Apr 132010
 

I can do no better than repeat what I said when I introduced David’s translation of the Chekhov story “About Love,” published earlier on these pages. David Helwig is an old friend, a prolific novelist, story writer, translator, and poet, and a mighty gray eminence on the Canadian literary scene. In 2007 he won the Writers’ Trust of Canada Matt Cohen Prize for distinguished lifetime achievement. In 2009 he was appointed to the Order of Canada. His book publication list is as long as your arm. He founded the annual Best Canadian Stories which he edited for years. He is also a very graceful human being as evidenced by his comments on Numéro Cinq.

I had my choice of new Helwig poems to post here, but I picked this one because I really like it. The last stanza alone is worth the trip. It’s a rare poet who can make you feel the fever and mystery of  life in as few words.

Unfortunately, the poem is written in Canadian, so I’ll have to translate a few of the words for my American and Mexican readers. Lower Canada College is a venerable Montreal private school, Lower Canada being the former name for what became the province of Quebec. There is an Upper Canada College in Toronto, another venerable private school (not a college in the American sense, a grade school and high school). Upper Canada is what we used to call Ontario. Upper Canada and Lower Canada as designations don’t make a lot of sense intuitively to Americans since they are actually east-west neighbours. But in the days when the St. Lawrence River was the major highway east and west, Ontario was upriver and Quebec was downriver.

Hugh MacLennan was a great Canadian novelist, whose book Two Solitudes invented the myth or metaphor that, for decades, defined the way we thought about relations between the French and English sides of the nation. His other fine novel, Barometer Rising, about the Halifax Explosion of 1917 I gave to my son Jacob when I took him to Halifax for his freshman year at the University of King’s College last September. MacLennan taught at Lower Canada College and later McGill University.

The rest you can figure out for yourselves.

dg

La Rentréé

The dignity of a considered rhythm: today
the school year begins. Across the dappled green lawn
of Lower Canada College children of privilege
kick a soccer ball, foregather in little groups;

by the fence a red-head and her friend exchange news.
The ghost of Hugh MacLennan in his teaching days
observes from the shade of a tall tree. He can hear
the plock of tennis balls from further up the street,

the sacred precincts of the Monkland Tennis Club.
A seasonable invention, all these memorable
hours, a cherishing of slowness, as eyes might observe
the infinite seconds of fine craftsmanship,

afforded to some in their best bargain with time,
the finely grained and cut and carved, its artifice
emulating the splendour of the eternal,
the existential calm of the elegiac.

Then turn the wrong corner. A house has disappeared.
As if entrapped in the suicide’s murderous mistake
or the muddle and depletion of dementia,
you come upon maddened wasps in all the cities,

sea giants, monsters, dragon, roc, sphinx, mermaid,
a phoenix tattoo paints resurrection on a pale skin.
Retrace your steps toward the pragmatics of freedom
in the grace of the familiar, that shape of our being,

the chosen hour of the chosen day, though the lost
slip from the slender thread of their living, yet first
and last the taut and shining wire vibrates
with tunefulness, proposes such fine music.

–David Helwig

Apr 132010
 

CaptureLorrie Moore

Birds-of-America

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Dancing Amidst Despair: From Cosmology to Counterpointed Characterization

We begin adrift, as an idea hovering above a blank page, as two cells floating in the miasma of fallopian tubes.  Our stories and our lives begin as little-things, as truly, almost nothing.  And from the void emerges a word, a unified cell; and thus begins the story, begins the life.  How much does an idea weigh?  Certainly even less than a single cell, if such weights were quantifiable, yet all things are built upon these foundations of lightness.  A creation begins with the merest thing.  The idea, like the cell, must gain by accretion.  It lives only with connections to other ideas—without those connections, it vanishes.  And with variability, with diversity, with contrast, the stories and characters become rich and layered.

Pattiann Rogers opens her essay, Twentieth-Century Cosmology and the Soul’s Habitation, with this thought: “I’m very curious about the grid upon which we mentally place ourselves in time and space.  There must be a grid of some kind there for each of us, a visual scaffolding, for balance, for orientation.”  I think of that grid as a story, as the details which define the particular world of imagined lives captured on a page.  I think of that grid as the small, Pennsylvania college town where Lorrie Moore’s unnamed narrator has gone for an evening to meet up with her old friend, Cal, in the short story “Dance In America.”  I’d like to dwell on that grid awhile, to see if it can provide some clue what it’s all about.

Moore opens with an evocative, almost lyrical passage about dance.  Yet absent in this opening is character.  The unnamed narrator speaks in abstractions to an undefined audience, albeit with carefully crafted words.

I tell them dance begins when a moment of hurt combines with a moment of boredom.  I tell them it’s the body’s reaching, bringing air into itself.  I tell them it’s the heart’s triumph, the victory speech of the feet, the refinement of animal lunge and flight, the purest metaphor of tribe and self.  It is life flipping death the bird.

I make this stuff up.

Despite the power of the language, the story suffers because we don’t have a grid yet, we don’t have a context for what’s happening, until the second paragraph, that is.  Until the narrator bursts in and says, “I make this stuff up.”  That short sentence brings life in.  It opens up the story so that a character speaks honestly about herself.  It reveals instantly a penetrating and close narrative voice.  The rest is slight by comparison—beautiful phrases destined for posters hanging in a dance studio.  Without the dancer, the words mean almost nothing.  Character must be present to contextualize the abstraction.

Later, the narrator and Cal are out walking his dog, and talking about the past.  “He’d been exaggerating his interest in dance.  ‘I didn’t get it,’ he admitted.  ‘I kept trying to figure out the story.’” Dance continues to remain abstract here, a concept not yet alive.  Cal as much as tells us this.  There is also a distinct coolness between these two old friends so far.  “I’m determined to be agreeable,” the narrator says at one point; “I must be nice,” she says just a paragraph later.  They talk about paint colors and trade witticisms about Snickerdoodles, but all of this is surface clutter.  There is not enough contrast or conflict between the narrator and Cal.  At one point on the walk, they even think the same thoughts.  “Up in the sky, Venus and the thinnest pairing of sickle moon, like a cup and saucer, like a nose and mouth, have made the Turkish flag in the sky,” thinks the narrator.  “‘Wow,’ Cal says.  ‘The Turkish flag.’”  Were this to continue, I would argue that these two characters would not generate much dramatic spark.  Such energy-providing contrast comes from what Charles Baxter calls counterpointed characterization.  This will come in a minute, but first, back to the cosmos.

Rogers quotes Bertrand Russell when she says, “The point of departure must be ‘unyielding despair.’  We start from the recognition of that point to build the soul’s habitation.”  This despair emerges from a modern cosmology, a historically recent understanding of the universe and our almost imperceptible presence in it.  Rogers says:

The Sun is tiny compared to the size of the solar system, the solar system to the size of the Milky Way galaxy, the Milky Way to the size of the Andromeda galaxy, which is twice as big, containing 400 billion stars.  And yet the Andromeda galaxy is tiny compared to the universe, which contains billions of other galaxies.  All of that, up there, going on at this moment.

The point of departure Rogers refers to is the act of creation within the vast coldness of an indifferent cosmos.  In the past, such creation had a single source and a single destination: the divine and it’s manifestation of a destiny—a revealed plan for man.  For a long time in the West, art, history, politics and society served and glorified God, with a capital G.   Modern thinking, however, must contend with a much different perception of reality.  Rogers says: “As a result of this cosmology all of us, I would venture to say, have seen ourselves at some moment or other as ‘mankind aimlessly adrift in a meaningless universe.’”  We begin adrift. This awareness of our diminished role in the cosmos leads directly to a sense of unyielding despair.  What can we do, specks of dust on a piece of rock floating in an unfathomable, endless universe? How can we create something of value in a universe devoid of meaning?  Rogers turns not to science’s reductive approach of cutting and measuring (which she also defends and respects) but by seeking an artistic interconnectedness in things.  “The creative person, whether scientist or artist,…is that person who imagines new, different connections, broadening our conception of the universe and its interconnectedness as a whole.”   Charles Baxter echoes this too, although more narrowly, when he talks of the “incompatibility of passion and gentility” in James Joyce’s short story “The Dead.”  The artist seeks to illuminate the human condition in the darkness of an unfathomable universe.  Creation, in its highest forms, begins as an act of passion.  “Passion knocks decency right off the stage,” Baxter says.  The soul’s habitation is constructed on this grid, against this backdrop of cold, endless despair, filled with quotidian formality, gentility, struggles and structures, but in the hearth, a fire surely burns.

In order to render such passion in fiction, characters must be brought into contrast.  Baxter says, “Plot often develops out of the tension between characters, and in order to get that tension, a writer sometimes has to be something of a matchmaker, creating characters who counterpoint one another.”  Baxter says that characters are designed to rub up against each other, to create friction of sort, or even warmth, but that it is the connections between the characters that make the story.  “Certain kinds of people are pushed together, people who bring out a crucial response in each other.  A latent energy rises to the surface.”  It can’t be done with beautiful prose alone, at least not in a sustainable way.  Without the characters, the prose energy cools quickly. With counterpointed characters, the energy levels rise even more quickly.  In “Dance In America,” Lorrie Moore works to heat up her story with the introduction of a seven year-old boy named Eugene.

Eugene, the son of Cal and his wife, Simone, has cystic fibrosis and his “whole life is a race with medical research.”  Moore never says so directly, but we gather that the boy is dying.  “Already, Cal says, Eugene has degenerated, grown worse, too much liquid in his lungs.  ‘Stickiness,’ he calls it. ‘If he were three instead of seven, there’d be more hope.’”  Enter the backdrop of despair. Yet in spite of his condition, a condition which makes him labor for breath, Eugene steals this story, crashing into it with life and verve.  Notice the verbs Moore uses with respect to Eugene:  shouts, slides, chases, races, grabs, and smiles.  Eugene roars with life, overcoming his parents, the narrator and even our own despair.  Before he even enters the story directly, his presence pulsates with energy.  Talking to the narrator, Cal says:

‘It’s not that I’m not for the arts’, says Cal.  ‘You’re here; money for the arts brought you here.  That’s wonderful.  It’s wonderful to see you after all these years.  It’s wonderful to fund the arts.  The arts are so nice and wonderful.  But really: I say, let’s give all the money, every last fucking dime, to science.’

Notice the contrast here.  The repetitive use of wonderful and the clichéd language in relationship to abstract things, and in relation to the narrator’s visit, builds to an almost ecstatic outpouring for Eugene, who has yet to appear but whose illness has been introduced.  Moore uses the word fuck two times in this story, and both times (I will examine the second use below) the energy and force of that most un-genteel word strike exactly the right tone.  There is no vulgarity here, only passion.  The last sentence of this paragraph works like a prayer, like a devotion to the modern god, Science, driven by the most desperate yearning of the human spirit.

Eugene works as the counterpointed character to the adults in the story.  With only Cal, Simone and the narrator, the story would fall flat.  Eugene reminds the other characters what life is supposed to be about.  In talking about counterpointed characters, Baxter says:

A third element is born when these characters meet.  This element is not just drama, the force of conflicting desires.  It is a kind of invisible presence whose identity is generated by the proximity of these…characters, and this presence in not moral or simple.

Eugene shakes up this story when he arrives.  The adult lives are turned completely around.  The story becomes exciting during Eugene’s time on stage.  Notice the changes in the voice of the narrator especially—gone is the cynicism and ironic detachment from her voice.  “He huddles close, cold in the drafty house, and I extend my long sweater around him like a shawl.”  “He watches, rapt.  His brown hair hangs in strings in his face, and he chews it.”  With Eugene present, the narrator is dancing for the first time.  Through his suffering, Eugene teaches the narrator (and presumably, hopefully, the reader) to celebrate life. After dinner, they actually go and dance in Cal’s living room.  The narrator takes the hand of the “amazing Eugene” and loses herself to the music of Kenny Loggins.  “We make a phalanx and march, strut, slide to the music.  We crouch, move backward, then burst forward again.  We’re aiming to create the mildew, resinous sweat smell of dance.”

This story works with no real direct conflict in it, other than the unyielding despair of an indifferent universe that would besiege a seven year-old boy with cystic fibrosis.  What drives this story is the contrast between the adult word of sophistication and social codes and the free, more open world of Eugene.   It’s Baxter’s passion knocking decency off the stage again.  “Counterpointing substitutes for conflict, or displaces it,” Baxter says.  Were Eugene not present, some other motive force would have to drive this story forward.  Instead, Eugene’s vibrancy works to shake the characters loose of their doldrums.  It’s managed carefully, however.  Moore is hardly preaching and hardly providing a caricature of morality.  In one telling scene, Eugene practically begs the narrator to visit his classroom the next day, when she stops by his school to conduct a dance workshop for older kids.  “‘Sure,’ I say, not knowing that, in a rush, I will forget, and that I’ll be on a plane home already, leafing through some inane airline magazine before I remember that I forgot to do it.”  Moore uses prolepsis here to underscore this scene’s importance, and she shows us how easy it is to forget the sublime in place of the mundane.  The use of the airline magazine works to underscore this point.  Just because Eugene’s presence shines like a beacon in this story, Moore is a careful enough artist to render reality’s often cold indifference to the light.

Yet, in spite of the pain and suffering, we press forward.   Rogers puts it this way:  “And here’s a miracle that must be constantly celebrated: In spite of the moments of the soul’s desperation, we do proceed.”  Moore paints this picture vividly in the story, again using the sharp contrasts between Eugene and the adults.   After he is called to dinner, Eugene must take a regimen of pills for his illness.  Notice the verbs and how they contrast between the characters.

‘Coming!’ shouts Eugene, and he leaps off the couch and slides into the dining room, falling sideways into her chair.  ‘Whoo,’ he says, out of breath.  ‘I almost didn’t make it.’

‘Here,’ says Cal.  He places a goblet of pills at Eugene’s place setting.

Eugene makes a face, but in the chair, he gets up on his knees, leans forward, glass of water in one hand, and begins the arduous activity of taking all the pills.

I sit in the chair opposite him and place my napkin in my lap.

In this short example, we have despair and miraculous procession.  The illness hovers always over Eugene.  Like the universe, it is a dark, relentless presence that cannot be escaped.  Yet Eugene perseveres, undaunted by the magnitude of it.  Notice also the counterpointing to create this effect: Cal, placing the pills, the narrator placing the napkin, while Eugene shouts, leaps, slides and falls into his chair.  And though out of breath, he finds the strength to speak while the adults watch in near silence.  As readers, we feel the emotional weight of Eugene through the adult consciousness of the story, but it is Eugene, not the adults, who instructs us how to live under the cold universe.  Rogers says that “we continue to build the soul’s habitation” by “expressing the awe and thrill and gratitude we feel at the mystery and beauty of the universe.”

The final scene in “Dance in America” seems to capture this feeling of awe perfectly.  The characters are dancing in the living room but Eugene tires due to his illness. He is “determined not to cough until the end,” and the narrator then goes to him.  Notice the change in language from the opening.

I am thinking of the dancing body’s magnificent and ostentatious scorn.  This is how we offer ourselves, enter heaven, enter speaking: we say with motion, in space, This is what life’s done so far down here; this is all and what and everything it’s managed—this body, these bodies, that body—so what do you think, Heaven?  What do you fucking think?

This passage is the narrator’s direct answer to the cosmos; it’s her defiant answer to the question, What’s it all about, down here?  In spite of the flaws and terrible fates awaiting them, these characters are dancing.  They are staring into the unfathomable emptiness of infinity and “flipping death the bird.”   Moore’s narrator has reclaimed the language of her opening, by rubbing up against Eugene, and has taken the “latent energy ris(ing) to the surface” and burst it over the top.  By achieving a harmonious balance between very different characters, Moore has crafted both a simple story and a profoundly moving one, one that seeks to find a grid, a location to construct the human soul’s rightful habitation in the universe.

—Richard Farrell

Works Cited

Baxter, Charles.  Burning Down the House.  (Saint Paul, MN: Graywolf Press, 1997)

Moore, Lorrie.  “Dance in America.”  In Birds of America. (London: Faber and Faber, 1998)

Rogers, Pattiann.  “Twentieth-Century Cosmology and the Soul’s Habitation.”  In Writing it Down for James, edited by Kurt Brown.  (Boston: Beacon Press, 1995)

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Apr 132010
 

So here’s what happened. I was at the gym with Jonah, and since I’m ancient and feeble I was done earlier than he was. I was in the lobby reading the Glens Falls Post Star, a back page article about the recent mine disaster in West Virginia. Jonah came down the stairs and, joking, said, Have you been crying? Of course, I hadn’t. I was just sweating. I was in a room full of 11-year-old gymnasts, their mothers, and a bunch of middle-aged tennis stars. But then I said, Listen to this. And I told him what I had just read. About how they had found, I think, 25 bodies and there were still four men missing. Rescue teams were trying desperately to find them. The state governor, a man named Minchin (I think I got the name right),  was in the room where the relatives waited for news. He was talking to a woman (I haven’t got the article, can’t remember the names) whose son and two grandsons (ages 20 and 25, just boys) were among the missing four. Then an aide came into the room and handed the governor a note that said the woman’s son and grandsons had been found dead. (It’s important to note here that this Gov. Minchin had lost an uncle in mine disaster, too.) He quickly ushered the woman into a private room and said, They didn’t make it. Her response was: Were they together? The governor said, Yes. And that put me on my knees because I could imagine her mental process and her value set and her feeling for what was important in death and love. The governor had the guts and grace to tell her himself; the woman knew that if they were dead, at least there would be some comfort if father and sons were together when it happened.

dg

Apr 122010
 

Meet “Petunia.”  She’s 2 (in dog years), very loyal (to me, which is a first) and loves Dostoesvsky and Millhauser, but can find no connection (yet) between the two.  We rescued her through SD Bulldog Rescue.  They found her wandering the streets of Escondido, CA.  She was emaciated and had huge, open sores all along her spine.  She’s recovered amazingly well.

