatively with dizzying speed. She is annoyed at Bloom for hogging the bed; she compares his wheezing (or perhaps snoring) with a song called “The Winds That Waft My Sighs to Thee” (remember, she is a professional singer; she doesn’t “say” to herself “His snoring sounds like X, rather the association pops into her consciousness as she listens to him breathe); she invents an epithet for Bloom; she thinks about the card reading she did for him; she’s aggravated about agreeing to fix him breakfast; she philosophizes about what a better world it would be if “governed by the women”; she reflects that men are ungrateful and then thinks of Stephen, whom she worries about in a maternal way; she speculates that Stephen’s parents don’t appreciate him and that they are ungrateful which leads to her thoughts of her dead son Rudy and that she should have given the coat she knitted for him to a needy child; and she reflects that she and Bloom haven’t been intimate since Rudy’s death, which she then resolves not to be depressed about. She uses the imperative (“O move over”), indicative (“I dont care what anybody says”), and subjunctive (“if he knew”) mood. She uses the past, present, and future tense. And all of these grammatical forms are switched between with the fluid rhythmicity of thought.

The first and most obvious feature of this excerpt that adds to its verisimilitude as internal monologue is the fact that it is uninterrupted; there are no gaps in the text as there are no gaps in our thoughts. Another feature of “pure” internal monologue that makes this example (and the entire “Penelope” chapter) successful as speech-for-oneself is the use of non-referential pronouns, i.e. “he” refers to Bloom, Stephen, and Rudy at different places in the stream of thought, and, significantly, there is no immediate reference to whom of the three she is thinking about. After all, Molly knows who she is thinking about and doesn’t need to explain it to anyone – this isn’t a soliloquy, this isn’t a speech, and this isn’t dialogue. Finally, the thought mimesis isn’t disrupted by Molly reporting her actions using action verbs and the first-person pronoun. This last quality doesn’t apply particularly to this passage, but it is important to the success of the chapter as a whole. The only action she takes is to use the chamber pot and Joyce is careful to address her kinetic perceptions without action verbs (q.v. sub).

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Mathias Énard’s Zone, published in France in 2008 and in an English translation by Charlotte Mandell in 2010, is a novel that parallels Ulysses in many ways. Like Joyce, Énard borrowed his structure from Homer, this time: The Iliad. Also like Joyce, Énard explores consciousness with internal monologue. With Zone Énard follows the tradition of novel-length sentences such as those by Bohumil Hrabal, Jerzy Andrzejewski, and Camilo José Cela. Zone is presented as a single-sentence internal monologue by the protagonist Francis Servain Mirković, a former spy for French Intelligence, now fleeing to a new life aboard a train from Milan to Rome. However, the sentence is interrupted by twenty-four, numbered chapter divisions (loosely reflecting Homer’s epic), and three chapters are devoted to a tale-within-the-tale (a book Francis is reading in which the plot parallels his own). Neither the parallel story, nor the chapter breaks detract significantly from the continuity of Francis’s roaming thoughts, and the stylistic choice of an internal monologue allows Énard great freedom in creating an intricate network of associated images.

The novel begins in media mentum in Francis’s mind as the train is leaving the Milan station: “everything is harder once you reach man’s estate, everything rings falser a little metallic like the sound of two bronze weapons clashing . . .” (Énard 5). Two bronze weapons clashing. Énard’s war imagery begins immediately and doesn’t relent. Francis, Croatian veteran of the Bosnian War, amateur historian, spy, has fled France with a suitcase full of war crimes information. He plans to sell the documents to the Vatican for $300,000, his nest egg for retirement under an assumed identity. The story of a man trying to escape his past, Zone is told from Francis’s point of view in internal monologue, but with the psychic distance shifted toward autobiography and reportage, i.e. with thoughts organized more logically than Joyce presents Molly’s meditations. Francis, in his recollections, tells a story, or many stories, during his trip. Francis never leaves the train, although the locations he passes serve as segues for his mental peregrinations through history (personal and otherwise), especially of wars in the Mediterranean region.

Dorrit Cohn, in her 1978 seminal work Transparent Minds, notes that “unity of place . . . creates the conditions for a monologue in which the mind is its own place . . .” (222) and compliments Joyce on his decision to place Molly in bed where she doesn’t need to address her kinetic perceptions. Of course, that isn’t entirely accurate since Molly does get out of bed to use the chamber pot. Énard also places his character in a position of stasis, the train seat he occupies for the trip, and, like Molly, Francis will get up and move about only briefly. However, Énard gets to have it both ways: yes, Francis is static (most of the time) but he is also on a moving train passing through the Italian countryside and through Italian cities – opportunities for Francis’s thoughts to segue between subjects. Sometimes Francis only notes the city without comment, such as when he passes through Parma and Reggio Emilia, but other times he uses the location as a platform to digress about history, or to facilitate his meditations. As the train pulls out of Florence, Francis thinks:

I’m facing my destination, Rome is in front of me, Florence streams past, noble Florence scattered with cupolas where they blithely tortured Savonarola and Machiavelli, torture for the pleasure of it strappado water the thumb-screw and flaying, the politician-monk was too virtuous, Savonarola the austere forbade whores books pleasures drink games which especially annoyed Pope Alexander VI Borgia the fornicator from Xàtiva with his countless descendants, ah those were the days, today the Polish pontiff trembling immortal and infallible has just finished his speech on the Piazza di Spagna, I doubt he has children, I doubt it, my neighbors the crossword-loving musicians are also talking about Florence, I hear Firenze Firenze one of the few Italian words I know, in my Venetian solitude I didn’t learn much of the language of Dante the hook-nosed eschatologist, Ghassan and I spoke French, Marianne too of course, in my long solitary wanderings as a depressed warrior I didn’t talk with anyone, aside from asking for a red or white wine according to my mood at the time, ombra rossa or bianca, a red or white shadow, the name the Venetians give the little glass of wine you drink from five o’clock onwards, I don’t know the explanation for this pretty poetic expression, go have a shadow, as opposed to going to take some sun I suppose at the time I abused the shadow and night in solitude, after burning my uniforms and trying to forget Andi Vlaho Croatia Bosnia bodies wounds the smell of death I was in a pointless airlock between two worlds, in a city without a city, without cars, without noise, veined with dark water traveled by tourists eaten away by the history of its greatness . . . (330-331) [Énard’s italics]

 One of the first things to note is that the internal monologue is more conversational, more dialogic than Molly’s internal speech. Joyce’s style eschews active verbs and punctuation, giving it a less edited and more organic feel. But such a style would be difficult to maintain for the 517-page journey Zone follows; “Penelope” is just over 40 pages. Énard’s more coherent syntax is more readable and more forgiving. Nevertheless, the sentence (fragment) succeeds in capturing the flowing thoughts of the character using many of the same techniques used by Joyce including: omitting punctuation (in places), rapid and spontaneous free association, staccato rhythms, and poetic imagery.