—Richard Farrell

Apr 122010
 

The People waiting to vote in the aphorism contest



The People have spoken, but the result was a tie on very thin voting. This is what you get when you ask the People for an opinion. I discounted the “blue dog” aphorism because, despite all the proxy votes Gary emailed in, it’s not an aphorism. Pretty dog though.

dg

The co-winners are:

For Bard: An Aphorism”

Forsake not my love for suspect art
For ’tis less vain by far,
To leave the flames of fame unfanned
Than be left alone with self in hand.

Michele Irwin

AND

Donne was wrong: every man is an island, and without that saving strand of water between us we would all go mad.

Steven Axelrod

Apr 122010
 




The following is an email sent to dg from the anonymous contest judge who is in hiding, with his entire family and pets, somewhere in Argentina.

This was a tough go over the weekend for an indecisive judge. All the finalists were extremely good, very witty. In fact, the whole contest was a pleasant surprise–for the commentary as well as the entries. I loved Nina’s very short aphorism “A mapped world is always small” for its terseness; when you unpack it, the idea is huge–the unknown is always greater than the known. Steven Axelrod is a very witty man playing on glass houses, green houses and the greenhouse effect. (If there had been a prize for most prolific, he would have won; had their been a prize for the under-21 age group, Madeleine would have won.) C. M. Mayo’s entry grew and grew on me. I think I didn’t take it seriously at first because she was clearly just having fun with the contest, but she did an amazing little thing turning the idea of procrastination upside down (making it a pleasure instead of something to inspire guilt) with the egg and yolk idea. Gwen Mullins three-word line may not even be an aphorism precisely, but I liked the verbal play: fuck to effing to the letter f to the word “ineffable.” Natasha Sarkissian’s face entry was also a sleeper. It just kept staying in the mix as I found reasons to cut others out. It’s very clever: losing face, saving face, face lift, plastic surgery. Kit Hathaway is the old pro, the ringer. His aphorism worked as a rhyming couplet, but it also worked as a complex idea starting with the leap of putting Zoloft next to Nietzsche and coming up with the idea that they have a lot in common; Zoloft evens out the emotional peaks and valleys while Nietzsche delivered us from guilt and judgment (“neither bad nor good” plays off the title of Nietzsche’s book Beyond Good and Evil).

So I tried various criteria. Everyone was about equal on wit and verbal play. But when I asked myself about the profundity of the ideas behind the aphorisms, then Nina and Kit came out in front. Not that aphorisms have to be profound, but I was looking for some reason to separate the entries. Then I also tried to factor in syntactic and semantic complexity. I thought Kit had a slight edge there. But when it came to arrogance, Kit had a definite edge.

So by incremental calculations of relative value–even more Byzantine than hinted at here–I came to the conclusion that the winner is William Hathaway for his aphorism:

Zoloft does more than Nietzsche could
to make you feel neither bad nor good.

This is a preliminary announcement only. Press releases have gone out to major media. The winner was notified this morning by telephone and pronounced himself  “over the moon.” The actual award, along with a considerable financial emolument, will be presented in Stockholm to coincide with the lesser known, yet no doubt estimable in its own right, Nobel Prize for Literature.

The judge will remain anonymous. Any attempt to contact him will be reported to the police. The cat in the earlier post is not the judge’s cat; it was a professional model posing as the judge’s cat. Contractual arrangements outlined in the entry form protect the magazine, dg, his family and staff from civil actions pertaining to the contest. Entry fees were clearly stated to be non-refundable.

dg

Apr 102010
 

The judge's cat, clearly suffering from intense Aphorism Contest anxiety

Yes, the death threats, the bribes, and blackmail have begun. The pressure on the judge is incredible at this point. How do you decide between one great entry and another? The judge is drinking vodka neat morning til night; he’s taken up smoking; he’s found a bottle of painkillers from his knee surgery (or possibly they are antibiotics for the dog). Nothing helps. He is thinking of just taking all the entry fees and prize money and flying to Mexico til this blows over.

I should add that the People’s Choice contest is a complete mess at this point with a three-way tie. Could someone please go to the post and break the tie?

dg

The Finalists



A loss of face requires more than plastic surgery to fix.
Natalia Sarkissian
——————
Zoloft does more than Nietzsche could
to make you feel neither bad nor good.
William Hathaway
—————–
In the egg of procrastination, there is the yolk of fun.
C.M. Mayo
————-
People who live in glass houses understand the greenhouse effect.
Steven Axelrod
——————-
A mapped world is always small.
Nina Alvarez
—————-
Fuck the ineffable.
Gwen Mullins


Apr 102010
 

Desktop46

I see some terrific essays now and then from students—critical essays, critical theses, and lectures. Sometimes they find a home, sometimes the AWP Chronicle picks them up. But often they just languish because they’re too long for a lot of magazines, or too craft oriented for general magazines, or not academic enough for scholarly magazines. That’s a shame because they are full of insights and real hands-on instruction in the art of writing. So it’s a great opportunity not to be missed for Numéro Cinq. Julie Marden’s essay is a wonderful analysis of Chekhov’s stories and an explication of the narrative structure I call “thematic passages.” It fits in especially well since we have had a run of Chekhov posts, including David Helwig’s translation of Chekhov’s story “On Love.” See also Julie’s short essay on Chekhov and Alice Munro.

dg

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None other than Flannery O’Connor has warned against a consideration of literary theme at a technical level. “I feel that discussing story-writing in terms of plot, character, and theme,” she says, in her essay “Writing Short Stories,”  “is like trying to describe the expression on a face by saying where the eyes, nose, and mouth are.” I take her point. We expect theme to arise naturally from the details of our stories, not to be something we should work at specifically.  But later in the same essay, O’Connor says this: “I prefer to talk about the meaning in a story rather than the theme of a story. . . The meaning of a story has to be embodied in it, has to be made concrete in it . . . the meaning of fiction is not abstract meaning but experienced meaning, and the purpose of making statements about the meaning of a story is only to help you to experience that meaning more fully. Which brings me to my subject: the different ways Chekhov makes statements about meaning in his stories “Grief” and “Gusev.” Personally, I would like to get better at making such statements in my own fiction, and have concluded that expecting theme or meaning to arise naturally from my stories’ details can be unproductive.  In doing so, I may neglect to write the very passages that make those details significant, passages that might bring me, while writing, into deeper contact with my story’s potential, and that might help readers, while reading, experience that potential more fully.

Douglas Glover, in his essay, “Short Story Structure: Notes and an Exercise” in Attack of the Copula Spiders and Other Essays on Writing, picks up where O’Connor leaves off by defining such statements as “thematic passages.” According to Glover, “a thematic passage is any text in which the narrator or some other character questions or offers an interpretation of the action of the story.”  This definition provides technical clarity to O’Connor’s idea, since by questioning or interpreting a story’s action a narrator or character renders that action more available to a reader’s experience and understanding.

Let’s quickly consider the two distinct ideas of action and interpretation.  Suppose I wrote, “One spring afternoon I gave up my job and enrolled in an MFA program for fiction writers.” That’s action. Then say I wrote, “what a reasonable thing to do.” That’s interpretation. Of course, it’s just a quip, but nevertheless it holds up the action to further inspection, making it easier for a reader to relate to than if it were merely stated and then abandoned.  By addressing its readers, the comment invites them to participate in the action.  In fiction, thematic passages can open our stories to greater ideological depth and allow them to develop with increasing psychological and or mythic resonance. Thematic passages also bring life to our stories, making them seem aware of their own implications. They are a way for us to declare intent.  In reading the two Chekhov stories as well as other fiction I’ve come to believe that writing them well requires and therefore helps develop a suppleness and control with respect to voice and point of view.

Anton Chekhov’s story “Grief” is about a talented turner (or woodworker) and abusive alcoholic named Grigory. He’s a poor Russian peasant and has been married for 40 years, coming home drunk and beating his wife every night, until the night before the story begins (yes, there’s a flashback).  That night, Grigory comes home drunk and is about to beat his wife when she gives him a look that scares him so much he doesn’t beat her.  Instead, first thing next morning he borrows a neighbor’s horse and sledge to take her to the rural district hospital to cure her of whatever is causing the funny look that scared the shit out of him the previous night.  But a terrible blizzard slows him down, no matter how hard he whips the borrowed horse.  His wife dies before they reach the hospital. Grigory thinks he should head to the cemetery but for some reason keeps heading to the hospital. He gets lost. Night comes on.  He starts to freeze. His hands become so numb he can’t control the reins.  The horse goes on unguided until it stops in front of a building, which Grigory can just make out in the dark and through the snowstorm.  By this time, Grigory’s so cold he can’t even move his feet, so he decides (as if he has any choice) to fall asleep in the sledge, not even minding that he might die in the process.  But he doesn’t die.  The next day, he wakes up in the hospital.  He recognizes the doctor – the one he’d wanted to take his wife to.  He wants to get out of bed and fall on his knees to thank the doctor or beg him for help – he’s quite confused.  But he can’t move.   He has lost all four of his limbs to exposure.  The doctor tells him not to complain – he’s had a good, long life – and leaves the room.  The end.

“Grief” is short – about 2,000 words – and is told by a third-person narrator, limited for the most part to Grigory, who delivers a long muttered monologue in the first half, which doesn’t really end until he falls asleep but which is interrupted mid-way through by the narrator.  (The other character who speaks in this story is the doctor, but just for a few lines.)

“Grief” was written in 1885, fairly early in Chekhov’s writing career. It is considered pivotal to that career for its emotional depth and its blend of comedy and tragedy, which are remarkable considering the story’s length.  The story’s thematic passages have a lot to do with that depth and blend.  I wouldn’t be surprised if “Grief” appeared just as Chekhov was getting good at writing these passages, discovering his own way to mine his stories for meaning.

In “Grief,” the four main thematic passages appear fairly close to each other in the center of the story. Of course, as Flannery O’Connor has reminded us, almost no word or phrase can ever be given completely to one function or another, so I’ve put text that I feel is especially thematic in bold.

He let his tongue run on mechanically, so as to stifle as much as possible the feeling of heaviness in his heart.  Grief had taken the turner unawares, like a bolt from the blue, and he was still unable to recover from the blow, he was still unable to come to his senses, to think clearly.  He had till now lived a carefree life, in a kind of drunken stupor, knowing neither grief nor joy, and all of a sudden there was that terrible pain in his heart.  The lighthearted tippler and idler found himself for no rhyme or reason in the position of a man who was busy and worried, a man in a hurry, struggling against nature herself.Grigory remembered that his grief had started the night before. When he had come home in the evening, drunk as usual, and from old habit had begun to swear and brandish his fists, his wife had looked at her bully of a husband as she had never looked before.  Usually the expression of her old eyes was martyred and meek, like that of a dog who is beaten a lot and given little to eat, but now she gazed sternly and fixedly at him, as saints do from icons, or dying people. It was this strange disturbing look in those eyes that made him conscious of his feeling of grief.

See how Chekhov persists at describing the look in Matryona’s eyes until he can open it up into that third, almost sweeping thematic statement – “it was this strange disturbing look in those eyes that made him conscious of his feeling of grief.” The next passage occurs after Matryona dies.

And the turner wept. He was not so much sorry as vexed. His grief had only just begun, and now it was all over.  He had not really begun to live with his old woman, to open his heart to her, to feel sorry for her, and now she was dead. He had lived forty years with her, but then those forty years had passed as though in a fog. What with drinking, fighting, and poverty he had not noticed how life had passed. And, as though to spite him, his old woman had died just when he was beginning to feel that he was sorry for her, that he could not live without her, that he had wronged her terribly.Forty years ago, he remembered, Matryona had been young, beautiful, gay.  She had come from a well-to-do family. . . Everything pointed to a happy life, but the trouble was that, having flung himself dead drunk on the stove after the wedding, he had not seemed able to wake up properly. He could remember the wedding, but what happened after it he could not for the life of him remember, except perhaps that he had been drinking, lying about, and fighting.  So forty years had been wasted.

What these passages do and don’t do is clear.  They don’t provide much action or setting or even character.  Instead, using a little summary and past history, they provide the moral and emotional core with which those particulars – the characters, actions, and setting — can engage.  Over and over, in these passages, Chekhov reiterates the idea that his story is about a moral, emotional awakening after a wasted life, an awakening brought on by the specter of death.

But before discussing these passages in detail, let’s look at what precedes them.

Whenever I read the first paragraph of “Grief,” I always feel as though I’m looking at an oil painting – or a snow globe.

Grigory Petrov, a turner, who had long enjoyed a reputation as an excellent craftsman and at the same time as the most drunken ne’er-do-well in the whole Galchino district, was taking his wife to the rural district hospital. He had to drive about twenty miles, and yet the road was so terrible that not only a lie-abed like the turner Grigory but even the postman could not cope with it.  A sharp cold wind blew straight in his face. The air was full of whirling clouds of snowflakes, and it was impossible to say whether the snow came from the sky or from the ground. Neither fields, telegraph poles, nor woods could be seen for the snow . . . The feeble aged mare dragged herself along at a snail’s pace.  . . . The turner was in a hurry.  He jumped up and down on his seat restlessly, now and again whipping the mare across her back.

Chekhov holds us at a distance, in an observer’s role, even as he shines a spotlight on Grigory and presents us with Grigory’s desire, action, conflict, and setting, all in one paragraph. We continue as observers as we hear Grigory speak.

“Don’t cry, Matryona,’ he muttered. “Put up with it a little longer!  We’ll soon be at the hospital, and, God willing, you’ll be all right in time.  Pavel Ivanych will give you some drops, or tell them to bleed you . . . He’ll shout a bit, stamp his feet maybe, but he’ll do his best for you.  .  .  .  A nice gentleman he is, very obliging, bless him.  Soon as we’re there, he’ll come running out of his room and start cursing.  “What’s all this?” he’ll shout.  “How did it happen? Why didn’t you come earlier? Am I a dog, to be looking after you all day, damn you? . . . Get out!  I don’t want to see you. . . . But I’ll say to him, “Your honour, sir. Pavel Ivanych, sir.”

Clearly, this is a character study, depicting Grigory as a stock, comic figure, at whom we laugh even as we become aware of his panic.  As his monologue continues, Grigory reveals his simple peasant religion  (“But how could I get here in time, sir, if God – the Holy Virgin – got angry and sent a blizzard like this?” ), his emerging guilt (“Your honour, sir, what do you take me for?  A heartless villain or a heathen?  My old woman’s giving up the ghost, she’s dying, she is, and me run to the pubs?  Really, sir!  May they all sink to the bottom of the sea, the pubs I mean, sir!” ) and his physical talents (“I’ll do everything for your honour. A cigarette case, if you like, of Karelian birch.  Croquet balls. Skittles.” )

On top of this, the monologue also offers a completely dramatized comic version of the entire story, a hypothetical, imagined, and future scene in which Grigory barely gets his wife to the hospital, uses his peasant wits to persuade the doctor to cure her, and everything works out for the best.  Like any stock comic peasant, he boasts.  “Well, old woman, you see I know how to talk to the gentry!” He’s the Russian Ralph Kramden. This entire comedy, though, is layered over the darker action of the present journey to the hospital, to which Grigory’s mind can’t help returning (“Only God grant I don’t lose the way.  What a snowstorm! Can’t see a thing for the snow!”) right before the narrator steps in with the story’s first thematic passage.  (Another great effect of the monologue is that the fiction of Grigory’s imagined scene makes the fiction of the “real” scene all the more real.)

Thematically, things get pretty interesting in these four passages, as Chekhov reaches into his story and changes its and our perspectives, so that instead of looking at Grigory from the outside, we now see him from within.  The narrative voice becomes more subjective and bold, as Chekhov repeats the title word four times in these passages, (at least in this translation by David Magarshack), starting with: “Grief had taken the turner unawares, like a bolt from the blue, and he was still unable to recover from the blow, he was still unable to come to his senses, to think clearly.” This is not subtle language.

Note  how far apart in consciousness the narrator and Grigory are in the first passage.  The narrator articulates things about Grigory that Grigory is unable to say for himself, because, as the narrator tells us, he is “unaware.”  In fact, Grigory is still delivering his monologue – staving off these new emotions, unable and unwilling to “come to his senses” – but the narrator presses Grigory’s mute button and tells us what’s going on.

And what happens to this stock comic figure, this wife-beating drunk? To our horror – because it makes us identify with him – Chekhov gives him dignity.  With this first thematic passage, Chekhov begins to process both Grigory and us as, here in the middle of the story, the comedy turns tragic.  Perhaps Chekhov was discovering his signature style of interpretive writing, discovering that narrative voice in which he manages to be, all at once, respectful, attentive, unpretentious, and emotionally honest.

Finally, Chekhov uses this first passage to bring his exposition to a close.  When he restates the conflict (“The lighthearted tippler found himself. . .  in the position of a man in a hurry, struggling against nature herself”), we don’t know what will happen but we understand the story’s internal and external parameters.

Now let’s look at the second thematic passage.  Two important things happen here.  First, Chekhov attaches it to a one-sentence-long scene, a flashback scene that dramatizes the moment described more abstractly in the first thematic passage, the moment when grief strikes Grigory “unawares.”  We learn that Grigory’s pain was already there, but that he’s only now becoming “conscious” of it.

Secondly, the narrator no longer gets sole credit for the interpretive work here; Grigory himself is “remembering.” A look ahead at the next two passages shows that they repeat this pattern: in one the narrator explains, in the next Grigory “remembers.”  Chekhov makes these subtle shifts in perspective as Grigory begins to emerge from his long “drunken stupor.” Grigory and the narrator become closer, even as we the readers begin to experience the story from the inside, no longer peering into it as we might a snow-globe or painting.

In the third thematic passage, the narrator describes Grigory’s despair at Matryona’s death, extending our view of Grigory’s past from the events of the night before to the general quality of his forty years of marriage.  (“What with forty years of drinking, fighting, and poverty, he had not noticed how life had passed.”) Chekhov again uses that simple, authoritative, and respectful voice to reveal Grigory’s growing moral awareness of himself, his tragic discovery that he can’t live without Matryona, that “he had wronged her terribly.”