Francis’s thoughts flow in free association when the thought of torture triggers a list of torture techniques including strappado, the use of water, and thumb-screws; here the absence of commas, definite articles, or other grammatical devices helps create the stream of consciousness effect. In this 286-word excerpt Francis then: generalizes ironically about the past (“those were the days”), has doubts, observes his fellow travelers, thinks of the languages he knows and once spoke with a friend and his ex-girlfriend, reflects on the present in generalizations, and finally returns to his past where the names of his fellow soldiers and friends run together with locations, trailing off in poetic imagery.

menardMathias Énard

There are three notable differences between this monologue and the type of pure internal monologue seen in the Joyce example. First, it is broken up with punctuation. Second, Énard uses referential pronouns, e.g. Xàtiva/his and pontiff/his, and people have proper names. Third, the thought mimesis is interrupted by Francis’s declaring his perceptions using action verbs and the first-person pronoun, e.g. “I hear Firenze Firenze” – Molly hears a train, but she never tells the reader. This last difference is significant for action depiction as well.

Both Molly and Francis act in their memories, whether it is Molly musing about her first sexual encounter in Gibraltar or Francis reliving the horror of watching his friend get shot in Bosnia. But for movement in the narrative’s present, internal monologue can be difficult to manage without disturbing the reader’s perception, i.e. if the reader has accepted that they are “listening in” to someone’s thoughts then describing external events can be as jarring as changing the point of view. For example: one of the distinctive features of pure internal monologue is that thought isn’t disrupted by characters reporting their actions using action verbs and the first-person pronoun. In the following excerpt, Molly gets out of bed to urinate and find a sanitary napkin, but we only read her impressions:

O Jamesy let me up out of this pooh sweets of sin whoever suggested that business for women what between clothes and cooking and children this damned old bed too jingling like the dickens I suppose they could hear us away over the other side of the park till I suggested to put the quilt on the floor with the pillow under my bottom I wonder is it nicer in the day I think it is easy I think Ill cut all this hair off me there scalding me I might look like a young girl wouldnt he get the great suckin the next time he turned up my clothes on me Id give anything to see his face wheres the chamber gone easy Ive a holy horror of its breaking under me after that old commode I wonder was I too heavy . . . (769)

In the first line, where we expect the word “bed,” we find the interjection “pooh” – a word that has spontaneously popped into her consciousness. There is a missing copula in “this damned old bed too jingling.” She never “thinks” she is walking to the chamber pot, only wonders where it has gone. Compare this with the following passage from Zone where Francis describes going to the toilet:

I’d like to go have a drink at the bar, I’m thirsty, it’s too early, at this rate if I begin drinking now I’ll arrive in Rome dead drunk, my body is weighing me down I shift it on the seat I get up hesitate for an instant head for the toilet it’s good to move a little and even better to run warm non-potable water over your face, the john is like the train, modern, brushed grey steel and black plastic, elegant like some handheld weapon, more water on my face and now I’m perked up, I go back to my seat . . . (54)

Note the first-person pronoun and action verb use: “I shift it,” “I get up,” and “I go back.” There are three constructions using copulas (or implied copulas): “it’s too early,” “it’s good,” and “the john is.” As a result of the action verbs and copulas, what should be internal monologue feels like reportage.

Nevertheless, Énard demonstrates the versatility of a long sentence internal monologue. I agree with Mary Stein, who wrote in her 2011 review of Zone: “Énard’s ambitious prose functions as a structure necessary to and inseparable from Mirković’s narrative identity.” The stream of consciousness fluidity of the long run-on sentence mimics Francis Mirković’s disturbed mind, and if some verisimilitude of consciousness mimesis is sacrificed, his narrative identity still supports a web of imagery that rises to the level of great art.

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Altered States

Infinite Jest, David Foster Wallace’s sprawling 1996 novel, opens during the Year of Glad (ca. 2008) in an imagined future where the U.S., Canada, and Mexico have been combined into the Organization of North American Nations (O.N.A.N.) and corporations purchase naming rights to each calendar year. Three interwoven plots follow separate groups of characters, including: the protagonist Hal Incandenza and his schoolmates at the Enfield Tennis Academy in Boston, a group of men and women in a drug rehabilitation house nearby, and a Québécois terrorist group.

Most of the action of the novel takes place one year prior to the opening scene and is narrated in the past tense by, arguably, Hal. The novel, told primarily from a third-person point of view, has numerous examples of first-person intrusion, and it is always Hal. Hal is a linguistic prodigy, and his way of interpreting the world is revealed in a stylistic manner consistent with his consciousness, i.e. with elevated diction and complex syntax. Hal is also a drug addict. In fact, many of the characters have substance abuse issues and Infinite Jest is in many regards the epic of addiction. During Hal’s senior year at his private high school he struggles with marijuana addiction while, simultaneously, Joelle Van Dyne struggles with cocaine. Joelle is the ex-girlfriend of Hal’s older brother Orin and, after her near-fatal overdose, becomes a resident of the rehab house near Hal’s school.

dfwDavid Foster Wallace

Although Wallace depicts the consciousness of his characters almost exclusively using third-person narration, he still achieves a stream of consciousness effect in many scenes. The problem with first-person presentation of characters in drug-induced states of altered consciousness is that, as readers, we neither expect them to speak in coherent language, nor can we imagine any coherence to their thoughts at all. Thus, Cohn writes that “the novelist who wishes to portray the least conscious strata of psychic life is forced to do so by way of the most indirect and the most traditional of the available modes” (56), what she terms “psycho-narration” (or third-person narration). Wallace makes effective use of long sentences to depict altered conscious states in the scenes of Joelle’s overdose and Hal’s nightmare.