The fourth passage shows Grigory remembering the previous forty years more specifically, recalling his wedding day and subsequent inability “to wake up properly.”  This passage offers the most damning interpretation of Grigory’s situation yet. It ends with the final, reverberant thematic statement:  “So, forty years had been wasted.”

Now the story has reached its lowest point, with Grigory recognizing that he must wake up from these forty years of sleep with the pain of his wife’s death as part of the bargain.  At this point, the narrator’s, Grigory’s, and the reader’s perspectives are all fairly unified, through the work of these four passages. We are fully experiencing this story by now, even before it’s over. The story has become a weird palpable force that is leading us and Grigory through itself.

In “Short Story Structure: Notes and an Exercise” Douglas Glover describes the function of thematic passages in a way that not only summarizes clearly what I’ve just attempted to demonstrate but also provides an excellent bridge to a look at the rest of “Grief.”  Here, Glover talks about a specific thematic device involving rhetorical questions, but since by nature all thematic passages pose questions, this applies to the more or less direct, interpretive passages I’ve discussed so far in “Grief,” too.

The truth is that good stories often open themselves up to readers by reading themselves. . .   The act of questioning is more important here than the act of answering. . . by asking the question in the text, the author creates a sense that the story is aware of the larger mysteries of its own existence.  A story that does not ask its own questions often seems to be fatally unaware of itself, unintelligent and inhibited.  It cannot develop any moral or psychological depth.  By asking questions the story generalizes its own meaning, opens up thematic depths, and, more importantly, creates new possibilities of action.

So what “possibilities of action” has Chekhov created for himself at this point in “Grief?” With Matryona now dead, the conflict becomes one of Grigory fighting against nature to get home and do what is right: to bury his wife and lead a better life.  He still wants a happy ending, but he also wants to finish the process of waking up.  He wants redemption. He first expresses this desire just before the fourth thematic passage, muttering “If only one could start life over again . . .”

Then, afterwards, as the night grows darker, he repeats his wish. “ ‘Live my life all over again,’ . . .   ‘Get a new lathe and get new orders.  I’d give the money to the old woman, I would!”

But the reawakening Grigory receives is not the one he has in mind.  The irony is that just as he begins to wake up to these internal nobler yearnings, he falls asleep. And the next thing we know about Grigory is this:  “He woke up in a large room with painted walls.  Bright sunshine was streaming through the windows.” Consider the contrast between the darkness of the night before and the painted walls and bright sunshine.  That combined with Grigory’s twice-stated desire to “live life over again” makes it hard for anyone faintly familiar with the Russian orthodox Christian tradition (in which Chekhov was steeped — and not always pleasantly) not to think of Easter, of the resurrection of Christ. Even if you don’t think of that, the contrast is vivid.  And at this point we identify so thoroughly with Grigory that Chekhov, brilliantly, doesn’t bother letting us know how Grigory even got to this room. We don’t even know if the hospital is the building in front of which he fell asleep the night before.  So when he opens his eyes to the painted walls and the streaming sunlight, he and we may as well have woken up in heaven.  It seems miraculous. We only begin to realize that we’re still on earth when other people enter, at which point Grigory tries to appear, as Chekhov and his translator say, “sensible,” an apt word, given Grigory’s struggle to come to his “senses,” not to mention his yet-undiscovered sensory loss.

‘Must order a funeral service for my wife,’ he said.  ‘Tell the priest…’  ‘All right, all right,’ a voice interrupted him.  ‘Keep still there.’

When Grigory sees the doctor, he wants to go down on his knees, and when he can’t do this, he asks the doctor why. To which the doctor kindly replies:

‘You can say good-bye to your arms and legs.  You got them frozen.  There, there. . . What are you crying for?  You’ve had your life, haven’t you?  You must be sixty if a day – isn’t that enough for you?’

Talk about a blend of comedy and tragedy. As Douglas Glover himself has noted, “It’s Monty-fucking-Python!”  It’s hysterical and horrific.  But within this blend, Grigory experiences his final and fullest moment of recognition, saying, “‘What a thing to happen to a man, sir.  What a grievous thing!’”

This line is the story’s ultimate thematic passage.  It ties everything together: on the surface, Grigory refers to his newly discovered state of quadriplegia, but because of all the work of the four earlier thematic passages, this epiphanic line means so much more. It applies to Grigory’s entire life and, by extension, to our lives, to our emotionally and morally if not physically or economically impoverished condition in general.   Most importantly, the line comes directly out of Grigory’s mouth; the narrator no longer needs to speak for him.  Grigory has awakened. And when the doctor curtly dismisses him and walks out of the room, (“Goodbye to the turner!” is how Magarshack translates the last line of “Grief”), we wake up too.

Written in 1890, five years after “Grief,”  “Gusev” is known for its somber, sleep-and-silence-studded atmosphere and above all, for its ending, which has led Richard Bausch to call it the most “audacious . . .  story in the world.” Bausch attributes this audacity to “the radical way [the point of view] shifts, in the last paragraphs, from the limited omniscience of Gusev’s consciousness, to an omniscience that includes the sea and sky.  The way it leaves the province of human thought and action . . . and enters the animal kingdom.” Reading those words helped explain the disorientation I encountered the first time I read the closing scene of “Gusev.” My reaction was almost physical, as though something had dropped away from me.  I am sure, also, that my reaction was intended, for, as Bausch says, Chekhov’s aim in “Gusev” is to “lead us into a perception we do not want: the enormity of the world and the universe and to our puny place in it.” (Not altogether unlike “Grief,” come to think of it.)  The profound effect of this “radical” shift in “Gusev” is achieved to a great extent because of the way the story’s thematic passages prepare us for it.  (Also not altogether unlike “Grief.”)

“Gusev” is about a Russian peasant who is sailing home after five years of military service in the Orient, while dying of tuberculosis. From his hammock in the ship’s sick-bay, he gets to know Pavel, an educated cynic with an ecclesiastical background, who is also dying.  With a few other sick or dying soldiers playing cards in the background, Gusev and Pavel compare their lives and opinions and religious ideas.  They also sleep a lot. Both men want to get home. (Again as in “Grief,”  the central conflict is one of a journey to a specific destination being thwarted by nature and illness.)  Gusev longs to see his village and family, who occupy his many fevered dreams; Pavel wants to ignite a revolution.  But neither of them makes it. In a three-act progression, first one of the card players – a character named Stepan — then Pavel, then Gusev die and are buried at sea.  The story ends as Gusev’s corpse descends through the ocean and is released from its sailcloth coffin by a shark. Meanwhile, the sky bursts into a sunset whose colors are reflected in the water.  The story is about fifteen pages long and is divided into five numbered sections. It is told by a third-person narrator, mainly from Gusev’s perspective.

As opposed to “Grief,” whose major thematic passages appear close together in the middle and are presented by the narrator, but whose final thematic passage is presented in dialogue, by Grigory, the thematic passages in “Gusev” occur throughout the story, delivered first in the speech or thought of either Gusev or Pavel, and then, at the end, by the narrator. Thus, in “Gusev,” there are three thematic threads, as opposed to only one in “Grief.” The first two appear right away in the story’s opening dialogue, in which Pavel scoffs at Gusev’s naïve belief in a story about a fish that “came smack against a ship and tore a hole in the bottom” as well as his observation, after a jug falls off a table, that “the wind must have slipped its chains.”

Is the wind, then, an animal that it breaks loose from its chains?” Pavel asks.  Gusev acknowledges that this is indeed his understanding, and Pavel says, “You should have a head on your shoulders and try to reason things out. You don’t have any brains!” This leads to the subsequent passage coming from Gusev, as translated by Robert Payne:

What was strange or astonishing in the story about the fish or the wind slipping its chains? Suppose the fish were as big as a mountain, suppose its backbone was as strong as a sturgeon’s, and then suppose that far away, at the end of the world, there were great walls of stone and that the furious winds were chained to these walls.  If the winds had not broken loose from their chains, how do you account for the fact that they fling themselves across the sea like maniacs, and struggle to escape like dogs?  If they were not chained up, what became of them when the seas were calm?

Through Gusev’s rhetorical questions, Chekhov carves open a thematic vein, helping us experience more fully something central to the meaning of the story: the mystery of nature’s power. Gusev’s embrace of this mystery is simple and folkloric, but still his questions comment on or interpret a huge part of the action of the story, which is quite simply the action of nature or, more mythically, the cosmos. And by asking what is “strange or astonishing” about it, Chekhov begins to prepare us for the astonishment we experience at the end. This passage isn’t the only one in which Chekhov connects Gusev to the natural and cosmic world.  Again and again, Gusev blurs distinctions not only between himself and nature, but also between the imagined and the real.  When Gusev becomes drowsy at one point, he feels as if “all of nature was falling asleep.” At another point, he wakes up from a dream of his family so happy to have “seen his own people” that “joy made him catch his breath, shivers went up and down his spine, and his fingers tingled.”

Pavel, on the other hand, is more cynical and enraged, obsessed with human injustice.

Dear God!  You tear a man from his home, drag him out of his nest, send him ten thousand miles away, let him rot with consumption, and . . . You wonder why they do it! . .  It doesn’t make sense!  .   .  .”

He points out the immorality of Gusev’s meaningless years in service and the insanity, not to mention political expedience, of putting people on board the ship in such bad health. Gusev counters with:

“Of course, Pavel Ivanich, a bad man is never well treated, either at home or in the service, but if you live right and obey orders, who wants to do you harm?”

But Pavel is all scorn and protest. With him, Chekhov makes ranting a type of thematic passage device. Pavel’s most heated diatribe appears in the third section, after the death of the card-player Stepan.

“In Kharkov I have a friend, a man of letters.  I’ll go up to him and say: ‘Come, brother, put aside those abominable subjects you write about, the loves of women and the beauties of nature, and show us the two-legged vermin.  There’s a theme for you. . . You people are in the dark, you are blind and beaten to the ground;  .  .  .  They tell you the wind breaks loose from its chains, that you are beasts, savages, and you believe it.  . . . You are outcasts, poor pathetic wretches.  .  .  I am different.  I live in full consciousness of my powers.  I see everything, like a hawk or an eagle hovering over the earth, and I understand everything. When I see tyranny, I protest.  When I see cant and hypocrisy, I protest.  I cannot be silenced: no Spanish Inquisition will make me hold my tongue.  No! If you cut out my tongue, I will still protest – with gestures.  Bury me in a cellar, and I will shout so loud they will hear me a mile away, or else I will starve myself to death, and thus hang another weight round their black consciences. . . . Yes, that’s life as I understand it.  That’s what is called life!”

Of course, neither Gusev nor Pavel are portrayed as two-dimensional characters. Within Pavel’s ranting we hear his compassion, which causes him in a quieter moment to lament that “life only happens once and must be taken care of.” Gusev, despite his innate sweetness and capacity for joy, is an uneducated bigot.  He refers to the “crazy Jew” in his village, says he would never jump into the sea to rescue a non-Christian or a German, and admits to having beat up two “Chinamen” who brought firewood into his yard during his years of service. At one point while in harbor, Gusev looks out the ship’s porthole and sees another Chinese man standing on a boat, holding a bird in a cage, and singing.  This blissful image inspires Gusev to wish to slug the man (possibly out of jealousy and possibly because he can only relate to the bird in the cage).

It’s notable that – unlike Gusev – neither Stepan (the card player) nor Pavel recognizes the approach of his own death. Chekhov isn’t afraid to be funny at these moments, either.  Stepan’s last words – he lies down in the middle of a card game – are, “I won’t be a moment, fellows,” and Pavel, mere hours from dying, boasts: “My lungs are healthy – what I’ve got is the stomach cough.  I can stand hell and that goes for the Red Sea. . .”

Gusev, in contrast, faces his death knowingly, yet another example of his uncanny affinity with the incomprehensible.  To be sure, he is warned by the deaths of Stepan and Pavel, not to mention the nameless wounded soldier who carries him on deck and tells him:  “you, too, Gusev, you’re not long for this world.  You’ll never reach Russia.”

This anonymous wounded soldier, very interestingly, whispers these words to Gusev just before, again as in “Grief,” Chekhov slows the tempo and allows his narrator – as the story’s own consciousness – to emerge. This is in the middle of the fourth section, closing in on the end.  With the appearance of this anonymous soldier, the point of view begins to widen.  First, stepping around the countless bodies of sleeping soldiers, all on their way home (is it becoming clear that sleep is a constant refrain – and metaphor – in this story?), Gusev and his companion make their way to the ship’s prow.  As they gaze out at the night and sea, the point of view quietly shifts – almost slips – to the narrator.

“. . . The deep sky lay over them, the clear stars, stillness and peace, and it was exactly as it was in the village at home” – this is still Gusev observing – “while below them lurked darkness and chaos.” Here the narrator is starting to enter the language, the voice. “Great waves were booming; no one knew why.” Suddenly, “no one” steps behind the point of view. Then, in a moment, “you” will, as again, distinctions and identities are blurred.  “Every wave, whichever one you looked at, was trying to climb over the rest, hurling itself on its neighbor, crushing it down; and then there would come a third wave with a glint of light on its white mane, as ferocious and hideous as all the others, with a full-throated roar.”

Now comes a crucial shift, where the narrator, with one bold, subjective, declarative sentence, takes control. We forget that Gusev is there. This is the story’s central thematic passage, in which we feel addressed by the story itself.

The sea is senseless and pitiless. If the ship had been smaller, and not made of thick iron plates, the waves would have crushed it without the slightest remorse and devoured all the people, making no distinction between saints and sinners.  The ship itself possessed the same cruel expression, devoid of any meaning.  This beaked monster pressed forward, cutting a pathway through a million waves, fearing neither darkness nor winds, neither space nor solitude – all these were as nothing, and if the ocean had been populated, the monster would have crushed its inhabitants, making no distinction between saints and sinners.

This passage does so much. It unifies and makes moot all of Gusev’s and Pavel’s ideas of morality and life, and it opens the story to “new possibilities of action,” providing a hinge by which the story pivots to its audacious conclusion. To begin with, Gusev emerges from this trance having unblinkingly absorbed the truth of his mortality.  His last words, after the nameless soldier asks him if he’s afraid of dying, show no denial and are anything but naive: “Yes, I’m afraid.  I’m full of sorrow for the farm.  My brother at home, you know, there’s nothing sober about him – he’s a drunkard, beats his wife for no reason at all, and doesn’t honor his parents. . . . But my legs won’t hold me up, brother, and it’s suffocating here. Let’s go to sleep!”

After Gusev’s funeral, his body, sewn up in the sailcloth, slides into the air off of a “tilted plank” and tumbles into the sea.  The point of view has by now broadened to the soldiers on board, who, chorus-like, share this rather lovely, timeless, and all-inclusive observation and rhetorical question:  “Strange that a man should be sewn up in a sail cloth and then tossed into the waves.  Was it possible that such a thing could happen to anyone?”

And then, with the scene that provoked my disorientation, the mood picks up:

. . .  he fell among a shoal of pilot fish. When they saw the dark body they were astounded and rooted to the spot, and they suddenly turned tail and fled.  In less than a minute they came hurrying back to him, quick as a shot, and they began zig-zagging round him in the water.

This is the scene Richard Bausch talked about, where the point of view enters the animal kingdom. It’s comic-strip-like.  In its next “frame,” the shark appears and swims “below Gusev with dignity and reserve.” Then, mimicking that fish in Gusev’s opening story, the shark tears the sailcloth from head to toe and Gusev and an iron fire bar drop out.  Chekhov, with his own dignity and reserve (it can be hard not to discern certain doctor-like qualities in his depiction of the shark), guides us away from what happens to Gusev, and diverts our attention first to the fire-bar as it sinks to the bottom of the sea and then to the sky and the top of the sea, ending the story like this:

Meanwhile in the heavens clouds came and massed themselves against the sunset . . . There came a great beam of green light transpiercing the clouds and stretching to the center of the sky, and a little while later a violet-colored beam lay beside it, and then there was a golden beam, and then a rose-colored beam.  The heavens turned lilac, very soft. Gazing up at the enchanted heavens, magnificent in their splendor, the sea fumed darkly at first, but soon assumed the sweet, joyous, passionate colors for which there are scarcely any names in the tongue of man.

I consider the last line a thematic passage, which ever so slightly mitigates the effect of the longer one preceding it.  For what has happened to the senseless and pitiless sea?  Like the fish and the shark, it has taken on human characteristics, even as Gusev has relinquished them.  As David Jauss points out, “by personifying impersonal nature, Chekhov depersonalizes Gusev, and further emphasizes the meaninglessness of both his death and life.” Yet Chekhov –just barely – spares us and himself from total starkness by honoring Gusev even while emphasizing his insignificance, by describing the “scarcely” nameable colors in the sea and sky as “sweet,”  “joyous,” and “passionate,” qualities specifically attributable to Gusev when he was alive.

Finally, it’s been fascinating and illuminating to compare the thematic passages of “Grief” and “Gusev” side-by-side.  Whereas in “Grief” these passages lead us from the nameless narrator’s voice to Grigory’s individualized epiphany, in “Gusev” we travel from specific, individualized, human thought into something more nameless and vast, an “unconscious” consciousness alluded to by the title of the hymn sung at Gusev’s funeral, “Eternal Memory.” Whereas in “Grief” we wake up, in “Gusev” we fall asleep.  We surrender what is characteristic. We die and vanish.  No wonder it’s disorienting.

—Julie Marden

 

Apr 082010
 

Here is the first cut, the best, to my mind, of the entries. Some had to be eliminated, inevitably, despite all the wit and enthusiasm they exhibited. Nonetheless, I expect death threats. That’s why the judge’s name has been withheld.

dg

The most curious cat has no interest in the price of dog food.
Steven Axelrod
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Essays are fictions in which writers efface themselves, pretending they are not there, perhaps even believing it. Ideas are an essay’s themes, used to produce the illusion of substance; facts are the details the story teller selects to give the impression of reality. Its plot is the progression of its argument, which, as in fiction, moves to the consummation of some desire, or the destruction of another.
Gary Garvin
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Beware the aphorism: a leading cause of spontaneous aneurysm.
Jacob Glover
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Aph or isms – take your pick.
Julie Larios
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A loss of face requires more than plastic surgery to fix.
Natalia Sarkissian
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Read the rest!