Joelle, who has a late-night radio show, was disfigured some years before when acid was thrown in her face. She now wears a veil and is a member of the “Union of the Hideously and Improbably Deformed.” Early in the primary timeline, Joelle{{5}}[[5]]She is known also by the epithet “The Prettiest Girl of All Time” or “P.G.O.A.T.,” a nickname given her by Orin.[[5]] returns to the apartment she shares with Molly (who is throwing a massive party), locks herself in the bathroom, and proceeds to commit suicide by smoking freebase cocaine. The following 449-word long sentence is from her point of view and takes place after her second dose from her homemade pipe:

The voice is the young post-New Formalist from Pittsburgh who affects Continental and wears an ascot that won’t stay tight, with that hesitant knocking of when you know perfectly well someone’s in there, the bathroom door composed of thirty-six that’s three times a lengthwise twelve recessed two-bevelled squares in a warped rectangle of steam-softened wood, not quite white, the bottom outside corner right here raw wood and mangled from hitting the cabinets’ bottom drawer’s wicked metal knob, through the door and offset ‘Red’ and glowering actors and calendar and very crowded scene and pubic spiral of pale blue smoke from the elephant-colored rubble of ash and little blackened chunks in the foil funnel’s cone, the smoke’s baby-blanket blue that’s sent her sliding down along the wall past knotted washcloth, towel rack, blood-flower wallpaper and intricately grimed electrical outlet, the light sharp bitter tint of a heated sky’s blue that’s left her uprightly fetal with chin on knees in yet another North American bathroom, deveiled, too pretty for words, maybe the Prettiest Girl Of All Time (Prettiest G.O.A.T.), knees to chest, slew-footed by the radiant chill of the claw-footed tub’s porcelain, Molly’s had somebody lacquer the tub in blue, lacquer, she’s holding the bottle, recalling vividly its slogan for the last generation was The Choice of a Nude Generation, when she was of back-pocket height and prettier by far than any of the peach-colored titans they’d gazed up at, his hand in her lap her hand in the box and rooting down past candy for the Prize, more fun way too much fun inside her veil on the counter above her, the stuff in the funnel exhausted though it’s still smoking thinly, its graph reaching its highest spiked prick, peak, the arrow’s best descent, so good she can’t stand it and reaches out for the cold tub’s rim’s cold edge to pull herself up as the white-party-noise reaches, for her, the sort of stereophonic precipice of volume to teeter on just before the speakers blow, people barely twitching and conversations strettoing against a ghastly old pre-Carter thing saying ‘We’ve Only Just Begun,’ Joelle’s limbs have been removed to a distance where their acknowledgment of her commands seems like magic, both clogs simply gone, nowhere in sight, and socks oddly wet, pulls her face up to face the unclean medicine-cabinet mirror, twin roses of flame still hanging in the glass’s corner, hair of the flame she’s eaten now trailing like the legs of wasps through the air of the glass she uses to locate the de-faced veil and what’s inside it, loading up the cone again, the ashes from the last load make the world’s best filter: this is a fact. (239-240)

Joelle’s overdose results in an altered state of consciousness. Wallace begins the descent into her mind with a complete sentence of indirect internal monologue: she hears someone asking if the bathroom is occupied The voice . . . in there”). Rather than ending this sentence with a period, Wallace creates a run-on sentence with several clauses that describe her perceptions using vivid imagery (e.g. adjectives like beveled, warped, steam-softened, raw, and mangled). About halfway through the sentence she thinks of the nickname Orin gave her. The next clause is a complete sentence and internal monologue: “Molly’s had somebody lacquer the tub in blue,” followed by a single-word thought (“lacquer”), and then the narration shifts back to third-person (or perhaps indirect internal monologue) with “she’s holding the bottle.” There are memories, then more sensory descriptions (sound is now white noise); she regards her limbs as distant, has lost her shoes, is lost in hallucination (“twin roses of flame still hanging in the glass’s corner”), and finally reloads her pipe for another dose. The long, run-on nature of this sentence; the free associations; the irrational switching between perceptions, actions, and thoughts; and the poetic imagery all contribute to creating a stream of consciousness effect in this passage.

Conveying a dream state presents the writer with the same problem of drug-induced states: it is subliminal thought. Hal’s nightmare of finding “Evil” in his dorm room is a tour de force of long-sentence syntax engendering suspense and depicting the process that takes place in a dreaming mind.

A subchapter begins with first-person narration during an indeterminate time, i.e. it could be outside the narrative while the implied author is writing. The narrator feels he is coming to a realization about nightmares. After letting this thought trail off in ellipsis, the narration resumes in second-person (heightening our identification with the character) as Hal (“you”) dreams that he is lying in bed in his pitch-dark dorm room. In the dream, Hal pans the room with a flashlight, listing what he sees:

The flashlight your mother name-tagged with masking tape and packed for you special pans around the institutional room: the drop-ceiling, the gray striped mattress and bulged grid of bunksprings above you, the two other bunkbeds another matte gray that won’t return light, the piles of books and compact disks and tapes and tennis gear; your disk of white light trembling like the moon on water as it plays over the identical bureaus, the recessions of closet and room’s front door, door’s frame’s bolections; the cone of light pans over fixtures, the lumpy jumbles of sleeping boys’ shadows on the snuff-white walls, the two rag throw-rugs’ ovals on the hardwood floor, black lines of baseboards’ reglets, the cracks in the venetian blinds that ooze the violet nonlight of a night with snow and just a hook of moon; the flashlight with your name in maternal cursive plays over every cm. of the walls, the rheostats, CD, InterLace poster of Tawni Kondo, phone console, desks’ TPs, the face in the floor, posters of pros, the onionskin yellow of the desklamps’ shades, the ceiling-panels’ patterns of pinholes, the grid of upper bunk’s springs, recession of closet and door, boys wrapped in blankets, slight crack like a creek’s course in the eastward ceiling discernible now, maple reglet border at seam of ceiling and walls north and south no floor has a face your flashlight showed but didn’t no never did see its eyes’ pupils set sideways and tapered like a cat’s its eyebrows’ \ / and horrid toothy smile leering right at your light all the time you’ve been scanning oh mother a face in the floor mother oh and your flashlight’s beam stabs jaggedly back for the overlooked face misses it overcorrects then centers on what you’d felt but had seen without seeing, just now, as you’d so carefully panned the light and looked, a face in the floor there all the time but unfelt by all others and unseen by you until you knew just as you felt it didn’t belong and was evil: Evil. (62) [Wallace’s italics]

The five words “the face in the floor” (following “TPs”) are embedded 26 items into the list of things Hal sees in his flashlight beam. The reader is bored when they reach “the face in the floor,” i.e. they pass right by it – as Hal does – only for it to dawn on them later (at word 224, the italicized “no”) that floors don’t have faces. Just as Hal “sees without seeing,” we read without reading. When it dawns on Hal that he has seen something that doesn’t belong, the narration shifts to a fast, frantic pace using polysyndeton and no commas (in stark contrast to the long list of comma-delineated items) as Hal searches the room for what he thinks he saw, and when he finds it, he recognizes it as “Evil.” A pictorial representation of the cat’s eyebrows adds to the subliminal quality of this part of the sentence. A short, eight-word sentence set off as a separate paragraph follows: “And then its mouth opens at your light.” The emphasis placed on this short sentence mimics the shock of being attacked in a nightmare; it is the climactic moment when dread finally becomes acute horror. Again, Cohn reminds us:

the language of . . . psycho-narration is meant to elucidate rather than to emulate the figural psyche. The narrator builds a symbolic landscape as a kind of theoretical correlative for a subliminal stratum that can never emerge on the conscious level or the verbal surface of the figural mind. (55)

Wallace shows that either the third-person or the second-person narrative mode is effective for depicting consciousness; perhaps even more so than first-person, for those modes can stretch to subconscious altered states.