Mar 312010
 

Okay, a couple of things I was reading about this morning that I can’t resist mentioning. First of all, it turns out Jesse James (not the cowboy; Sandra Bullock’s husband) had a 4-way with his gf Bombshell McGee, a tattoo parlor receptionist named Skittles Valentine, and her boss. There is something magnetic about these names. I am going to write a novel called Skittles Valentine.

The other thing is this video of militia girls in training. It made me want to join. Absolutely. About half-way through the video there is a blurred image that looks like a guy holding up a target for people to shoot at. Could this be true? How long did he survive? I guess life is cheap in the Michigan woods.

Soon I will begin writing about literature and deep things again, but this morning all I have to look forward to are packets.

dg

 

Mar 302010
 

I’ve culled through the original contest post for legitimate entries. By “legitimate,” I mean not quotations from other writers or lines stolen from Jonah. I also, regretfully, eliminated my own entries. Here is the list so far (let me know if anyone feels unjustly left off). Entries are now officially closed. But some of you voted before some of the latest entries came in. See below or check entries and comments on the original contest post.

Please feel free to cast votes for your favourite in the comments section (no secret ballot); I’ve decided there will be two winners, one chosen by the judges, and one chosen by readers. Read the entries carefully; some of them are actually multiple entries. Anyone who cares to can vote; this isn’t restricted to students or former students.

Some rules of the road: 1) Don’t vote more than once. You can enter more than once, but you can’t vote more than once. 2) Check to make sure you know what an aphorism is before your vote. (I know, I know–I’m a pedant.) 3) You can change your vote as long as you make it clear that this is what you’re doing. 4) You can add supporting commentary to your vote. 5) Make sure you are clear in your comment/ballot which aphorism you are voting for.

Here’s a running tabulation of results as of 5pm, April 8

Lucy! (my dog) An aphorism is 2 votes (a third vote, from Gary’s son, is in dispute because he didn’t actually vote himself; also Gary wrote [somehow channeling my dog, I guess] the aphorism and voted for himself–not necessarily against the rules; also Robin, who voted for it, is uncertain if it is an aphorism–as usual the People are a fractured and disputatious lot)

Michele Irwin For Bard 2 votes

Axelrod  Donne… 2 votes

Axelrod When you wish 1 vote

Axelrod There is nothing quite 1 vote

Lucy! (my dog) An aphorism is 1 vote

dg

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Talk is cheap — because supply exceeds demand.

Steven Axelrod

March 15, 2010 at 4:05 pm Edit
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Read the rest…

Mar 272010
 

Marine Eugene Sledge

Joe Mazzello as Eugene Sledge

This post is prompted by working with Ross Canton who is writing a Vietnam War memoir. Ross was a radio operator and a member of a mortar team til he was wounded the third or fourth time, dreadfully wounded, hospitalized, and finally sent home. In any case, we’ve both read the standard Vietnam books; I’ve read several World War One memoirs by British writers like Guy Chapman, Siegfried Sassoon, and Robert Graves. And I’ve read Paul Fussell’s The Great War and Modern Memory in which Fussell argues that the writing that came out of World War One established a template for describing certain life experiences ever after. Certainly, I think it is very difficult for people to write about war without falling back on types and patterns set in the early 20th century.

The other day I noticed promotional material for the Tom Hanks/Steven Spielberg 10-part, $195 million, HBO miniseries called The Pacific. The series is based largely on the reminiscences of three soldiers, especially Robert Leckie’s Helmet for my Pillow and Eugene Sledge’s With the Old Breed. Both Sledge and Leckie were enlisted Marines (Chapman, Sassoon and Graves were all officers). The Sledge book is the best by far; Leckie gets boring with all his teenage hijinks and his endless nicknames,vague characterizations, etc. But Sledge is good and he is tough to read (like my student Ross Canton, he served with a mortar team). We have become so conscious of battlefield “atrocities”–in Vietnam, atrocities seemed to define a moment of excess inside the bizarre horror of the battlefield, excess within excess–that his matter-of-fact portrayal of the debasing experience of war and its effects is fascinating and awful. In the Leckie book there is a Marine named Souvenirs who goes around prying gold teeth out of the mouths of dead Japanese soldiers. In Sledge, you get the idea this was pretty common and at one point Sledge himself starts to think about it and is barely headed off by a gentler, smarter friend. One wonders what Spielberg will do with Sledge’s Marine lieutenant Mac, fresh from the States, who takes his carbine and shoots off the tip of a dead Japanese soldier’s penis for target practice. Or the Marine who casually shoots an elderly wounded Okinawan woman to death while Sledge is off trying to find a medic to help her. Sledge is also good on the smell of war–the heat, the rotting bodies, the blow flies, the diarrhea, the maggots. Sledge makes it clear that experiencing war is a constant struggle to compose one’s self in a world of, to us, unimaginable horror, cruelty, boredom, and exhaustion. One of his worst fears is that he will give in to fear. Many do.

The Vietnam war books I recall (and I haven’t read them for a while) might be better written, but there is a truthful naivete in Sledge’s book. And he never gets up on a moral high horse which makes me trust him. His sense of the human capacity for moral corruption is wise–I feel as if we have become more foolish about war, or the media has made us so. By contrast, there is a book called The Pacific, a companion to the TV series, which is just dreadful, thin, unpleasantly breezy, cliched, distant, and abstract. Here as an excerpt. With books like this veiling the experience of war, it is no wonder we are constantly surprised by what actually happens. At this point, one is reminded that writing well is a moral act. Think about it.

This is just a pre-thought. I haven’t studied the matter. There is a book or a paper to be written on war writing that includes things written between World War One and the Vietnam War and the wars beyond that.

Or just for starters think about the difference between the two photographs at the top of the post.

dg

Mar 262010
 

I’ve been trying so hard not to post! The aphorism contest was particularly difficult to avoid . . . as was the pompeiian graffiti. To me, your blog is the equivalent to literary facebook . . . i’m not sure if that’s a compliment.

Mar 242010
 

This post is extemporaneous, un-edited and un-solicited.  (Have I caveated it enough?)  My struggles to understand writing have reduced to this:  failure must be a significant part of the process.  I hope.  Nothing in my life (perhaps golf?) has prepared me to face failure and utter disgust with my own ability quite as much as the last year and a half, and the last two months in particular, with these little frissons of joy at a sentence, a phrase, a moment captured.  Yet every time I think that my hands have grasped something concrete, it slides away.  It’s character. No, it’s structure.  But what level of structure?  No, it’s the verbs.   I feel like I’m trying to wrap my arms around a jello-mold!  Yet, as my wife has pointed out, I’ve never been more happy, never more satisfied with anything I’ve ever done.  How does failure satisfy you?  How does ineptitude qualify as joy?  But there it is.  My ego has been stripped raw.  My brain fried.  My confidence reduced to doubts about every comma, every verb.  Yet what else would I rather be doing?  Perhaps being attacked by a killer clownfish, but beyond that?

—Richard Farrell

Mar 242010
 

acquainted

Karen Mulhallen

This is my introduction to Karen Mulhallen’s book of selected poems Acquainted With Absence, published last year by Blaurock Press in Canada. I selected the poems, did some editing and wrote this introduction.

dg

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This isn’t a book, it’s a keen and a lament. It’s words shimmering over the void. It’s whistling in the dark. It’s lusty, lorn, fearful, lonely, melancholy, defiant, ebullient, mischievous, loopy, solemn, comic, mysterious, fragile, erudite, and grand. In “Letter V” (from In the Era of Acid Rain, 1993), the poet addresses an interlocutor: “You complain of my limited subject matter. Death, you say, it’s always death. Let’s hope we can keep up the supply of men, to fuel your ruminations.” To which the poet replies: “But, my dear, you are mistaken. It is not death but union, mating, bridgeworks, which is my subject. Yin and Yang. The severing of bridgeworks, my lament.”

Love and death, then are the subjects, and they are the same, for love implies loss, and death reminds us always of the living thing that was before and the two together are located at the limits of language where each word suggests its opposite and together they create diapasons of wholeness and loss. In the poem “Sheba Oenone” (from Sheba and Solomon, 1984) from which the title of this book is taken, Sheba addresses Solomon after returning to her desert kingdom.

The chronicler warned me
Of the return from your kingdom
Too long you will remain, she said,
After dark is dangerous.

She has remained too long in Israel, the lover’s realm, and, home now, she addresses him as if from the Land of the Dead in a series of paradoxes interspersed with the physical signs of arousal. So that love, loss and desire form a triumvirate of modalities defining the poet’s impossible state.

When it is damp, the water sinks
Eyes flicker
When it is dry, the fountain sprays
Veins pulse
When it is sunning, the prisms crack
Core throbs
When it is darkling, the stars shine
I am waiting.

Acquainted With Absence is about longing for the mysterious one, the fatal flawed lover, it is about travel–the poet goes away and writes back, the lovers call from far away or visit and disappear or hover just beyond reach–it is about the deaths of loved ones, a litany of loss with which we are all, yes, familiar, though for each of us the litany is different. That first book Sheba and Solomon seems now so significant, though it’s early and a kind of trailing harbinger–much later the books come faster–but it’s about a pair of legendary lovers whose courtly affairs mixed with affairs of state seem to belie the passion and eros that inspire the poems. Impossible loves are the only kind, it seems, in Karen Mulhallen’s poems, yet in Sheba’s realm eros has a bite, and an impishly libidinal smile hangs over heart and bier.

These are poems culled from each of the poet’s books, also some are uncollected, and one is unpublished till now. The result is a Frankenstein if we assume that the author’s intent was to create a separate living organic whole with each collection. A very elegant and original Frankenstein, to be sure, a Rudolf Nureyev of a Frankenstein, though no less the child of a radical surgery. I have put the arms and legs from one book with the heart and ears of another. The things I have left out haunt this collection and me. There is a rough narrative arc that is only notionally chronological (the author has had a notable life–Woodstock childhood, Blake scholarship, academic career at Ryerson University, more than thirty years of fostering the country’s writers with Descant Magazine, marriage and aftermath, romances, periods of creative sequestration, fierce, loyal friendships, wanderings, and, always, the writing). But I start with a poem from the author’s first collection and try to dance through marriage, lovers, family deaths and deaths of friends, and travels, vectoring toward that moment when she herself perished, technically, at least, in a diving accident and then came back. (Examining her afterwards in Toronto, doctors discovered her skull to be populated with several mysterious and charmingly named UBOs, Unidentified Bright Objects.)

Ripped from their settings and reordered intuitively (my intuition) the poems now hint at an autobiography that is not Karen Mulhallen’s autobiography but somehow recollects her emotional passage, her obsessions and the idiosyncrasies of an original and remarkable mind. Reading and rereading her, one begins to notice, beyond the narratives of love and death and the concrete references to loved ones and beloved places (ripped from context, the loved ones and beloved places become mysterious and mythic–the lover is a Demon Lover and the earth is Gaia, fecund, damp, sensual), insistent recurrences: water, islands, plant lore, horses, seahorses, even dogs–lovely to watch the imagery unfold into myth, comedy, eros and personal anguish.

Bear with me. An aside on horses. Watch the web and reiteration of words:

Each day on the beach the horses appear.
There are four of them, and a man.

Horses came with the dawn, hyracotherium,
and the dawn horse was small,
only four hands tall from withers to ground…

This is from “The Horses of the Dawn” (from Sea Light, 2003) in which the poet observes four Arabian horses on a Caribbean beach and her mind casts back to the earliest horse (she is always going back to the beginnings of things and tracking the eons forward). And it speaks to a parallel moment on the Toronto Islands in a gorgeous blank verse piece “The Changing Light at Gibraltar Point” (also from Sea Light):

The horses appear at the verge, closer to the studio window than to lake. The light is
strong, the lake is blue, cirrus clouds at horizon, beyond them a pale blue lofty sky. The
black raises its head…

And then, with a modulation of tone (the horse, by the logic of poetic structures, metamorphoses into sea horse, sea monster, part of the brain and a lover’s penis), to this poem “The Sea Horse” (from the book Sea Horses, 2007):

The Sea Horse

preoccupies me
its sweet curve at the edge of the crook of your loins and your thigh
enfolded like the hippocampus, a sea monster/
sea horse, no need to lift up to aggression,
so easily it can be asked to dance;
in repose it is simply at rest,
and age carries that tranquility
in its most sweet form

In Acquainted With Absence, the horse-sea horse-penis brings to mind flutes (for obvious reasons) and iguanas (which, the poet reminds us, have two penises and can be made into an aphrodisiac soup–mentioned twice), but the horse is also death (in a tanka she wrote as part of a multi-year back-and-forth poetic collusion with her friend Virgil Burnett–Renga Talk, 2007):

Death’s the grand stallion
leading us, not to finis,
but to ever, anon–

And at the end of the book it becomes the poet herself.

Wind

on the grass/
my fingers on these keys.

I have come to the place where what I desire
is not what others desire.
I have not yet reached the place where I know this instinctively,
but it is now part of my deep knowledge of myself
And of my relation to the world.

Some Sable Island horses do not drink from the freshwater ponds.
They dig their own holes for their water.

The title of this poem is “Wind” (from Sea Horses) which resonates with an earlier poem called “Winds” (from Sea Light) in which the poet touches on horses and horse latitudes, the verb “horsed” (to be placed in irons), horsing around and horseshoes, but the tone, the somber sublunary self-consciousness, recalls this tanka.

I wonder if I
am lonely, living as I
do. What do you think?

Is it wrong to be alone
always? Is solitude a vice.

For which there is an answer:

You’re right, of course, what’s
needed now is pleasure, of
almost any kind–love,

travel, friends, poetry, sun,
food, art, beauty, music, wine.

I indulge myself in following the horse motif (and there is more to it than I have mentioned) not because I think horses mean anything in the way of a hefty symbol but because with any good book of poems you can take a thread and begin to untangle the skein and it will lead you everywhere else in the book. Who can tell the deepest leanings of the poet’s mind, or would want to, except to say there is joy in metaphor, metamorphosis (a kind of pun, really) and the play of language? “Horse” is a word, and in the end the horses lead us back to the solitary poet and her Mediterranean pleasures (Woodstock, after all, is in Canada’s deep south–we are sun-lovers and pleasure-seekers, the whole lot of us), pleasures which, in the style of the book, take on a melancholy air of bravado. In “Dirge of the Polar Bear” (War Surgery, 1996), the poet writes:

I confess I am old:
In particular, this morning,
as I catch myself in the glass of ice and ocean,
as I begin musing, a-musing
on anabasis, the long march,
the eternal return of my alitros,
my rascal.

Pinpricks of light, entire rainbows
on the points of ice, prisms of air
where Socrates leads the dead to judgement
in the Phaedo, enchanted each by his own genius
entering the realm of myth
led by a daimon, the demon of self
our rascal, our genius, guide
into a territory where ghostly ice shrouds rise up
with each gust across the lake.

The poems in this book date from the 1960s to yesterday and the poet went through several stages of development corresponding to allegiances, discoveries and experiments: Charles Olson’s open field writing–that essay “On Projective Verse”, Whitman’s New World long line, William Carlos Williams’ three-line stanza, James Merrill–unlike many Canadian writers, Mulhallen is willing to admit the richness of American writing. But she is just as likely to be thinking of Thomas Wyatt or Yeats or Keats. The Grace of Private Passage (2000), for example, is written with a lot of those Williams three-line stanzas. The Caverns of Ely (1997, 2000) has a Tennyson poem in the back of its mind, but also contains two Michael Drayton poems, a line from a Jean Rhys novel and a passage of Laurence Sterne’s A Sentimental Journey rendered as poetry .

having been in love almost all my life
may I go on so ‘til I die

Sometimes Karen Mulhallen’s poems look like poems and sometimes they look like prose, although the prose look of, say, “Letter V” is illusory–the poem is written in blank verse buried in a somewhat Miltonic long line of iambic pentameter phrases; the lines run although the ear can pick up the line and stanza breaks and the caesuras throughout. Sometimes she explodes her lines with spaces to create open field poetry. Sometimes the ends of lines stand in for punctuation–periods or commas. Sometimes she runs capital letters at the start of each line and sometimes she doesn’t. All these variants have been left as they were despite the occasional incongruity in the current setting because to homogenize them would have insulted the original organic integrity of inspiration and the poet’s delight in self-transformation and growth. And what you find if you read carefully enough is a text in which the vectors of intention, influence, allusion, word-play, context and specificity (of place, time and gesture) criss-cross to form a densely layered and fascinating poetic matrix.

But this is house-keeping, and I really mean for this mysterious book and the passionate intelligence of the poems to carry themselves without explanation or caveat. Karen Mulhallen is a magnificent poet, prolific, protean and deeply, intensely personal. She is a metaphysical poet, concerned with ends and existence, yet she grounds everything in the specific and the concrete. Just to remind you of how this works, here are lines from “The Caverns of Ely” which echo the wind/horse pattern, quote from a Jean Rhys novel, speak of love and the writing of poetry and close with taking down the laundry.

The wind came up strong today, when you were absent–
I wanted to say away, but feared the closure of a rhyme–
I felt the sadness in the wind, so much sadness in the wind,
and thought of sending cards inscribed to all whom I love
‘It is very windy here’,
as I gathered the laundry from the line.

Everything (love, line, word, laundry, poet) hangs in the windy air between I and you, and the space between is absence, a state of being that informs every poem in this book. To be is to be in a relation and to write is to bridge the gap (watch the “bridge” pattern throughout the book). The paradox (the romantic paradox) is that if there were no gap, if love succeeded, there would be no room for poetry. Think of those courtly troubadour poets singing rhymes to their chaste and irreproachable lovers, the mystical she/other who might be a real woman, or God, or an occasion for a line. Then mull the implications of this elegant turn at the end of the brilliant “Spel Against the Author of Spel Against Love Poems” (from Modern Love, 1990) wherein the poet evades the lover in order to make the writing of love poems possible.

So I write this spel against the speller
I keep silent
evade you here in the light
where my mind is
and not in the body
losing itself to darkness and dreams
to the writing of love poems
I loved you with so bright a light
so wise
I could not write.

—Douglas Glover

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Mar 242010
 

The world of literary translation knows no boundaries. David Helwig sent me the following, a piece of graffiti found on the wall of a brothel in Pompeii.

Arphocras hic cum Drauca bene futuit denario.

I looked it up on the web. The more or less accepted translation goes like this: Here Harpocras has had a good fuck with Drauca for a denarius.

But I sent the line to Jacob to see what he thought. He wrote back: Something along the lines of…Here Arphocras laid well with Drauca (my dictionary says this means sodomite, but it is a capital D so I made it a name. I think it is a pun.) for a silver coin. Basically… “Arphocras fucked the shit out of some male hooker right here for like no money.”

Then I looked up the quotation in Craig A. Williams Roman Homosexuality. Apparently, the price paid to Drauca was eight times the going rate (according to other notations on the wall).

The plot thickens.

dg

Mar 242010
 

In 1968, an American assistant professor at York University observed to me that in terms of political spectrums, the Canadian Right begins somewhere left of the leftiest American Left. Here’s an essay by Stan Persky on Naomi Klein in the online magazine Dooney’s Cafe. Klein used to edit This Magazine where I once or twice published stories (I suspect this was before Klein was even born). There are a couple of interesting message vectors here. The first is that these are people who come from a Canadian Leftist tradition which, in many ways, has its roots in a Prairie Protestant religious movement of community and co-operation (unlike the U.S. where Protestantism is mostly on the Right). The second is that Canada also has, through Marshall McLuhan and Harold Innis, another tradition of culture criticism that rises from a study of the social and cognitive effects of technology. These two threads seem to coalesce in Naomi Klein and her critiques of market capitalism. Oddly enough, as Persky points out, Klein is getting some traction on the American Right, which seems paradoxical and fascinating. All this talk of Right and Left doesn’t mean that much any more since both sides seem to assemble slogans without giving much attention to underlying consistency or purpose. It’s strange to think that Tea Baggers and anti-globalization demonstrators actually agree on some things. Anyway this is a interesting article, not the least because it’s about how to write a bestseller against the idea of bestsellers.

dg

Mar 212010
 

Last night I watched a movie called A Good Woman adapted from Oscar Wilde’s play Lady Windermere’s Fan. Very witty, packed with aphorisms. But it was also fun to look at the play and the script (this is not a movie script but a transcript just to give you an idea). The movie doesn’t seem to have gotten such good reviews, but the side dialogue crackled on occasion. Take a look at it if you get the chance.

Here are a few aphorisms I lifted from the play this morning:

I can resist everything except temptation.

Nowadays to be intelligible is to be found out.

Crying is the refuge of plain women but the ruin of pretty ones.

But my experience is that as soon as people are old enough to know better, they don’t know anything at all.

…nothing looks so like innocence as an indiscretion.

dg

Mar 202010
 

For research on a story (sorry Doug, I’m tipping my hand), I spent last week reading Lemay, The Life and Wars of General Curtis Lemay, by Warren Kozak. Lemay rose rapidly through the Army Air Corps as WWII raged.  He became the youngest two star general in the army, and later commanded the Strategic Air Command.  Lemay coined the phrase “MAD”, or Mutually Assured Destruction, the theory which justified the arms race in the name of the Cold War ‘peace’.  The premise of this policy, infamously being: if you attack us, we attack you, and everyone (literally) dies.  He is often considered the inspiration for General Jack Ripper in “Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb.”   Of course my understanding of the man changed considerably after reading the biography.  My grandfather fought in the Pacific during WWII, and used to tell me that had we invaded Japan, a lot of people would have died, meaning, more or less, that I wouldn’t be here, one way or the other…but I digress.

I also picked up 19 Knives, by Mark Anthony Jarman, The Shell Collector, by Anthony Doerr, and a craft book recommended by our own Robin Oliveira, Writing for Story, by Jon Franklin.  The Jarman frustrates me (in a good way, if possible)…he seems to get away with so much in his compact stories.  How do you write a story about a guy who changes oil?  Yet there it is:  “Song from Under the Floorboards.”  Doerr writes with a very wide grasp for such a young writer.  I admire his skill and his touch.  The Franklin book has challenged my understanding of structure in stories.  More to follow…

—Richard Farrell

Mar 202010
 

kierkegaard

Jacob Glover1Jacob Glover

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The first sentence of Søren Kierkegaard’s The Present Age is: “Our age is essentially one of understanding and reflection, without passion, momentarily bursting into enthusiasm, and shrewdly relapsing into repose”. I will argue that underlying this quote is the Platonic premise, continuous throughout Western philosophy, that there are two worlds, the world of existence (the material or phenomenal world, the world of empirical science) and the intelligible (the world of Forms, universals, God, and the Good).[1] Kierkegaard says that man in the present age finds himself no longer rationally able to conceive a relationship between himself and God or the Good (the intelligible world). (Kierkegaard’s present age was the 1840’s, but his ideas seem applicable now because they describe what was the beginning of modern industrial capitalism that exists today.) Earlier philosophical claims for interaction between the two worlds such as mediation (Hermes Trismegistus), emanations (Plotinus), or imminence (Spinoza) are no longer possible. In the present age, man cannot know anything about the intelligible world, God, or the Good. The intelligible world is radically separate from the material world. So Kierkegaard’s question is: What can or do we know? Reflection, Kierkegaard seems to be saying, is a form of thought, characteristic of this new age, which re-conceptualizes the material world without God. Kierkegaard contrasts reflection with idea of passion which seems to be a desire to know or engage with something radically unknowable. Passion, this desire, is linked to Kierkegaard’s idea of the leap of faith. Since in the present age we cannot know anything beyond the material world, the only way to live an authentic, ethical, or individual life is to passionately embrace a radical uncertainty about God or the Good. We must take a leap of faith, a leap into uncertainty.

Reflection, this process of thinking in the material world separated from the intelligible world, changes our motives and the way we value things and actions. Reflection suggests a new sort of rationality grounded solely on the material world and without regard for an intelligible world. This new rationality changes the objective and subjective value system for actions and decisions. For Kierkegaard, “eternal responsibility, and the religious singling out of the individual before God, is ignored.” Kierkegaard is referring to two effects, or characteristics, of reflection. In the present age two things are ignored: “eternal responsibility” (the drama of sin, salvation, and grace) and the “singling out of the individual” (the creation of individuals in relation to God or the Good). In other words, people in the present age, the age of reflection, now cut off from the intelligible world (and God and the Good), no longer have an “eternal” telos, or purpose; man in the present age can only perceive a purpose for himself that is dependent on, or related to, the material world. Without this “eternal” telos there is no reason to act or make decisions as if the actions or decisions have “eternal” importance, which is to say, in the age of reflection, there is no “eternal responsibility.”

People lose a sense of individual eternity as they lose or, “ignore,” this idea of “eternal responsibility” and further separate, metaphysically, from the intelligible world, God, or a greater Good. Kierkegaard calls this the “leveling process” or “the victory of abstraction over the individual.” That is to say that people in the present age, the age of reflection, lose a sense of eternal importance in what they do or think because essentially all people are so radically equal no one can capture any uniqueness, no one can conceive of themselves or what he does or thinks as eternal. People in the age of reflection are all entirely dependent on and, in a sense, enslaved to an obscure form of community. Not a community based, as I say, on anything eternal, but on pragmatic values derived from the new rationality of the age of reflection. It is a community of slaves whose master is their own interdependence. In Kierkegaard’s words, “The individual no longer belongs to God, to himself, to his beloved to his art or to his science, he is conscious of belonging in all things to an abstraction to which he is subjected by reflection, just as a serf belongs to an estate.” In the present age, the age of reflection, a person is so radically separated from anything that he can derive lasting, eternal, importance from individually that he loses his individuality and is swallowed into obscurity and dependency.

In the original quote Kierkegaard contrasts reflection with passion. According to Kierkegaard, the present age is passionless. But what is passion? The word “passion” derives from the Latin verb patior which means to suffer. I think this crucial in the discussion of what passion is to Kierkegaard because it emphasizes the inherent struggle that defines passion. Also the word probably refers to the Passion of Christ. Christ at the end of his life does not know, with any certainty, that God exists, but he wants to believe and does so anyway. Christ on the cross demonstrates what passion is: a desire to know, believe, or engage with, something you cannot rationally conclude exists, or even establish a metaphysical connection with. Passion, as Kierkegaard seems to imply, can only really exist in relation to reflection. Reflective thought occurs when people try to understand the material world, now that it is radically separated from the intelligible world, and passion is the desire to believe in an intelligible world, God or a greater Good even though you have no reason to. What’s crucial is the idea of reasons for something, something’s rationality. Like I said above, with reflection there is new rationality grounded in the material world, so of course there is no “reason” to believe in an intelligible world. But crucially this situation only exists in the age of reflection. Before Kierkegaard philosophers thought that the intelligible world was accessible in some form, knowable, and, in fact, based their rationality “in” it, thus they had “reason” to believe in its existence. So passion, to Kierkegaard, is the desire to believe in something that, rationally, you cannot, and, according to the word’s etymology, is a sort of internal suffering. To Kierkegaard, in the present age it seems unlikely that, “there is a single man left ready, for once, to commit an outrageous folly.” For Kierkegaard this “outrageous folly” is passion. It would seem outrageous, ridiculous, or foolish to want to believe in, or know, something that you cannot.

Kierkegaard gives the example of a skater on a lake. This example, to me, best demonstrates the differences between passionate and reflective thought. In a passionate age “the courage of the man” to skate out near the middle where the ice is thin, “would be applaud[ed],” but in the present age “people would think each other clever in agreeing that it was unreasonable and not even worthwhile to venture out so far.” In the present age, the age of reflection, the people don’t admire the skater at all, in fact, they admire each other as members of a group; they show dependence upon one another. The value judgments the people in the age of reflection do make are of the act of skating out so far, “an outrageous folly.” They conclude it to be unreasonable and not worthwhile. This is another example of the different rationality created by reflection that makes acts, such as are done by brave people, seem “unreasonable.” That is to say that in the age of reflection the people have no rational grounding for these sorts of actions; to them they have no purpose in the material world and are, therefore, purposeless. Furthermore these acts designate an individual and allow him, if only for a moment, not to be dependent on the others. He has found some purpose outside of the material world that is inconceivable in the age of reflection when the material is radically separate from the intelligible. Contrariwise a passionate age appreciates the individual and his attributes. The act itself seems to just demonstrate that which the man already possessed i.e. his courage. Essentially the differences stem from reflection and the lack of reflection, which is to say the separation of the intelligible world from one (the present age) and not from the other (a hypothetical passionate age).

The Present Age is essentially a thought experiment. Kierkegaard starts by describing the age of reflection when man has no rational connection to the intelligible world and finds himself radically subsumed in an abstraction of interdependence. Before the age of reflection people would derive their ways of life from ideas founded in the intelligible world. So now the question for Kierkegaard is: How do we live authentically? What do we base things like morals and ethics on, if our old fundamental principles are no longer rationally accessible? Moreover, how do we maintain any sense of self, or individuality, when we exist as eternally purposeless? Kierkegaard writes, “If you are capable of being a man, then danger and harsh judgment of existence on your thoughtlessness will help you to become one.” That is to say that, to live authentically, to have morals, to be an individual, you must do something that seems an “outrageous folly.” And in the age of reflection nothing seems more “outrageous” than assuming a connection with the intelligible world because in the age of reflection it is unknowable. But Kierkegaard insists, “Come on leap, leap cheerfully, even if it means a light hearted leap, so long as it is decisive.” In other words to live as an individual with morals, we must “leap” into belief. That is to say we must believe in something we have no reason, in the age of reflection, to believe in. We must contradict ourselves as rational beings and behave irrationally, we must embody passion, and “[our] thoughtlessness will help [us] to become” an individual.

—Jacob Glover

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Footnotes    (↵ returns to text)

  1. See Mappa Mundi: The Structure of Western Thought
Mar 192010
 

Dog

An aphorism is a rhetorical structure that more often than not functions as a balanced antithesis. This against that. There are many sub-varieties. Wit is introduced through surprising twists or juxtapositions, puns, and homophones.

E.g. “Obliquity of style leads straight to the Purgatory of vagueness.” (This I wrote in a student packet letter.)

“Separation gives one a chance to be a new person, but the new person has to take this huge, mangy, bloody, limping, rabid, mongrel dog on a leash everywhere he goes — this dog is the old person.” (This was a fugitive autobiographical thought.)

Here is one model exemplified by the Marquis de Sade. “There are two positions available to us–either crime which renders us happy, or the noose, which prevents us from being unhappy.”

And here is one of my own written after de Sade’s example. I wrote it to a student in a packet letter not so long ago. “There are two kinds of readers–the adventurers who glory in the breathtaking audacity and risk of a well-turned aphorism and the weenies who, lacking courage themselves, find it affront in others.”

Here is a Lawrence Durrell variant from his novel Clea: “‘There are only three things to be done with a woman,’ said Clea once. ‘You can love her, suffer for her, or turn her into literature.'”

And here is one of mine using the model: “Three people become famous as a result of any new artistic movement: the one who invents it, the one who does it best, and the one who parodies it.”

Here is an aphorism by Montaigne: “The world is but a school of inquiry.”

And this is one of mine using the same model. It’s from my story “Bad News of the Heart.” “Love is an erotic accident prolonged to disaster.”

This is from “The Indonesian Client.” “All sex is the manipulation of guilt for pleasure.”

Here is another from my story “Woman Gored by Bison Lives.” “Life is always better under the influence of mild intoxicants.”

There are many more variants of the form. Finding them and identifying them is a little like bird watching.

dg

See Numéro Cinq‘s First Ever Aphorism Contest below.

Mar 172010
 

helwig1David Helwig

It’s a great honour to unveil on these e-pages David Helwig‘s new translation of Anton Chekhov’s story “About Love.” David Helwig is an old friend, a prolific author and translator, and a mighty gray eminence on the Canadian literary scene. In 2007 he won the Writers’ Trust of Canada Matt Cohen Prize for distinguished lifetime achievement. In 2009 he was appointed to the Order of Canada. His book publication list is as long as your arm. He founded the annual Best Canadian Stories which he edited for years. He is the author of an earlier book of translations, Last Stories of Anton Chekhov.

This post includes Helwig’s introduction to his new book of Chekhov stories and the story “About Love.”

dg

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Anton Chekhov spent the winter of 1897-98 in France, most of it in Nice on the Côte d’Azur. He was avoiding the cold and damp of the Russian winter. In March of 1897 he had suffered a severe haemorrhage and was told that both his lungs were tubercular. Though he himself was a doctor he had for the previous ten years succeeded in ignoring the symptoms of his disease. Now he could no longer evade the medical facts.

That winter Chekhov read extensively in French and was much impressed by  Émile Zola’s public intervention in the Dreyfus scandal. (One suspects that the little anecdote in ‘About Love’ concerning the supposed Jewish gangsters might have its origins in this.) Chekhov improved his knowledge of the French language—he was interviewed about the Dreyfus affair in French—but he did only a limited amount of writing. In May of 1998 he returned to his estate at Melikhovo, and in July and August he published in the magazine Russian Thought the three connected stories translated here. A year later he described them as a series still far from complete, but he never returned to them, and they remain his only experiment in linking his stories.

Within an overall narrative about the travels in the Russian countryside of the veterinarian Ivan Ivanych and the teacher Burkin, Chekhov presents three framed tales, the first a kind of grotesque comedy of the sort associated with Gogol, the second not dissimilar but with a more explicit and impassioned response from its narrator, the third a poignant little story of failed love that may evoke for the reader Chekhov’s most famous story, “The Lady with a Little Dog.” Emotion grows more personal as we move from one to the next. In the first story Burkin tells a tale about an acquaintance. In the second Ivan Ivanych tells about his brother. In the third their friend Alyokin tells a story about his own life.

While the framed tales provide the dramatic core of each story, the framing narrative offers a vivid evocation of the Russian countryside, with a sense of history and geography complementing and containing the urgency of the tales. In ‘Gooseberries’ an extraordinary passage describes the aging veterinarian Ivan Ivanych swimming in a cold mill pond, unwilling to stop, in the grip of some inexplicable joy; then at a paragraph break the story modulates in a single line to a quiet sitting room where the framed portraits of soldiers and fine ladies evoke a past gentility, and Ivan Ivanych begins to talk about his brother’s life, its obsession, the crude and joyless littleness of his achievement.

A passage from the conclusion of the first story lifts our gaze from the events we’ve just been told about. “When, on a moonlit night, you see a wide village street with its peasant houses, haystacks, sleeping willows, tranquillity enters the soul; in this calm, wrapped in the shade of night, free from struggle, anxiety and passion, everything is gentle, wistful, beautiful, and it seems that the stars are watching over it tenderly and with love, and that this is taking place somewhere unearthly, and that all is well.”

The point of view in Chekhov’s stories can be slippery. The “you”  of this passage is unidentified but the verb is in the second person singular; it speaks intimately from some detached narrative intelligence to each single reader. The passage gives the sense of a benign universe surrounding the events.

Yet just a few lines earlier we have read Burkin’s harsh conclusion to the tale he has been recounting. “We came back from the cemetery in a good mood. But that went on no more than a week, and life flowed by just as before, harsh, dull, stupid life, nothing to stop it going round and round, everything unresolved; things didn’t get better.”

Such a counterpoint of one voice with another, one mood with another, their contradiction, suggests a subtle ironic interplay not altogether unlike the form of Chekhov’s plays. Always, in Chekhov, there is a sense that the events evoke other possibilities, offstage or after the narrative ends. The very last line of ‘About Love’, the third of these stories, offers a grim hint at what might be still to come.

In 1991 Oberon Press published Last Stories, my translations of the final six stories of Anton Chekhov’s career, including two or three of his finest and best known works. It seems appropriate to repeat here what I said in the introduction to that book, that while there are a great many translators whose Russian is better than mine, there are not so many who have had a long experience of writing narrative prose. These narratives are my personal versions of Chekhov’s stories; they are also as close as I can make them to the precision and suggestiveness of the originals.