***

Are long sentences necessary for every work of fiction? Absolutely not. There are many examples of beautifully written stories containing only short, simple sentences; however, the power of long sentences is undeniable when you consider the numerous ways they can be effectively applied. Capturing the rhythm of motion – whether of actions or thought or speech – using linear prose presents a challenge for every writer. Virginia Tufte and David Jauss describe an elegant solution: use syntax symbolically; allow the syntax to mimic the rhythm. Faulkner, Hrabal, Joyce, Énard, and Wallace, achieve subtle and poetic effects through the syntax of their long sentences. But their achievements with long sentences, and those of writers like Nicholson Baker, also extend to character elucidation and conveying emotional content.

In my search for examples of long sentences, I found sentences greater than 150 words in the work of over fifty authors. Some of them stay within conventional grammar (like Baker and Faulkner), while others depart from those conventions radically. The standard rules of grammar are followed for a reason, they bring coherence to our prose; too severe a departure from these rules and the text’s meaning is lost. Nevertheless, there are justifiable reasons for coloring outside the lines; especially if, in the end, you can create sentences as effective and poetic as those by the writers I’ve surveyed. Jauss counsels that “the more we concentrate on altering our syntax, the more we free ourselves to discover other modes of thought” (68), and building long sentences is certainly a dramatic way to alter our syntax.

Looking back on my meditation on the long sentence, I find it remarkable that I didn’t find a place for the writer who set me on this path, M. Proust. Turning the pages of the volume of À la recherche I’m currently rereading, Proust’s narrator describes the musician Vinteuil as:

drawing from the colours as he found them a wild joy which gave him the power to press on, to discover those [sounds] which they seemed to summon up next, ecstatic, trembling as if at a spark when sublimity sprang spontaneously from the clash of brass, panting, intoxicated, dizzy, half-madly painting his great musical fresco . . . (Proust 233)

A fitting description for the wild exuberance some writers seem to have for their long, “panting,” “intoxicated,” “dizzy,” and sometimes fully-mad sentences – writers like Proust. Too bad I didn’t have more space to write about him. Perhaps next time.

—Frank Richardson

Works Cited

Baker, Nicholson. The Mezzanine. New York: Grove Press, 1988. Print.

Bernhard, Thomas. Correction. New York: Vintage-Random, 2010. Print.

Cohn, Dorrit. Transparent Minds: Narrative Modes for Presenting Consciousness in Fiction. Princeton: Princeton UP., 1978. Print.

Énard, Mathias. Zone. Trans. Charlotte Mandell. Rochester: Open Letter, 2010. Print.

Faulkner, William. Collected Stories of William Faulkner. New York: Vintage-Random, 1995. Print

Hrabal, Bohumil. Dancing Lessons for the Advanced in Age. Trans. Michael Henry Heim. New York: New York Review of Books, 2011. Print.

Humphrey, Robert. Stream of Consciousness in the Modern Novel. Berkeley: U of California P, 1959. Print

Jauss, David. On Writing Fiction. Cincinnati: Writer’s Digest Books, 2011. Print.

Joyce, James. Ulysses. New York: Random House, 1961. Print.

Proust, Marcel. In Search of Lost Time: The Prisoner and The Fugitive. Ed. Christopher Prendergast. Trans. Carol Clark and Peter Collier. Vol. 5. London: Lane-Penguin, 2002. Print.

Sǩvorecký, Josef. “Some Contemporary Czech Prose Writers.” Novel: A Forum on Fiction 4:1 (1970): 5-13. Print.

Stein, Mary. “This Ancient World, A Review of Mathias Énard’s Zone.” Numéro Cinq 2.18 (2011): n. pg. Web.

Tufte, Virginia. Artful Sentences: Syntax as Style. Cheshire: Graphics Press, 2006. Print.

Wallace, David Foster. Infinite Jest. Boston: Little, Brown, 1996. Print.

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Frank Richardson lives in Houston and is pursuing his MFA in Fiction at 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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Days of Hunger: Essay — Rigoberto González

Nov 012014
 

Gonzalez Park

 

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The season of scrambled eggs came upon us on January 6, Three Kings Day. Perhaps it was the holiday spirit–the gifts, the piñata, the candy–that reminded my mother’s younger sisters that it was time to start planning for Holy Week, only three months away. Their appeal, made just when the day’s excitement quieted down over dinner, made my body stiffened because it was an announcement of the labor to come.

“Don’t forget everybody,” tía Luz said. “Start saving eggshells.”

“Please,” tía Chata added.

A few heads nodded in acknowledgment and this seemed to satisfy my aunts. The evening’s meal progressed as if nothing had changed, but in fact it had changed breakfast every morning. No more hard-boiled eggs or eggs served sunny side up until enough shells had been collected for the cascarón sale. My fingers twitched because they still carried the memory of the times the sharp edges pricked their tips.

On the way home I held my bag of candy, too distracted to eat any of it. My mother walked in front of me with a plastic bag over her shoulder, my toys inside. I pictured her standing at the stove, tapping the end of the egg in order to make an opening large enough to coax the contents out yet small enough to insure that the egg preserved its oval shape. Once we had enough of them, my aunts would come over with the art supplies: scissors and construction paper to make the confetti that would be stuffed inside the shell; tissue thin paper to glue over the opening; and food coloring to paint the shells pink or blue or green. Each of the tasks demanded patience and skill that I was too young to handle, but my aunts insisted–cascarones were an Alcalá family tradition, and although I was actually a González first, I was the only grandchild on the Alcalá side so far. My father had objected in the beginning, on the grounds that this was woman’s labor, but my mother didn’t take long to remind him that until I became a man I was under the care of the Alcalá women, who seemed to come around too often and stayed too long–so I heard my father mumble many times.

Making cascarones was just one of the Alcalá women enterprises. In the summers they made bolis–flavored ice, in August they made paper doves for the church’s celebration of the Virgin Mary, in the winters they made tamales and champurrado, a hot cornmeal drink. All of these items they sold at the town plaza, where citizens of Zacapu, Michoacán converged in the evenings, particularly before and after church. My aunts sometimes made commemorative keepsakes for birthday parties and weddings and brought over the materials to our house then too. I half listened to them giggling and gossiping with my mother while I played at their feet. They didn’t ask me to be part of the circle of bodies around the kitchen table and I didn’t miss it. I knew my time would come, and when it did, I wouldn’t like it.