–David Helwig



About Love

By Anton Chekhov

Translated by David Helwig


The next day for lunch they were served delicious meat turnovers, crayfish, and lamb cutlets, and while they were eating, Nikanor the cook came upstairs to ask what the guests wanted for dinner. He was a man of middling height with a pudgy face and little eyes, clean shaven, with whiskers that looked not so much shaved as plucked out.

Alyokhin told them that the beautiful Pelageya was in love with this cook. Since he was a drinker with a violent temper, she didn’t want to marry him, but offered to live with him all the same. But he was very pious, and his religious principles wouldn’t allow him to live like that. He insisted that she marry him—he would have nothing else—and when he was drinking he berated her, even hit her. When he was drinking she hid upstairs, sobbing, and then Alyokhin and his servant wouldn’t leave the house, so they could defend her if necessary.

They began to talk about love.

“How love comes into being,” Alyokhin said, “why Pelageya didn’t fall in love with some other man more suitable for her, with her inner and outward qualities, but instead chose to love that mug Nikanor”—everyone called him the ugly mug— “since what matters in love is personal happiness, it’s beyond all knowing, say what you like about it.  Up till now we have only this irrefutable truth about love—‘It’s a sheer, utter mystery,’— every other single thing that has been said or written about it is not an answer but a reframing of the question—which remains unresolved. The explanation which would seem to be suitable in one case won’t suit in ten others, so what’s much the best, in my judgment, is to explain each case separately, not attempting to generalize. What we need, as the doctors say, is to individualize each separate case.”

“Absolutely right,” Burkin agreed.

“We respectable Russians nourish a predilection for these questions, but we have no answers. Usually love is poeticized, adorned with roses and nightingales, but we Russians have to dress up our love with fatal questions, and chances are we’ll pick out the most uninteresting. In Moscow when I was still a student I had a girl in my life, sweet, ladylike, but every time I took her in my arms, she thought about what monthly allowance I’d give her and what a pound of suet cost that day. Really! And when we’re in love we don’t stop asking ourselves these questions: sincere or insincere, wise or foolish, what our love is revealing, and so on and on. Whether this is good or bad I don’t know, what it gets in the way of, fails to satisfy, irritates, I just don’t know.”

It was like this when he had something he wanted to talk about. With people living alone there was always some such thing in their thoughts, something they were eager to talk about. In the city bachelors went to the baths or the restaurants on purpose just so they could chat or sometimes tell their so-interesting stories to the attendants or the waiters, and then in the country they habitually poured out their thoughts to their guests. At that moment what you could see outside the window was a grey sky and trees wet with rain; in this weather there was no place to go and nothing remained but to tell stories and listen to them.

“I’ve been living at Sophina and busy with the farm for a long time now,” began Alyokhin, “ever since I finished university. By education I’m a gentleman, by inclination a thinking man, but when I arrived here at the estate, it carried a big debt, since my father had borrowed money, partly because he spent a lot on my education, so I decided not to leave here, but to work until I paid off the debt. I made the decision and started in to work, not, I confess, without a certain repugnance. The land here doesn’t produce much, and for agriculture not to be a losing proposition it’s necessary to profit by  the labour of serfs—or hired hands which is about the same thing—or to farm in the peasant way, which means working in the fields yourself alongside your family. There’s no middle way here. But I didn’t shilly-shally. I didn’t leave a scrap of land untouched. I dragged in every peasant man and woman from the neighbouring villages; work here was always at a raging boil. Myself, I ploughed, sowed, cut the grain; when I grew bored I wrinkled up my face like a farm cat who’s eaten cucumber from the vegetable garden. My body ached and I slept on my feet. At the beginning it seemed to me that I could easily reconcile this labouring life with my educated habits—all that counts, I thought, is to behave with a certain outward order. I settled upstairs here in the splendid reception rooms, and I curtained them off so that after lunch or dinner I was served coffee and liqueurs, and at night while I was lying down to sleep I read the European Herald. But one day our priest arrived, Father Ivan, and he drank all the liqueurs at one go, and the European Herald went to the priest’s daughters. In summer, especially during hay-making, I didn’t have time to get to my own bed, I’d take cover in a shed, on a stone boat, or somewhere in a forester’s hut—but why go on about it? Little by little I moved downstairs, I began to eat the servants’ kitchen; all that remained to me from our former luxury was those servants who had worked for my father, and to discharge them would have been painful.

In those first years here I was chosen honourary justice of the peace. Whenever I had occasion to go into the city, I’d take part in the session of the district law court; it was a diversion for me. When you go on here without a break for two or three months, especially in the winter, in the end you get to pining for your black frock coat. And at the district court there were frock coats, full dress coats and tail coats, and there were lawyers, men who’d received the usual education: I’d get into conversation with them. After sleeping on a stone boat, after sitting in a chair in the servants’ kitchen, to be in clean linen, light boots, with a chain on my breast—this was real luxury!

In the city they received me amicably. I was ready to make acquaintances, and out of them all, the soundest, and to tell the truth the most pleasant for me, was a friendly connection with Luganovich, the cordial Chairman of the district court. An attractive personality: you both know him. This was right after the famous affair of the arsonists; the trial lasted two days, we were tired out. Luganovich looked at me and said, ‘You know what? You should come to dinner.’

This was unexpected since beside Luganovich I was of little significance, just some functionary, and I had never been at his home. I stopped off in my room for just a moment  to change my clothes, and we set off for dinner. And there the opportunity presented itself to make the acquaintaince of Anna Alexeyevna, Luganovich’s wife. She was still very young then, not more than 22 years old, and half a year later she was to have her first child. The past is past, and right now I’d find it difficult to define exactly what it was about her that was unusual, what it was in her I liked so much, but over dinner everything was irresistably fine. I was seeing a young woman, beautiful, good, cultured, charming, a woman I’d never met, and right away I felt a sensation of familiarity, as if I’d seen her before—that face, those clever, friendly eyes—in an album that lay on my mother’s dresser.

In the arson case we’d prosecuted four Jews, supposed to be a criminal gang, but as far as I could see, quite groundlessly. At dinner, I was very worked up, finding it all painful, I don’t remember now what I said, only when I spoke Anna Alexeyevna turned her head and said to her husband, ‘What is all this, Dmitri?’

Luganovich, that good soul, was one of those ingenuous men who hold firmly to the opinion that if a man is brought to court it means he’s guilty, and that to question the rightness of a sentence may only be done by legitimate procedures on paper and certainly not over dinner and in a private conversation.

‘We weren’t on hand with them to set the fire,’ he said softly, ‘and we’re not in court here to see them sentenced to prison.’

And both of them, husband and wife, did their best to get me to eat and drink a little more.  By small things—this, for example, that they made coffee together, and this, how they understood each other in a flash—I could grasp that they lived comfortably, in harmony, and that they were glad to have a guest. After dinner they played piano four hands, then later on it grew dark and I set off home. That was at the beginning of spring. Subsequently I passed the whole summer at Sophina, without a break, and there was not a moment for a passing thought about the city, but the memory of the well-proportioned, fair-haired woman stayed with me all day; I didn’t think about her, but truly, her sweet shadow lay on my soul.

In the late fall there was a charity performance in the city. I entered the governor’s loge—I was invited there during the intermission—and I saw, down the row with the governor’s party, Anna Alexeyevna—once again, irresistably, the intense impression of beauty, and the sweet, tender eyes, once again the sense of closeness.

We were seated side by side, then we started out to the foyer.

‘You’re losing weight,’ she said, ‘are you sick?’

‘Yes. I’ve caught a chill in my shoulder, and in the rainy weather I have trouble sleeping.’

‘You have a dull look about you. In the spring when you came to dinner, you were younger, more cheerful. In those days you were enthusiastic, always talking, and you were very interesting, and I confess I was even a tiny bit taken with you. Often as the year went by you came to mind for some reason, and today when I was getting ready for the theatre it seemed to me that I’d see you.’

And she laughed.

‘But today you have that dull look,’ she repeated. ‘It ages you.”

The next day I had lunch at the Luganovichs’. After lunch they left the house to go out to their summer place to put things in order for the winter, and I with them. And with them I returned to the city, and at midnight I drank tea in the quietness of their house, those domestic surroundings, as the fireplace burned, and the young mother kept going out of the room to see if her daughter was asleep. And after that with each arrival I was, without fail, at the Luganovich house. They expected it of me, and it was my habit. Usually I entered without being announced, like someone who lived there.

‘Who is it?’ I heard from a distant room the drawling voice that seemed to me so beautiful.

‘It’s Pavel Konstantinich,’ answered the housemaid or the nurse.

Anna Alexeyevna came out to me with a worried look, and every time she asked, ‘Why have you been away so long? Has something happened?’

Her glance, the fine, graceful hands which she reached out to me, her everyday clothes, the way she did her hair, the voice, her step, each time all of this produced an impression of something new, extraordinary in my life, and important. We talked for hours and we were silent for hours, each thinking our own thoughts, or she played the piano for me. If no one was at home, I stayed on and waited, chatted with the nurse, played with the baby, or I lay in the study on the Turkish divan and read the newspaper, and when Anna Alexeyevna returned, I greeted her as she came in, took from her all her shopping, and for some reason, each time I took the shopping it was with as much love and exultation as a young boy.

There is a proverb: if an old woman has no problems, she’ll buy a piglet. The Luganovichs had no problems so they made a friend out of me. If I didn’t go to town for a while, that meant I was sick or something had happened to me, and both of them grew terribly anxious. They worried that I, an educated person who knew languages, lived in the country instead of occupying myself with science or serious literary work, went round like a squirrel in a cage, worked a lot but never had a penny. To them it seemed that I must be suffering, and if I chatted, appeared confident, ate well, it must be in an attempt at concealing my suffering, and even in happy moments, when everything was fine with me, I had the sense of their searching looks. They were especially full of concern when I was actually having a hard time of it, when one creditor or another oppressed me or when money was insufficient for the payments demanded; husband and wife whispered together by the window, and in a while he’d come up to me and say, with a serious look, ‘Pavel Konstantanich, if at present you should be in need of money, then my wife and I beg you not to feel shy, but to apply to us.’

And his ears grew red with embarrassment. That’s just how it would happen, the whispering by the window and he would come toward me with red ears and say, ‘My wife and I beg you earnestly to accept this present from us.’

Then he gave me some cufflinks, a cigarette case, or a lamp; and in response to this I would send from the country a dressed fowl, butter, flowers. It is to the point to say that both of them were well to do. From the first I had borrowed money and wasn’t especially fastidious, borrowed where I could, but no power on earth  would make me borrow from the Luganovichs. That’s all there is to be said about that!

I was wretched. At home in the field or in a shed I thought about her, and I tried to see through the mystery of this young, beautiful, intelligent woman married to an uninteresting man, almost old—the husband was over forty—and bearing his children. How to understand the mystery of this uninteresting man, a good soul, a simple heart, who deliberated with such boring sobriety at balls and evening parties, took his place among reliable people, listless, superfluous, with a humble, apathetic expression, as if they might have brought him there for sale, who all the same believed in his right to be contented, to have children with her, and I struggled to understand why she was his and not mine, and why it must be that such a terrible mistake ruled our lives.

Arriving in the city, I saw in her eyes each time that she had been waiting for me; she herself confessed to me that whenever she perceived something unusual outside her window she guessed that I was arriving. We talked for hours or were silent, but we didn’t confess to each other that we were in love, but shyly, jealously, we dissembled. We were afraid of anything that might reveal our secret, even to ourselves. I loved her tenderly, deeply, but I debated, questioned myself about what our love might lead to if our strength wasn’t sufficient for the battle against it; it seemed to me incredible that this calm melancholy love of mine might suddenly tear apart the happy, pleasing course of life of her husband and children, of everything in that home, where they loved and trusted me so. Was this a decent thing to do? She would come to me, but where? Where could I take her away? It would be another thing altogether if mine were a pleasant, interesting life, if for example I were struggling to emancipate my native land, were a famous scholar, artist, painter, but no, I would carry her out of an ordinary, dull condition to another much the same, or to something even more humdrum. And how long would our happiness last? What would happen to her in case of my illness, death, or if we should simply stop loving each other?

And she, apparently was having the same thoughts. She considered her husband, her children, her mother who loved the husband like a son. If she should give herself up to her feelings, then she would have to tell lies about her state or to speak the truth, and either one would be awkward and horrible. And this question tormented her: should she offer me happiness, her love, or not complicate my life, already difficult, full of every kind of unhappiness? It seemed to her that she was already insufficiently youthful for me, insufficiently industrious and energetic to start a new life; she often talked to her husband about it—how I needed to marry a clever, worthy girl who would be a good housewife, a helper—and at once added that in the whole city such a girl was hardly to be found.

Meanwhile the years passed. Anna Alexeyevna now had two children. When I arrived at the Luganovichs’ the maid smiled pleasantly, the children shouted that Uncle Pavel Konstantinich had arrived and wrapped their arms round my neck, and everyone was glad. They didn’t understand what was going on in my soul, and they thought that I too was glad. They all saw in me a noble being. Both the adults and the children believed that some noble being had entered the room and this induced in them an attitude of particular delight with me, as if in my presence their life was finer and more pleasant.  Anna Alexeyevna and I went to the theatre together, always on foot; we sat in the row of chairs with our shoulders touching. In silence I took from her hand the opera glasses, and at that moment I sensed her closeness to me, that she was mine, and each of us was nothing without the other—yet by some strange misunderstanding, leaving the theatre we would each time say farewell and separate like strangers. What people in the city said about us, God knows, but in all they said there was not one word of the truth.

In the following years Anna Alexeyevna began to go away more often to visit her mother or her sister; bad moods came over her, a sense that her life was wrong, tainted, and then she didn’t want to see either her husband or her children. She was by now receiving treatment for a nervous disorder.

We were silent, everyone was silent, but in the presence of strangers she experienced some odd irritation with me; whatever I spoke about she would disagree with me, and if I raised a question she would take the side of my opponent. When I dropped something she would say coldly, ‘Congratulations.’

If, having gone to the theatre with her, I forgot to take the opera glasses, she would say, ‘I knew you’d forget.’

Fortunately or unfortunately, nothing happens in our lives that doesn’t end sooner or later. The time of separation ensued, since Luganovich was appointed Chairman in one of the western provinces. They had to sell furniture, horses, the summer place. When they went out to the cottage and back, looked around for a final time, looked at the garden, the green roof, it was sad for everyone, and I remembered that the time had come to say goodbye, and not just to the cottage. It was decided that at the end of August we would see off Anna Alexeyevna to the Crimea, where her doctors were sending her, and a little later Luganovich would leave with the children for his western province.

We sent Anna Alexeyevna off in a great crowd. When she had said goodbye to her husband and children, and there remained only an instant before the third bell, I came running toward her in her compartment in order to set on a shelf something from her work basket that she had almost forgotten; and we had to say goodbye. When our glances met, there in the compartment, strength of mind abandoned us both, I held her in my arms, she pressed her face to my chest, and tears flowed from her eyes; I kissed her face, shoulders, hands, all wet with tears—oh how unhappy we were about it! I confessed my love for her, and with a burning pain in my heart I understood how superfluous and small and illusory everything was that prevented us from loving. I understood that when you love, when you ponder this love, you must proceed from something higher, of more importance than happiness or unhappiness, sin or virtue in the commonplace sense; or you shouldn’t think at all.

I kissed her for the last time, shook her hand, and we separated—forever. The train was already moving. I sat in the neighbouring compartment—it was empty—and until the first village I sat there and cried. Then I went on foot to my place at Sophina  .  .  .”

While Alyokhin was telling his story the rain had ended, and the sun came out. Burkin and Ivan Ivanych went out on the balcony; from it, there was an attractive view of the garden and the stretch of river, which now shone in the sun like a mirror. They feasted their eyes and at that moment felt sorry that the man with kind, wise eyes who talked to them with such candour, who really did go round and round on this huge estate like a squirrel in a cage, wasn’t occupied with science or some such thing which would make his life more pleasant; and they thought how sad her face must have been, the young lady, when he said goodbye to her in that compartment and kissed her face and shoulders. Both of them had run across her in the city, and Burkin had already made her acquaintance and found her attractive.

—Anton Chekhov, Translated by David Helwig

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Mar 162010
 
Curry

Stephen Curry (Photo: Rebecca Cook/Reuters via Scholastic)

Spring 2009

THREE RANDOM EVENTS came together in the space of a short time that struck me as having some connection, or at least holding that possibility, or at any rate stuck with me at a time not much else was sticking, and thus I thought worth a stab at an essay.

The first was a quotation from Terry Eagleton’s review of a recent biography of William Hazlitt, posted by a colleague, out of the blue and without comment, on our department listserve:

From William Blake to Oscar Wilde, art was an image of what men and women could become in changed political conditions. They, too, could be gloriously pointless; in fact, this was the whole point of human existence, which the gray-bearded puritans and chill-blooded champions of the work ethic had never understood. Human beings resembled works of art in being ends in themselves.

Mention of Hazlitt reminded me of a another chance encounter. Several weeks before, and I can’t think of anything that might have prompted me, I reread his essay “The Fight.” I hadn’t read much Hazlitt, all of that back in graduate school at Berkeley thirty years ago, and it was assigned reading in a course on Romantic literature. The essay didn’t leave much impression then, other than being personal, unsubstantial, and rather precious.

The third event, a week later and utterly unrelated, was going with my son to see Davidson play Saint Mary’s in the second round of the NIT. I’m a Davidson alumnus who lives in San Jose, and the game, in Moraga, was only seventy miles away.

The Eagleton post came during exam week, a time when many of us are weary, students and teachers alike, and may question what we have accomplished the past weeks, the value of our efforts. I’m a college English instructor who teaches largely composition, and what the post made me wonder is if I and others in the discipline haven’t missed the point. Most of our attention is directed to correctness of varying sorts, measurement, and critical placement and reception at the expense of imagination and the human spirit that should inform what we read and write. The liberal arts are supposed to liberate us, not wear us down

Hazlitt’s essay is about a fight he attended nearly two hundred years ago between Bill Neate and Tom Hickman, aka The Gas-man, two champions of the time. The contest was a major event, drawing by one estimate around 25,000 and on which, according to Hazlitt, some two hundred thousand pounds were wagered. Social codes dictated that it be fought away from the city, in rural Hungerford, about as far away from Hazlitt’s London as Saint Mary’s was from me. The essay, in fact, is considered a classic, but on rereading it my initial impressions remained. Hazlitt spends most of his time recounting the arrangements he had to make, on the fly, getting there and back, and his talk with his companions along the way. His assessment of the fighters largely rests in his disdain of Hickman’s arrogance, of their performance, in his preference for stand-up knock-down fighting, which he got. The text is sprinkled with literary allusions that seemed forced and quaint. His language still didn’t stir much from me, other than some sideways glances. As to the fight itself, a long one, he only gives a few pages.

Yet he has great respect for both fighters and his enthusiasm charges the piece, and on my second reading I found it exciting. And it touched on and fed the excitement I felt about going to the Davidson game. Davidson is small school in North Carolina, noted for its academics but which athletically can’t compete with larger schools. Last year, however, its basketball team made an extraordinary run in the NCAA tournament, losing to Kansas in the quarterfinals, who went on to win the tournament. Davidson’s success was attributable in large part to its star guard, Stephen Curry, with whom the nation fell in love and who led the nation in scoring this year. I introduced Curry and the rest of the team to my son, who took an interest in them as well, and we followed them as best as we could, largely through box scores and YouTube clips. Few games were broadcast nationally until the tournament.

This year, however, Davidson lost in the second round of the Southern Conference tournament, thus losing their automatic bid to the NCAA, and although they won their season title easily and had a record about the same as last year, they were not selected at large. It was a very competitive field this year and many teams were left out, including Saint Mary’s in the West Coast Conference, whose guard, Patrick Mills, an Australian, played for his country’s team in the 2008 Olympics, who gave our NBA squad a run. Mills, like Curry, of modest height and slight build, at least for basketball, but spirited and savvy on the court, has also received much national attention. Mills, however, broke his hand during the season, leading to a few unexpected losses, enough to keep them from getting a bid as well, even though he had recovered by tournament time. As always the NCAA selection committee showed a decided preference for the large conferences over the mid-majors. So there was great excitement in the Bay Area over the Curry-Mills match-up, along with the sense of being slighted, perhaps some frustration over the power size can wield. Tickets sold out in less than an hour.

Not many Davidson fans live out here, however, and as an alumnus I was able to apply for tickets through the Davidson athletic office. When I got them my excitement rose several degrees, which surprised me. My son was really excited, too. I could tell—when he’s excited, his face becomes a closed, expressionless mask, clamping down on what he feels within, maybe because he’s overwhelmed, more likely because he doesn’t want to lose any part of it. Little stirs me that much now and I started looking for explanations, maybe contexts, or at least a way to contain my excitement.

There are always contexts. Hazlitt, Eagleton tells us, was a man of letters, a public critic, belonging to that species of English writers who were conversant with several disciplines and kept tabs on cultural events high and low. They were also politically engaged and wrote for a general, middle-class public, as well as for those in power, both of whom listened and could be swayed by their opinions. Eagleton doesn’t mention “The Fight,” but presumably by writing about lower-class fighters and praising them for their strength and courage, Hazlitt elevated their status and, by extension, that of others at the bottom, thus might have drawn sympathy and given them greater consideration in the politically oppressive environment of nineteenth-century industrial England. I read a critical study of the essay by David Higgins, who notes that Hazlitt had personal issues to attend to as well, which his essay helped shore up. Going to the fight and writing about it must have been restorative acts.

“The Fight” is a personal essay, and whatever Hazlitt’s motives, it was important that he put himself in the frame. The value of the fight comes not just from its implied contexts, public and private, but also from his actual presence there and his experience of it, what he saw and felt, and what he shared with his companions. But experience is not a single, isolated act. The anticipation, the going, the witnessing, and the returning are all parts that determine any experience, which helped make the trip, in his case, a “complete thing,” as he says at the end.

I want to do something similar, talk not just about the Davidson game but also about my journey there, up and back, and try to locate myself, and reach out for contexts, and maybe see what else I can find. I may have some shoring up to do as well. There will be differences. It was a basketball game, not a fight, that I attended, and I didn’t go to see anyone get knocked down. I will spend most of my time with the middle class and a largely male world, though I am still not sure what either designation means. And while I may raise a few, I won’t rest with any moral assessments. Life, like basketball, is not a matter of standing one’s ground and taking blows, or shouldn’t be. Most, I want to preserve the game and players. We forget our athletes quickly.

The essay will be personal and pointless, though perhaps not gloriously so. If it serves any purpose, it might be to encourage readers, as many as can, to write about the experiences that move them and where they put them in the world, and about the people they share them with, to find ways to preserve all these before they are lost. There may be a larger point in that.

Style, in part, is a matter of negotiating one’s sensibilities with those of one’s audiences, not all of them friendly, and often is a battle where one has to compromise or cut one’s losses. I need to do more background reading to appreciate fully Hazlitt’s essay. Some humility is in order on my part as I think about the fights I’ll lose with readers now and in the future. But also writers can only do so much, and there are things we can only point at but not capture. I can only state flatly, and I’ll do it here, that my son and I stood and shouted full throat almost the entire game, wholly absorbed in a spirit that was not hysteria. I have never felt closer to him in my life.

There was nothing quaint, however, about Hazlitt’s fight. Back then boxers fought barehanded without a set number of rounds and kept fighting until one was knocked out or his corner threw in the towel. In the twelfth round Hickman took a blow that left him thus:

All traces of life, of natural expression, were gone from him. His face was like a human skull, a death’s head, spouting blood. The eyes were filled with blood, the nose streamed with blood, the mouth gaped blood. He was not like an actual man, but like a preternatural, spectral appearance, or like one of the figures in Dante’s Inferno.

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Saint Mary’s warned me that parking would be tight, so we left mid-afternoon, hours early, to make sure we’d get a space and avoid traffic. More, I wanted to make an event of the trip, giving us time to unwind and walk around the school, which I hadn’t seen before. Also, Christopher is a senior in high school, still undecided about next year, and while Saint Mary’s isn’t in the picture, I thought it might do him good, for comparison elsewhere, that he saw the college, too, and got some sense of campus life.

But we got stuck in traffic anyway, all the way, in the 280/680 push to Sacramento, which kept both of us quiet, leaving us to our separate thoughts..

One of the factors that has shaped my life and which has gotten progressively worse is the hassle of going from A to B, the stalls, the noise, the urgent, massive crowding. The freeway was rough everywhere, with cracks and patches and asphalt warps, reminders we might be living on borrowed time. Still, the scenery was pleasant once we put the Silicon Valley sprawl behind us, the bare, softly rolling hills, fully green from winter rain, soothing and sensual. Yet the hills would turn dead brown in the coming rainless summer, as they always do, and it was hard not to think of grass fires, the Oakland fire, mud slides, and earthquakes, the faults beneath the smooth veneer of the California landscape.

Traffic, of course, is not a big deal and it is much worse elsewhere. We get used to it and put this irritation aside. It would be madness not to do so. Earthquakes seldom are a big deal either, and most who have lived here long enough don’t pay much attention. We learn to roll with the punches—this is what defines the California character—yet after thirty years I still haven’t settled in, and each time I feel a tremor something inside me slips a bit.

I wonder what else we have inured ourselves to, with what effects.

I am worn out and dispirited, for personal reasons I won’t bore anyone with. I will, however, look outside. Part of the problem, mine and ours, as with freeways, is the size and complexity of the facilities and institutions that determine the course of our day-to-day lives, the distance, separation, and simplifications—and chaos—these can cause. But I haven’t heard much discussion about issues of scale, and our solutions tend to larger schemes.

An enormous amount of money has poured through Silicon Valley the last decades without beneficial effect on its environment or the quality of its life and culture. Now many of us are scrambling, and if we took the time to leave the freeways we would find more of us are doing much worse. Yet all these years, prosperous and lean, the state has gone through a series of budget crises, the current one the worst. Services have been cut, the infrastructure left in varying states of disrepair. Public schools have endured perpetual hiring freezes, layoffs, program cancellations, and increases in teacher loads. Like earthquakes, budget shocks have become a permanent part of our economic climate. But that cannot be a problem of size but of priorities, or of something else we have not looked at and factored in.

I have taught at seven schools, three of them with some reputation, and the experience has not been wholly rewarding. Faculty at all are competitive and contentious, the departments specialized and divided. Not only is there no mechanism in place to give support and recognize basic needs, the language does not exist to express them. The humanities can be less than human, and sometimes inhumane.

I am not alone. Many I know of my age, in teaching and in other professions, here and throughout the country, are in the same shape and they voice similar concerns. Like me, they didn’t see the malaise coming.

Further out, a war that was supposed be quick and decisive, which was entered without much resistance and continues into its seventh year, whose wanton violence has fatigued on the screen of our attention. The Iraq war was not planned and the last administration’s motives, at best, were naïve and simplistic, yet which, from appearances, were sincere and, for all I know, based on the purest of beliefs. But if we judge it by its actions, we find behavior that is only semantically—and politically—removed from war crimes. The war itself has had no other results other than gross loss of lives and resources. Meanwhile our national economy, after several large stutters the last decades, has collapsed. All the signs had to have been in place for some time—why didn’t anyone see this coming? The investment decisions we are discovering now leave us incredulous, the bonuses that lost track even of the joy of greed, the complicated schemes that proved blind and self-destructive. But belief has not been exercised well in a culture that is ramped up, self-absorbed, and unreflective. Again, the problem cannot be size. I don’t think any of us know what we are doing.

All the above needs support and qualification, but I fear doing so would just wear me down more and I would lose the course of what I want to say. There is so much to untangle, so much that makes it difficult just to state the obvious. I also need to move further out into the world and add to my list, but that might make me lose heart altogether, and heart is what I’m trying to save.

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We only had to make a few turns off the freeway before we left traffic and drove on narrow, winding roads, first beneath the shade of oaks, then out into vacant fields and the gentle foothills. It’s easy to forget what an open place California still is, but you don’t have to drive far to find it. We arrived hours early and had plenty of time to walk around the campus. It was a gorgeous day of saturated colors, the full blue of a cloudless sky, substantial yet transcendent, and the several rich greens of the trees and hills and well kept lawns, against which stood in sharp contrast the school’s mission revival architecture, the accent of red tile roofs, the crisp planes of the plastered walls of the buildings and the lattice of connecting arcades, bright white.

Like many older schools, Saint Mary’s was located in a secluded setting, reflecting the belief that education should provide a protected environment where knowledge and values could be preserved and students have a chance to develop before they entered a world that would tug at both. Like many, it has a religious foundation, Christian Brothers, evidenced throughout—a chapel that looks to Italy, banners in one arcade with pictures of the Brothers who were past presidents, and, in Oliver Hall, the main dining room where we ate, a crucifix, which set Christopher and me a bit on edge. The mood seemed relaxed, but there weren’t many students out and the school was very quiet, even in Oliver, where I was hoping for the robust exhalation of student life. The precise geometry of its layout suggested a theorem we didn’t feel we should dispute, so we kept to the walks and stayed off the grass. But I should reserve speculation. I later learned it was mid-term week. Besides, late afternoon is not a fair time to look at anything.

I reveal, of course, my own background. What the contrasts jogged were memories of my own days at Davidson, which I completely put behind me the day I graduated, thirty-four years ago. Having Christopher with me also helped as I thought about what kind of life he might have ahead, as he must have been doing himself, though he made no comment. This was new territory for him and I suppose he was sorting things out. There is so much I want to tell him about education and what it might mean for him, now and later, little of which he will listen to. In part, he doesn’t know all the language, but also such matters are the last things on the mind of a seventeen-year-old. I didn’t think about them that much when I was his age, in fact am still putting my thoughts together now. Besides, I am his father. I never listened to mine.

Davidson College was established by North Carolina Presbyterians in 1837, sixteen years after the Neate-Hickman fight. Located in a town of the same name, now virtually suburban Charlotte, twenty miles away, Davidson, the school, when I started in 1970, had a student body of about a thousand guys, and Davidson, the town, was not much more than a sleepy main street that soon gave way to rural land and Southern forests. Then a French professor could be seen sitting in a barber shop next to a farmer, and at the time they might have got the same haircut. Its architecture made a nod to classical influence, largely through columns and pediments on almost every building, but the buildings were functional, sparsely ornamented, and not especially convincing yet not imposing either, almost all built of North Carolina brick, whose subtle yet solid colors I miss. They were not ugly. The Presbyterian campus church, like the religion, was refined yet modest and unassuming. We walked wherever we wanted and were loud when we ate.

The school was late letting go traditions and requirements many schools had at one time. It still was not yet coed and mandatory chapel and ROTC were dropped only a few years before I started. The Vietnam war was still on, however, and student deferments had just been eliminated, so most of us signed up for ROTC anyway—I didn’t. The school taught us to think well of ourselves, but not highly, and had an honor code in place we took seriously. The emphasis was on hard work, trust, and respect for culture and cultures. A two-year humanities sequence, taught by faculty from all disciplines, was heavily promoted and most of us enrolled. It wasn’t a party school and had a subdued fraternity presence through eating clubs that weren’t especially selective. Tuition was not cheap, but it wasn’t a select destination for private high schools. No social distinctions were made, of if they were, they were ignored. After the eating clubs, the library was the primary social gathering place. But Admissions liked well-rounded students and we had many high school athletes. When we weren’t eating or studying, we were out on the playing fields, acres of them, all in constant use. We had, I think, fifty intramural basketball teams in winter—it was the only way to get to play indoors, at Johnston Gym—but I’m not sure the number wasn’t closer to a hundred.

Politically it was not conservative but progressive, a qualified term. Service, however, in youth groups and the public schools in Davidson and the other small towns nearby, was encouraged and taken up. What I most regretted was what Davidson most lacked, a streak of wildness, the spark of some inspiration. There were only a few artists and a couple of fairly tepid radicals, on the faculty, no famous scholars or writers. As for products, the school turned out mostly professionals—lawyers and doctors and businessmen, a good number of Presbyterian ministers, a handful of public servants and academics, and a few soldiers—men not looking to reshape the world but find and solidify their position in it. In short, it was a middle-class school, though with notable exceptions on either side.

Needless to say, Davidson was the last place I wanted to be, and my four years there were my penance for not making my mind up about what to do with myself. I felt like an outcast and was moody and complained the whole time. Meanwhile the world outside, with its madness, its brightness, its complex urgency, to which the school seemed oblivious, raced away from me at an accelerating pace as it recreated itself in all directions, leaving me behind.

Yet I liked the guys and we all got along. The professors were accessible and we visited many homes. My freshman faculty advisor, Alden Bryan, Chemistry, introduced me to the music of Poulenc. The honor code was based on trust in us—we were allowed to schedule our exams and take them in classrooms without proctors—and gave us a standing in the school that helped define our relationships among ourselves. We didn’t lock doors, didn’t fight against each other to get ahead, and if anyone cheated, I never heard about it. We talked about what we studied late into the night because it engaged us. I haven’t since seen an atmosphere as close or supportive, at Berkeley or at any of the schools where I’ve taught.

And I did get a good education. The various disciplines, all of them, were not seen as adornments or hurdles to leap before we moved on, but as fields to be respected in themselves, whose importance did not have to be defended. I didn’t take the humanities sequence—how could I have an economics professor teach me Shakespeare?—but I missed a larger purpose. Disciplines should be brought together to provide a broad context and allow arguments to go back and forth. Those who study and teach the separate fields need to come together as well and see where they might stand in some larger order. At the very least, we need to realize we all have a stake in our culture, like it or not. But most, we need to find a way to define ourselves that we can live with. The humanities touch on all that makes us human, a point lost in a world that tends only to recognize our special technical abilities and our particular impairments, physical or mental. Most discussion now only goes back and forth between these two, and it’s hard to believe that our focus on the first is not a cause of the latter.

But I did study broadly. I read a great deal of literature, across the board and back, as well as had concentrations in philosophy, psychology, and art. So many places, so many peoples, so many customs and societies, so many hopes and fears and crimes and redemptions and failures and pathologies and abominations, so many ways of picturing these, of explaining them, of maneuvering through or around them, so many emotional curves set against the world by which I might gauge and set my own—it would take twice as many years to review and analyze all that I saw and thought about, or more. I also took a course in comparative religion, taught by the formidable George Abernathy, who put all the religions, East and West, on equal footing and maintained for each the same distance and respect. Such a vast and bewildering array of creation myths and eschatologies, and all the rites and ethical practices that led from one to the other, the different hells and heavens, the possibility in the East there was neither—the course, in all the differences and contradictions it presented, as much challenged the terms of faith as opened up its possibilities.

One shortcoming in my studies, and another of my complaints against Davidson, was that they didn’t recognize how special I was. What I learned were the special ways how I wasn’t special. That was liberating. In general, I learned perspective, or the need for one, and the many terms on which it might be based. I discovered different angles of approach and different means of expression, different ways to handle all the urges and oddities and genuine desires I found, inside myself and out, and give them some kind of life. I also learned to be open as well as maintain distance and reserve. There is too much we couldn’t figure out in the past and still haven’t settled now, too much that gets lost whenever we define it. Perhaps the world was moving away from me, but I discovered other worlds that preceded it and lay its foundations, for better and for worse. The present one did not hold all the options in life or all the answers to our problems, no matter how much it claimed it did. Nor is there is anything wholly consistent or absolutely hierarchical about our past cultures. They offer more varied—and more interesting and even wilder—arguments and contradictions than the ones we look at today. Most, I started to find a place on which to stand, but I also learned a way to stand alone.

It is a sober assessment I give of Davidson, but then again that is what the school trained me to do, and I take measured joy in making it. And in many ways the education I received—we all received—was that of the public critic.