What was more maddening than cutting paper into tiny little pieces to make confetti and then sticking them into the tiny little holes, which is how I hurt myself on the pointy edges, was adding the signature detail to the Alcalá cascarones: at the intact tip of the eggshell, I would have to dab a little drop of glue and then sprinkle just the smallest amount of glitter. Many of the clients who bought cascarones missed this detail because they were so anxious to break them on top of someone’s head–which is why they had been made in the first place. No one held the cascarón in his hand and admired the artistry, the tell-tale signs that this was an Alcalá cascarón, not just one of those sloppy ones that had obviously been made in a rush. I think this is what upset me most of all. That it took so long to make one of these and in one fell swoop it was gone–turned into trash in an instant.

I remember starting to color an eggshell once and tía Luz ordering me to stop doing so immediately.

“Why?” I asked.

“The opening is too large,” she explained. “Throw it away.”

“Who’s going to notice?” I said.

“We will. It’s going to look vulgar and cheap. We don’t make vulgar and cheap.”

I looked closer at the opening. Compared to all the others, this one looked like the egg had been cut in half, not carefully tapped open by my mother’s hands. The tissue covering would have to be wide. More glue would have to be used. She was right. It was going to look vulgar and cheap. I set it aside and moved on to another, which now looked elegant with its smaller opening.

I suppose that my aunts were also teaching me pride in my work. And although I still wasn’t looking forward to months of scrambled eggs, I was more comfortable with the idea. By the time my parents and I got home on Three Kings Day, I had all but convinced myself that I couldn’t wait to make cascarones.

/

A few weeks passed and the eggshells were accumulating in a small box next to the stove. I caught a glimpse of it once in awhile when I played near my mother when she was cooking. When my aunts arrived they always entered without knocking, so I was never caught off guard when the front door suddenly flew opened and they burst in with their art supplies.

“We’ve got a cute order, Avelina, wait until you see this,” tía Chata said.

“I’ll help you mop so that you can sit down with us,” tía Luz said.

And in no time the three sisters were sitting around the table, giggling and gossiping like usual.

This time, however, my mother brought the reverie to a halt when she made an announcement about my father that even made me stop to listen.

“Rigoberto’s going to the north to work,” my mother said.

“Really?” tía Chata said. “Leaving you and the babies all alone?”

I only became the baby when someone wanted to highlight my vulnerability. At seven years old with a bicycle that had no training wheels I hardly felt like a baby anymore. My little brother Alex, who still ate from a high chair, was the baby.

“Do you want one of us to move in with you to keep you company?” tía Luz suggested. But I knew even then that this would never happen. If my father tolerated the long visits by my mother’s family, he would definitely not tolerate any of them moving in. It wasn’t so much his objection but pressure from the González side of the family, who didn’t seem to take a liking to the Alcalás–they were too religious and too forthright. The Gonzálezes were drinkers and cussers.

“I’ll be fine,” my mother said. “It’s better this way.” And we all knew what she meant.

In the coming weeks, I didn’t really notice my father’s absence too much, perhaps because I rarely spent any time with him. Once in a while I would dream about him and I would casually ask my mother where he was and what he was doing.

“Working,” is all she would answer.

What I did notice was that my aunts stopped coming around. Suddenly the house did appear too empty and quiet without their laughter. When I asked about them, my mother would look away and make some dismissive remark. But most noticeable of all was that we had stopped having eggs for breakfast. My mother started feeding me farina, which I didn’t like much because it tasted gooey and grainy.

“I want eggs,” I said to her in protest one morning. And so my mother burst into tears.

I didn’t know how to respond. So I ate my farina without further complaints and each morning after that I was careful not to let her see how displeased I was with my breakfast. I caught a glimpse of the box of eggshells and thought longingly about those days when the dreaded scrambled eggs graced my plate. What I wouldn’t give to have them again.

And then the farina ran out and I longed for it as well because now my mother was feeding me tortillas and salsa.

I understood the word “poverty” but I had never experienced hunger. I didn’t realize they came hand in hand. At school, I recognized children who had less than I did. I could tell by their shoes, their notebooks, which were always smaller than mine. But so too I recognized children who had shinier shoes than I did and even thicker notebooks. Suddenly it made sense why my aunts and my mother would gather to make their arts and crafts–they were not just entertainment or excuses to socialize, they were economic necessities, proper ways for god-fearing women to make a little extra money. All those coins in the can they brought back from the plaza paid for staples like bread and milk and eggs. Now that my aunts were not coming around for some inexplicable reason, now that my father was gone, it was just my mother, my baby brother and me, consuming very little or nothing at all. And when something is gone it is eventually forgotten and no longer missed.

/

A group of boys started playing marbles in front of the house one afternoon after school and that was my cue to run into my room to grab my cache. I eased my way into the next round. I played with my lucky white cat’s eye, which other boys coveted. Half way into the game, one of them wanted it enough to cheat, so I called him on it.

“I’m not cheating,” he said. “The cat’s eye is mine now.”

“You leaned in too far,” I said. “You didn’t shoot behind the line.”

“Yes I did,” he insisted.

I picked up my cat’s eye and pocketed it. “I’m not letting it go.”

“Oh, now who’s the one cheating?”

The other boys didn’t step in to defend either one of us. This was the law of the game. Contentious calls had to be resolved by the two parties involved. I held my stance, remaining motionless until his next move, which seemed to be evidence enough of my accusation because the boy withdrew but not before letting out a cruel remark.

“I’m letting you have it,” he said. “Because your father left you.”

I looked around at the other boys’s faces. They seemed to be complicit in this knowledge that up until that moment I didn’t have. Red-faced I ran into the house. By the time I reached my mother, I was in tears.

“What happened?” she said. “Did someone hit you?”

“Where’s my father? Did he leave us? Did he really leave us?”

My mother’s eyes began to water immediately. She had this devastating ability to cry instantly and it bothered me because that excused her from verbalizing her pain. There was nowhere to go but into silence after that. I was seven years old. What did I have to know about our broken home except that it was now as empty as my stomach, something else to get used to.

/

And then my father reappeared. It could have been a few days later or a few weeks, maybe months, certainly long enough for me to push him out of my mind. But there he was, smiling down at me as if he had only gone to town for an errand. And just as easily as I had buried him I unburied him, pleased that his absence could not be used against me on the streets or at school. My mother must have felt the same because she paraded him down the block, their arms locked, for all the neighbors to see. Even the kitchen went back to normal. Even my breakfast plate because there, glorious as gold, were my scrambled eggs again.

No one mentioned my father’s disappearance or subsequent reappearance–not in front of me anyway, and I didn’t ask about it. The more it remained unsaid the more it became undone this painful period of my childhood. And cascarón season came to a close with a successful sale at the plaza during Holy Week. It seemed everything was back in its place, and I even set a few cascarones aside for myself, which I had never done before. I broke one on my father’s head and he laughed as the confetti rained over him. I gave him my second one and he broke it over my mother’s head. At the end of the night I remember my little brother sleeping over my father’s shoulder as I fought drowsiness to watch the highlight of the festivities–the burning of el Castillo de Chuchurumbé, an intricate fireworks structure with firewheels and sparklers that was all whistles and explosions, a castle that shrieked and cried on our behalf so that we didn’t have to.

If happiness had come back to our house it didn’t last longer than three years. Three years later the González family was living in California, squeezed into a single house with our grandparents, my uncle’s family, and my aunt’s–19 bodies in one tiny space–a complete shift from our household arrangement in Mexico, where the possibility of having tía Luz or tía Chata move in with us for a spell was not even an option. But as usual, there was no questioning the why or how of things, there was just surrender and moving forward with the decisions of the grown-ups.

Unlike my older cousins, I was having an easier time adapting, probably because I enjoyed school and learning English. One of my first friendships was with a girl named Eve. She was half-Panamanian, and her mother spoke fluent Spanish, but Eve was monolingual. She also had a little dog named Peanut, which they kept in her backyard.

One summer, Eve went on vacation with her family, so she enlisted me to feed Peanut once a day. All I had to do was unlatch the gate, scoop half a can of dog food into the plastic dish and fill the second dish with fresh water. I accepted the responsibility, not because I cared much for Peanut, who barked too much, but because I liked the idea of a pet. We had dogs in Mexico, but they had functions–to guard the house from the rooftop–Peanut was a fat little critter who couldn’t even guard her own dish. It was an entirely different relationship with animals that intrigued me, yet I had no fantasies that we would ever have a pet, and we never did.

Eve gave me two cans, and Eve’s father gave me money to buy more dog food later in the week. I waved at the family as they drove away and then I sauntered back home. I announced to everyone in the kitchen that I would be storing the dog food in the refrigerator and no one batted an eye.

A few days later, Abuelo opened the refrigerator and asked about the can. I explained my role as animal caretaker and he simply shrugged.

“What’s it made of?” he asked, inspecting the can.

I was surprised by the question. “Meat, I guess,” I said. I read the ingredients more closely and translated what little I could.

“Meat,” Abuelo repeated. He placed the can back into refrigerator and went about his day. As did I.

The next time I took a can over to Eve’s house, I became curious about the dog food. It didn’t smell like any meat I had ever tasted, but this was the U.S., there were foods here I had never smelled or eaten before. As Peanut ate her fill I dared to take a pinch of food out of the can and place it into my mouth. I didn’t swallow it, but the taste lingered. My curiosity satisfied, I knew I’d never do that again, yet I still blushed, embarrassed at my own bravado.

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Months later, as Christmas season approached, I recognized something familiar was happening in the kitchen. I knew that hollow sound of pots and pans ringing without purpose, of the refrigerator light glaring at its ribs, of the desperation in the voices of the grown-ups as they fought over supplies to feed their young. For dinner Abuelo cooked these greasy stews that filled us up with hot water, but later that night my mother called my brother and me into her bedroom and she sneaked a slice of Spam into our mouths. On those occasions, I only pretended to brush my teeth. I looked forward to going to bed with that taste locked in my mouth, swirling my tongue around and around until sleep defeated me.

School lunch was another reason to look forward to school days, and I don’t remember if we were coached or not but we didn’t reveal to anyone that we showed up without having breakfast. It was all temporary–that’s what we were told at home. No sense letting anyone else in on our shame. It was the same silence we had to keep about how many people were actually living at home. Since many of us were undocumented, we didn’t want to invite any scrutiny from neighbors, teachers, post office workers–any one of them was a phone call away from the immigration authorities. We allowed no one to look in and we certainly didn’t leak anything out.

At about this time Abuela started feeding us vitamins, huge red pills the size of a toy car–or so we joked. It was also a thing of humor to stand in a line with my brother and my eight cousins, each one of us taking our turn as Abuela shoved that monster pill down our throats. “Don’t choke, don’t choke!” the others chanted as Abuela made sure the pill was swallowed.

I can only imagine what the grown-ups went through to protect us children from really seeing what was happening in that household. If my older cousins understood they didn’t share it with us younger ones. And when I figured it out, I also went to lengths to keep my knowledge a secret from those younger than me. That moment happened when Abuelo prepared a casserole he called lasagna. It was an Italian dish, he bragged, and he was particularly proud of this because he used the oven, which was a feature of the stove none of the women in the family had occasion to operate.

As we gathered in the living room to watch TV the smell wafted among us and that made our mouths water. I thought that perhaps this might be the turning point we had all been waiting for, the sign of better times to come. It was customary for the children to eat first, so all ten of us squeezed around the table to receive a serving of this fancy lasagna dish Abuelo had made.

I didn’t admit it to myself at first but there was a familiar smell on my plate. I couldn’t quite place it so I thought that perhaps it was my mind reaching back to a flavor I had not had the pleasure of enjoying since the kitchen went bare. But when I took the first bite, I remembered: it was Peanut’s food from the can. The others didn’t know this. Their responses to the food were mixed. Some took a few bites and then started to eat around the meat, and others ate the meat willingly. It was lasagna, it was Italian food, it was supposed to taste funny. But the pasta was soft and the tomato sauce was tasty. It would do.

The sound of chewing around me was deafening, and it took me back to that moment I had experienced hunger once before, when my father disappeared. Suddenly it all came back to me–how it felt as if my guts were tying knots around each other, how I came across a candle on my mother’s bureau, the one that released the scent of cinnamon, and how I couldn’t figure out how those teeth marks had gotten there, but now I did. I had always heard the grown-ups say that I would never be able to tell when my body was stretching because it happened gradually. But something inside me grew in an instant and I felt like shattering.

Abuelo was standing at a distance. His face appeared pleased somehow, maybe curious about how effectively he had deceived us. I wanted to detect some cruelty in his gesture but I didn’t find any. Instead, I saw sadness in its pure form for the very first time. It was a look of defeat, as if he had wanted us to reject this food, to spit it out and cry foul, to accuse him with fits of anger that he had fed us dog food. It would be a moment of truth for all of us, to finally admit that this moving from one country to another had not solved our problems, had not delivered on a promise to lift us out of poverty, to satiate our hunger. And that would have meant that all this sacrifice, all this hope we had packed into our bags, all this hiding and secret-keeping, had been for nothing. I could either rip this whole theater apart and end the dream for all of us, or I could triumph over the test that had been set before me. Eat it or beat it back to Mexico.

“Are you going to eat your food?” one of my cousins asked.

I looked down at my plate. I had scarcely touched it. My fork was still buried in the entrails of the dog food lasagna. The moment of reckoning was in my hands. I was no longer the boy who belonged to the Alcalá women, I was now a young man who had joined the hardscrabble lives of the González family. Yet I knew that I had abandoned the stage of innocence even before I left Mexico, I just wasn’t ready to see the impoverished world as it really was, as it would continue to be. And so, without any further fear, I scooped out a generous portion of the lasagna and stuffed it into my mouth.

—Rigoberto González

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Rigoberto González is the author of fifteen books of poetry and prose, and the editor of Camino del Sol: Fifteen Years of Latina and Latino Writing. He is the recipient of Guggenheim and NEA fellowships, winner of the American Book Award, The Poetry Center Book Award, The Shelley Memorial Award of The Poetry Society of America, and a grant from the New York Foundation for the Arts. He won the 2014 Lenore Marshall Poetry Prize for his book Unpeopled Eden (Four Way Books, 2013). He is contributing editor for Poets & Writers Magazine, on the executive board of directors of the National Book Critics Circle, and is professor of English at Rutgers-Newark, the State University of New Jersey.

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All We Have Left: A Bosnian Journey — Thomas Simpson

Oct 092014
 

Biscevic MostarSamir Biščević “Mostar”

In 2004, my first trip to Bosnia wrecked and remade me in a matter of days, altering forever the rhythm of my heart. When I returned to the States, I began immersing myself in Bosnian literature and visual arts, and I began seeking the company of Bosnians in the diaspora, in places as far-flung as Boston, Charlottesville, Atlanta, Chicago, and Salt Lake City.

This is how, in Chicago in 2008, I came to find the extraordinary abstract expressionist painter Samir Biščević, who saw the Siege of Sarajevo (1992-1995) terminate his formal training at the city’s Academy of Fine Arts. As much as anyone, he has helped me understand that Bosnia’s loss is our loss. Years later, on YouTube, I came across the brilliant concert accordionist Merima Ključo and soprano Aida Čorbadžić, performing live in downtown Sarajevo, poignantly marking the twentieth anniversary of the beginning of the siege. Their art, their voices, and their stories accompanied me from afar when I traveled to Bosnia in the summer of 2012 and conceived of this essay. When I read the piece publicly for the first time early in 2013, Merima was there, in person, offering opening and closing music with soprano Ariadne Greif. It was one of the great moments of my life.

This essay is dedicated and addressed to one of my dearest Bosnian friends (you in the essay, unnamed), a fiercely private soul trying desperately, in exile, to put the pieces of his life together again. By implication and extension, it is also for all the Bosnians who have welcomed the stranger, who have sheltered and known me in the darkness. For their unflinching solidarity, for their unfiltered love, I am eternally grateful.

(A quick Bosnian pronunciation guide, oversimplified but providing enough, I hope, to help throughout the essay: for consonants that have a diacritical mark, add an “h” sound to make a soft “ch,” “sh,” or “zh.” A “c” without any diacritical mark is pronounced “ts,” as in “hats.” Each “r” is rolled like a soft “d,” each “j” softened to a “y.”)

—Thomas Simpson

[youtube]https://www.youtube.com/watch?v=vk1t1wr30xA[/youtube]
Merima Ključo

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Sarajevo RoseSarajevo Roses

Springs
Bosnia-Herzegovina, 2012

The steep, narrow streets of Sarajevo are the only way to get to you. I stop at the base, where the cold spring water flows, and it feels like redemption before it evaporates in the summer valley heat. I join the old women walking up slow, their thick forearms carrying fresh bread. Somehow they’re impervious to the traffic that barrels down, past your mother’s roses, your brown metal door.

You say this is how you got fast, running this hill in the siege, your wheelbarrow shuttling jugs of water up from the brewery below. Sweating, heart pounding, flashing in and out of the sniper’s sights. His comrade’s shrapnel had already lodged in you, that first October, inches from your spine. The time you were in a neighbor’s field, snaking just to glean a few potatoes or pears that might have secretly come to term.

Thank God for the brewery, pumping fresh water from the underground, where the earth whispers its resistance: Take. Drink. And come back later, because we’ve got a little beer. Take a bottle down to the nightclub. Pass it to your brothers and sisters, the chalice, a couple of cigarettes the body broken for you.

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Ash

My first time in Bosnia, ten years ago, I couldn’t stand the cigarette smoke. Ashes to ashes, the relentless headache, hack, wheeze in a fog of second-hand truth. It was worst in Mostar, the desert-dry city with the old stone bridge, the sparkling green river, and the battling sounds of the muezzin, the church bells, and the thumping dance beats pouring out of the riverside cafés.

Stari MostStari Most, the old Ottoman bridge at Mostar.

Now, at Ilidža, at the source of the river Bosna, you light the first cigarette, and I brace myself for a second respiratory hell. Desperate, I wonder if Sarajevo can help me overcome another deep aversion. I remember my smug contempt for the accordion vanishing in a heartbeat last spring, when Merima first got hold of me. She was on streaming video, playing a love song for Sarajevo: Što Te Nema, “Why Aren’t You Here?” Merima on a makeshift, outdoor stage, cradling and wrestling life from the accordion, before an audience of 11,541 empty red chairs. I traveled four thousand miles to follow that sound, all lungs and tears and love. So now, I let the smoke wash over me. It fills my lungs, older, suddenly not afraid anymore, lungs that know love is everything and it will kill you quick as hate.

Tunel Spasa InteriorTunel Spasa interior.

We go to the tunnel museum, Tunel Spasa, your only way out during the siege. You tell me that English-speakers get it wrong when they call it the tunnel of hope. It’s the tunnel of salvation. Salvation for the few, crouch-digging underground in the hungry damp cold, trying to survive only for exile, trying to survive only for salvation from the ultra-nationalist Christians who burn, shell, murder, and rape. I think: Jesus, maybe we’re hopeless.

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Salt

We drive north to Tuzla, the city of salt mines and salt lakes. Mima and Zilka meet us at Vive Žene, the center where women counsel tortured, shell-shocked sisters. We sit in a circle, taking small comfort in coffee, fresh cherries, and wordless understandings. It conjures a line from Žalica, the filmmaker: the microsurgery of the soul.

In the evening, we feast with a family preparing to send a son to Phillips Exeter Academy where I teach. On the back patio, the bread of life—burek, ćevapi—the stunning flowers, the setting sun. Then we walk to the town square. It’s sinking—watch your step—there’s been too much extraction and now the salt of the earth is gone. We come to the memorial, where Edina draws me close and translates the poem for the night in May, 1995, when shelling hit the square and cut down seventy-one, mostly youths. We cry. Yet it is beautiful here tonight, the teenagers striding through the square. We start to walk again, and Edina’s baby lets me hold her a little while. She seems to know I need to hold her a little while.

Tuzla Square 1

I remember a tip from a friend back home: go to the Phillips Exeter school archives, he said, and get the transcript of a talk that a young Bosnian, Vedrana Vasilj, gave in the chapel back in 1997. We were transported, he said. I find it, Vedrana in late spring, revealing that she was there that awful night in Tuzla, working at the hospital, receiving the bodies of her friends. She said, in perfect and plain English, that it was the night Tuzla’s hope died. And the crowd cried, my friend told me, a little salt from their souls for Tuzla.

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Grounds

I tell you I have to tour Srebrenica. You must wonder what I want to do with ghosts—you want to live. We make the slow drive from Tuzla, hugging the Drina, that river of blood. You’re as tough as they come, but when we arrive the tour guide’s talk, all those names carved in stone, it’s all too much. You have to leave. I go on earnest, reverent with the tour, the talk, the film, the photographs, the hush, the sacred remains, the thousands of graves. I fight the hallucinations: all the Muslim men and boys running for their lives, there, through those forests, over those hills, trying to make it, somehow, to Tuzla. The hallucinations that Samir still paints in Chicago—their nightmares, their steps, their path. His Guernica.

Fritz at SrebrenicaSrebrenica Genocide Memorial

When I have seen everything, I find you. You’re back from the dead, sipping coffee and charming the old widows who run the little souvenir stand at Srebrenica, in head scarves and long skirts, the women who endure only to mourn. You’ve been sitting with them for hours, enfolding them with your eyes, letting them remember their sons and grandsons a little, strong, funny, fierce, tender. They’re in love. They help us find a gift for my wife, Alexis, a scarf, dazzling pink set against pure black. We thank the women, choking back tears, and we get the hell out of Srebrenica.

When we arrive Sunday in Bihać, on the other side of the country, Zehra and Almir are waiting for us with the same coffee, the good, strong Bosnian coffee, Turkish like espresso in small cups with the grounds thick and dark as tar. The apartment building is tall, socialist grey, and all these years later you, Zehra and Almir, you still have to live within the shelled walls and cracked glass, and it makes me hate them so much. But you don’t want to talk about that—the flowers in your window box tell me all I need to know. You have kept watering the soil. It is so clear I am lost.

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Ink

A couple of days later Almir notices, over coffee at the sidewalk café. He says I should stay longer, that I’m just a few days away from being a real Bosnian. He means it, and I think I know what he means. The night before, we stayed up for hours at the neighborhood pub and tattoo parlor, joking like idiots, throwing darts. But by two in the morning, I was exhausted. I really wanted to leave, but you were my ride, and you were already home. So I started imagining myself stretched long on the tattoo bed by the bar, knowing that to be a real Bosnian I’d have to do some time there, and in that haze getting a tattoo started to seem like a fantastic idea. But soon we left, I slept, and it was gone.

Back in Sarajevo, we sit by the river Bosna, at the source, with fresh tomatoes, cucumbers, bell peppers, feta, and beer, Sarajevsko, straight from the brewery. You laugh at me when I tell everyone I fell in love with Bosnia the first time I tasted the garden tomatoes, but I swear it’s true, you have no idea what the American tomato has become. Then I flash to that feast eight years ago, with Jasmina’s aunt, up near Banja Luka in the house the Chetniks had occupied and trashed during the war. It was restored now, and there we gathered, fifteen of us, the heavenly banquet, everything fresh. I was falling in love with it all when I noticed Jasmina’s uncle wasn’t saying much. Then I remembered he had been in the camps, where someone’s needled concentration left numbers on his arm. And hate was seared to the skin of my love.

We were supposed to meet Nermina, the art critic, Samir’s friend, but it’s almost 100 degrees and it’s too hot for anyone to walk to us. So we go for a drive up Mt. Trebević, one of the Olympic mountains, where bobsledders once screamed down a track that’s already in ruins. The graffiti is spellbinding. We keep going, all the way to the top, and up there what must have been a beautiful restaurant is wrecked, burned out, graffiti-tagged, no hip urban art just the scattered signatures of death.

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Tile

When I look all the way down Trebević, I finally see how easy it was for them, fish in a barrel, firing down at the millions of terra cotta tiles, roofs burnt orange against blue summer sky, those perfect illusions of shelter.

Sarajevo Terra CottaSarajevo Terra Cotta.

Trembling, I step back from the edge. You’ve taken a phone call, so I’m on my own. I decide to head into that restaurant, shards of tile and brick crumbling under my feet as I move with my camera toward shafts of warm sunlight. When I come back, you hang up and say shit, man, stay out of the shadows, there could’ve been landmines. I lose my breath, thinking of the killers’ deranged hospitality. Killers high like gods with artillery made to take planes out of the sky, but they, they liked aiming it down at the city that has always been a place for travelers to rest.

Trebevic Restaurant

Back in your apartment, where your father laid red tile for you, I toe a depression in the kitchen floor. I ask if I did something wrong, and you say no, that’s where a little while ago your ex-wife dropped a heavy pot. Crash, the pot falling, your wife falling so out of reach and shattering the tile of your heart. You tell me that was rock bottom, and it was peacetime in Sarajevo.

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Pulse

You want to live. And if you know anything in Bosnia it’s that we can’t be afraid to be alive. So we talk, listen, laugh, cry and crank the music loud—Dubioza, EKV, Kultur Shock—yes, we rock and groove all over Bosnia in Sasha’s beast of an old red Ford station wagon that tells the mountains to bring it on and says who’s the stupid American always in the passenger seat who can’t drive a stick?

And the young women stride through Sarajevo with their eyes on the latest fashion, their hair highlighted smooth bronze, blonde, or indigo against brown. I remember Zehra telling us where to get some of that dye for Alexis, whose hair is dark like Zehra’s, her favorite color purple. So we walk into a pharmacy and I grab the box before I realize how ridiculous I’ll look holding this stuff in line. You say give me a break, just be confident, so I do it, and like magic, the American woman next to us starts to flirt with me a little. She says wow, that’s gonna look great on you. I look at you, and we laugh like we’re seventeen.

Then we step out into the mid-afternoon sun, and I see my God, we’re on the street where Merima played her song for Sarajevo, last April, twenty years since the beginning of the siege. Merima’s accordion and her inexhaustible, sweet embrace of the survivors, the sorrow, and our broken, beautiful lives, our lives with all we have left.

[youtube]https://www.youtube.com/watch?v=KBiPfbLLCJQ[/youtube]
Merima Ključo & Miroslav Tadić

—Thomas Simpson

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Simpson author shot

Born and raised in western New York, Tom Simpson teaches religion, ethics, and philosophy at Phillips Exeter Academy. He holds a Ph.D. in religious studies from the University of Virginia. From 2002-2004, he directed Emory University’s “Journeys of Reconciliation,” an international travel program exploring the intersections of religion, violence, and peacebuilding. That work brought him to Bosnia-Herzegovina for the first time. Subsequent visits have led to collaborations with Goran Simić on a collection of Simpson’s essays about postwar Bosnia, which they plan to publish in Bosnian and English in 2015. He lives in Exeter, New Hampshire, with his wife, Alexis, and their two children, Blake and Will.

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