Eagleton, in his review, laments that public critics have lost their influence with a general audience and those in power, that opinion is now shaped by “the political technocrat, P.R. consultant, and university don.” Policy is reached by seduction and direct manipulation, not by two-way public talk. As for the first two voices, I suppose an argument of expedience could be made. Those who have our best interests in mind best know how to shape our opinion quickly and effectively to get the best results. Assumed, of course, is that they have our best interests in mind and that we are incapable of making good decisions ourselves or even knowing what our interests are. Yet there is nothing in their means of discourse that can help them decide themselves what our interests are, unless they have some other way of thinking to guide them. But this is what frightens me most: what if they believe that the techniques of manipulation and seduction are the only means of discourse, or that manipulation and seduction are the discourses that best define our best interests, that manipulation and seduction are the message? As for the university specialists, their advice is determined by how well a plan fits within their particular field, most likely to the exclusion or in ignorance of others, and is couched in a specialized language few of us, policy makers or followers, can understand. In such a reduced rhetorical environment, any other voice that tries to make an appeal based on our humanity, in its complexity, its oddness, its richness, not only will not be considered, it won’t even be understood—by anyone, leaders or followers, dons or manipulators alike.

Education teaches us how to read the world and is what builds leaders and followers. There has been a lot of talk about the importance of education in our society, but not enough over what should comprise it—or why. Most emphasis has been on math and the sciences, along with literacy, narrowly and sterilely conceived. A college degree has also become a bald requirement, unquestioned, for just about any job that will lead to a stable, comfortable life and is about the only way to secure a position of influence in our society. Much has changed, but higher education is still largely a middle-class affair. While the middle class has been the target of much cultural criticism, not much critical thought has been directed at how it should see itself and what it might do. The middle class does have power and can provide the voice of concern, of common cause, of responsibility and trust, of engagement in all that keeps our culture relevant and vital, but only if taught how and encouraged to do so.

Maybe Davidson graduates were not out to change the world, but they have tried to keep it intact. As I read the monthly alumni journal, I see that a great many fellow graduates are involved in their churches, and their churches are involved in the community. Many are socially conscious and active, this work done in their professions or on top of it. Given recent events, I want our investment bankers to be graduates of such a school. If we’re going to have soldiers, and we will, I want them to come from Davidson. When I went there the accomplishments of Lieutenant William Calley and his superiors in My Lai were still fresh in mind.

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We went to get our tickets early, but found that once we got them we had to go in, and that once in we couldn’t leave. The game was two hours away and I wanted to come back later, but Christopher was insistent we not wait. So we went with the handful we met at the Davidson will-call table to find our seats, up on the second level, two rows behind, as we discovered later, the Saint Mary’s student section.

Compared to the mammoth stadiums for the NCAA tournament, McKeon Pavilion was a modest setting, sparse, functional, and small—3,500, maybe more with some crowding. The ceiling hung low above the court and seats ran close to its sides. The arrangement was open seating on unmarked benches without backs or numbers, slots that would have to be defended if we wanted to keep them. Already many were coming in, claiming theirs. On one end, some ten feet away from the court, a bare, cinder brick wall, unpadded. Whatever happened there was going to be personal and intense.

I talked to two of the guys who came up with us, one a bushy-bearded man, quite modest but quite stout, quite robust, and quite Anglo Saxon, now living in Santa Cruz, who introduced himself as Ben Allison’s high school coach in England, Ben our backup forward. I can’t decide if Hazlitt’s gusto was part of his constitution, but it might have been of the other. He was a younger grad from Miami, his family Cuban once, maybe, who had flown all that way to see the game. His interest in the team could be read on his face, and I liked him a great deal. We talked about the regular season, the differences between this year’s team and last, about the game coming up. Others around us, Saint Mary’s alums, noting our Davidson t-shirts, shared a few words as well, and I overheard private concerns about what they might be facing. They could only have known our team from what they had seen on television last year.

Later we saw our team walk by a side door in street clothes, including—Stephen Curry!

Nothing else going on.

All this time to kill—I got tired of sitting and asked Christopher if he wanted to take turns holding our seats so one of us could walk around. Christopher, however, was settled and told me to go ahead. He wasn’t going to miss a single thing and wanted to be sure he was there when it happened. He’s a spirited kid, for whom patience is still a ways off, yet when he is moved, he is moved wholly, of which his stillness is one gauge. I admire this absorption and hope he finds a way to keep it. He may also have enjoyed the wait. Anticipation is not a pleasure I ever learned. And he remained seated the entire four hours, while I got up and left three times.

But more than excited I was restless, my restlessness fed by growing doubt. The team’s success was one of few upbeat events in my life the last year and I had invested too much of myself in it, which, of course, is a mistake. I also thought they were going to lose, though I don’t know if my foreboding came from what I knew about the team—they had stumbled the last weeks of the season—or from my own uncertainties about myself projected onto them. What I find now is that I don’t know how to handle idle moments. It is then that all that I manage to put aside, in the interest of moving forward, returns to the surface. Or maybe this is when I realize that moving forward is the illusion, superficial, discovered by standing still.

I finally left and walked around, making a pit stop I didn’t need, then went to concessions to get some coffee. There I ran into a fellow graduate from my class whom I didn’t know well at school and talked to him briefly, suffering the proverbial shock of time—hairlines, girth, etc. Miami showed up and while we talked Andrew Lovedale walked by, not yet in uniform, having taken a wrong turn somewhere, maybe. I didn’t recognize him and it was Miami who pointed him out. I expected him to be a foot taller. Lovedale, from Nigeria, was our center and the physical and spiritual anchor of the team. He looked worried himself, though he may have only been building resolve. He’s not the kind of player who takes anything for granted.

When I returned to our seats, Max Paulhus Gosselin, starting guard, from Quebec, was out on the court, alone, practicing outside shots, not looking sure of himself and missing several before the moil of a gathering crowd…

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As to why I was so taken by the team, it helps being a graduate. But also it was a team who beat the odds, one reason I wanted Christopher to know the guys as well as why they caught my attention, along with the nation’s. We love our alma maters, eventually, and while we make life hard for our Davids, we love them when they emerge. Not only is amateur basketball a national passion, crowded and highly competitive, from city court pickup games to high school tryouts to the traveling AAU teams to the hundreds of colleges arenas, it is also big business, where players who hope to turn pro are not the only ones who stand a chance of making serious incomes and where large sums of money pass, not all of it above the table. In such an environment Davidson can’t compete when it comes time to recruit, especially not in the middle of ACC territory. The school is not attractive to players with ambition as the Southern Conference is not strong and doesn’t offer them a national spotlight.

Davidson did enjoy a brief surge in the less crowded ’60s, thanks largely to the recruiting wizardry of Lefty Driesell. When he left, however, the program languished, and faculty talked of moving the team down to Division III. But then the school hired Bob McKillop, twenty years ago, who slowly turned the program around, and in the last years Davidson won many Southern Conference titles, thus making several NIT appearances and playing four first-round games in the NCAA, all with low seeding though a few of them close. What a scrappy team—was probably the only notice the team received and the guys were soon forgotten.

Then there was 2007-08. After close losses to highly ranked teams early in their schedule, they raced through the Southern Conference regular season and tournament without a loss, earning a better seed in the Midwest bracket of the NCAA. First they came from behind and beat Gonzaga in the last minute, Gonzaga the West Coast Conference winner with almost the same roster that won the title over Saint Mary’s this year and from whom much was expected in the NCAA. Then they overcame a 17 point deficit in the second half against Georgetown, the regular season winner of the Big East who, towards the end of the season, was ranked in the top ten. Next they ripped through Wisconsin, Big Ten tournament winners and another top ten team.

But the game that impressed me most was against Kansas. It wasn’t Curry’s best game and the Kansas defense effectively shut him down the last ten minutes. Aside from Curry, Davidson didn’t have a single pro prospect; Kansas had five players taken in the NBA draft. Davidson should have been blown out, yet they controlled the pace and stayed with Kansas all the way. A win here would have put them in the final four against UNC, against whom Kansas racked up a 28 point lead in the first half, almost the same Tarheel squad who won the NCAA this year, and who only beat Davidson by four points earlier that season.

The image that stays with me is of Bill Self, the Kansas coach, kneeling on the sideline, anxious, with the huge Detroit crowd stirring in anticipation as Curry brought the ball down with 17 seconds to go, the team down by two, everyone waiting for, expecting, what we all knew Curry could do effortlessly from 30 feet in—

How did they do it?

What does their success mean?

The players were in good academic standing and very much a part of campus life. I would like to argue that the team’s wins were a reflection of the school and that they validated its character and purpose. Not all of us can make it on sheer talent or raw physical ability, and strong minds and identities have to count for something. I wouldn’t pretend to claim those are prerequisites, however, that gifted players have to prove themselves in the classroom before they can make a career from their gifts.

Davidson did have skilled players, though their abilities were not enough to attract the larger schools. Jason Richards was a very fine point guard, who led the nation in assists, and not all of his passes went to Curry. He could bring the ball down the court against tough defenders and run the offense effectively. Commentators praised him for his basketball intelligence, his ability to see the court, read defenses, and find openings. He could also shoot outside and did what no one watching could quite believe, make a slight hesitation in his drive, then charge past larger, faster defenders, who should have held him, and score an easy layup. In the four tournament games, he averaged 9 assists against only 2 turnovers and 13 points a game. The sprightly Bryant Barr, a pure shooter with a double major in math and economics, came off the bench the second half and hit three threes in a row against Kansas to keep Davidson in the game. Box scores never showed the contributions of Gosselin or Thomas Sander. Gosselin (“The Pest”) was a tenacious defender against any player of any size; Sander set effective screens for the shooters and was a presence under both boards. Also he was tough—he played almost the entire tournament with a broken thumb, suffered in the first game against Gonzaga.

Size is another problem for small schools, especially now that basketball has become more physical, the players muscled up. But Sander, along with Lovedale, Boris Meno, from Paris, and Steve Rossiter, all around 6-8, gave Davidson the heft it needed to stand its ground against the larger teams. Lovedale is the one who impressed me most and whom I most admire. He grew up in Nigeria and went to school in Manchester, England, where McKillop found him. His father, pushing school, did not allow him to play sports, and Lovedale didn’t start basketball until his father died and his mother relented, some five years before going to Davidson.

Lovedale

Andrew Lovedale (AP Photo/Chuck Burton via livescience)

 

He is strong in all the ways a man can be strong. His face is a study of conviction and determination, echoed in a body that is muscular from the top down, his strength one of definition, not bulk, its assemblage one of coordination. Everything he did on the court, down to the smallest execution, was filled with purpose, and when he drove for a dunk or went up for a rebound, it was like watching some absolute force unleashed that I want to call moral. He could stand up against any player and not be moved aside. Yet he also showed great speed and agility when he guarded outside the paint, where, with quick steps and a powerful winding of arms and legs, intense and unrelenting, he was seldom passed and against whom few dared to take a shot. He did show some outside shooting ability, though it was uneven, and because he played low against taller players for the most part, he was susceptible to fouls. But Meno and the others picked up the slack when he went to the bench. He even inspired confidence there just in the way he sat and watched.

The whole team was disciplined, well-conditioned, and quick enough. They played hard the entire game and ran with faster teams. They executed well in all the details, forcing many turnovers while making few themselves. Their offense was an orchestration of movement that controlled the tempo and worked it to their advantage, spreading out the defense, working open lanes, setting a maze of screens to find a clearing for Curry. Yet when they found an opportunity, they could push the tempo and get off a quick shot. They were seldom caught off guard, were always back on defense, and once there pressured inside and out, often being in the right spot to stop a drive or make a steal—and make a quick transition back to offense, even score on fast breaks, a threat no one thought they had. And they were a scrappy team. Everyone fought for rebounds and hit the floor for loose balls.

Those reasons, however, are not enough. I haven’t touched what I know McKillop would say lies at the heart of the reasons.

But I find myself standing still…

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Davidson came out first for warm-ups, greeted with an ovation from Christopher and me and the handful more of us scattered in the stands, but largely silence from the rest, a few boos. McKeon was already packed, with more filing in to find what space they could and everyone readjusting and squirming in the communal squeeze. Below us the student section, most there wearing “Moraga Madness” T-shirts made for the occasion, printed with the numbers of Mills and Curry, 13 and 30. Bright red, they obliterated our red Davidson shirts. We really wanted our team to see us.

As I watched them perform the layup drill, casually, with gradual loosening, I realized why I most wanted to come. TV, with its close-ups and replays and selected angles, gives an exaggerated view. I wanted to see them live, and live they looked smaller and fallible, yet not smaller than life or unskilled, but, in fact, human.

Nor does TV show warm-ups, the ritual that provides a team’s first interchange with the crowd, a testing of the medium through which their shots will fly. Here there was only a low murmur, a mood that felt heavy with reserve and maybe some resentment, and the Davidson players looked contained, practicing within themselves, preparing for what their later efforts might not return. Curry, his warm-up pants loose, tripped and fell, and my heart jumped, but he bounced back up and made an antic did-that-just-happen gesture, which got no response. A sprained Curry ankle was worth national headlines, and he was, in fact, recovering from one suffered a few weeks before. It was not a friendly crowd.

Then the Saint Mary’s players came out in a slow, deliberate strut, their heads high, their faces broadcasting a show of confidence to the stands, and the reserve we saw on campus earlier unleashed itself into loud approval. As they performed their layups, each was an assertion of certainty, reassuring the crowd.

Then there was open shooting, a shift to lower percentages, while we in the stands calculated odds, and the noise subsided as players on both sides hit and missed.

Also present, or about to be, the nation, as ESPN2 would broadcast the game, a third member of the conversation. Not present, and still part of the discussion, the audience we might have had had both teams been selected for the NCAA tournament. And present, and still part of the discussion, the probable futures of Mills and Curry. I later heard Chris Mullin, general manager of the Golden State Warriors, was there, along with ten NBA scouts.

The noise ebbed and swelled the next half hour, circulating around the stands and returning to itself in confused murmur as latecomers slipped in where they could, the noise, the crowd mood asserting then debating itself, arguments of what we invested in the players, in the game, in our humanity, what any of these meant, of how we stood before a national eye, before the eye that had overlooked us, the mood not altogether wholesome, mixed with slights and doubts and resentments, the noise lowering as Davidson was announced, though the boos were louder, especially for Curry, then surging for Saint Mary’s, spiking with Patrick Mills, then lowering and circulating in the packed stands, milling there in compaction, the mood suppressed, up until tip-off, when it released itself and everyone stood and roared—

[B]ut to see two men smashed to the ground, smeared with gore, stunned, senseless, the breath beaten out of their bodies, and then, before you recover from the shock, to see them rise up with new strength and courage, stand steady to inflict or receive mortal offence, and rush upon each other “like two clouds over the Caspian”—this is the most astonishing thing of all.—This is the high and heroic state of man!

Hazlitt, from “The Fight.” The allusion is from Paradise Lost.

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Michael Kruse, a Davidson grad now a reporter, writes that McKillop recruits players as much for their character as their talents. He looks to see how well they assert themselves, how much they scramble. Whether they throw themselves into their play, how much they can put their egos aside and not be self-absorbed, how quickly they can put failure behind them and play on. What impressed him about Curry was that he showed the same face when he made a shot as when he missed. Lovedale caught his attention in Manchester by the care he put into sweeping a court, getting it ready for the boys he was to coach in a clinic.

Here I take notes for what I can pass on to my son, what I might yet figure out for myself.

McKillop, who grew up in working-class Queens, the son of a city cop, originally planned to make a quick run through Davidson and the Southern Conference to launch a career in college basketball. He was driven to the point of being overbearing and pushed his teams too hard. They did not respond well, and his first teams suffered embarrassing losses. After a few years he realized he had to change his priorities, deciding he first had to restore values in his coaching and for the team. Teamwork, of course, and Trust Care Commitment was the team’s motto, written on team T-shirts and on a sign in the locker room, its initials now tattooed on Curry’s wrist

This is where I hesitate. They are things that I tell my son but cannot raise with conviction.

David Higgins, in his essay on “The Fight,” notes that Hazlitt was promoting the traditional values of English pluck and self-determination, his purpose being to adopt those to bolster his politics and his art. But prize fighting was also followed closely by the Tories, who watched it to see asserted the same values. Hazlitt ran the risk of losing his finer point and leaving intact the same traditions that sent working-class England to its slaughter in the trenches of World War I. Nor does Hazlitt inspect the values he promotes, even on his own terms.

Traditional values can be a mask for power, leading to conformity and suppression—I have been trained to think that way as well. I have not been suppressed, but I have always mistrusted teamwork. From what I’ve seen, it can lead at best to compromise, lowest common denominator decisions of what a group can all accept. Or it has been promoted blindly by those in charge, without consideration of how members fit or what they might contribute, where their only option is to do as they are told. Or it is praised abstractly, as some airy goal in itself, without much thought as to what it is supposed to accomplish. What I’ve seen in my experience I have also seen elsewhere, on a larger scale. Then again, I don’t think I’ve really seen true teamwork.

Hazlitt’s rendering of the fight may startle us, if it doesn’t make us laugh, but I realize much of my life I have found such a stance attractive, and in many ways it has guided me. English resolve is not far removed our own rugged individualism, attractive as well. We are supposed to slug it out on our own. I have always been suspicious of the values held above me, whose main effect can only be to hold me back. Trust can lead to blindness and submission, care to softness, and both to some sentimental notion of a self without edge or force. Seeing the position in Hazlitt’s stark expression, however, makes me wonder how well it has served me. Toughness and self-reliance can lead to endless conflict, to loneliness, to loss of purpose. On a societal level, they can lead to mass dissolution—or periodic outpourings of massive and unquestioned violence. Self-reliance can cover communal urges, deep and disturbed. It might do us all good to think how well we have been served by keeping to ourselves.

McKillop is also religious and often cites scripture, from which he draws lessons he applies to his coaching. Lovedale and Curry talk about their faith as well, its influence on their play. Last year Curry inked on his shoes the much publicized “I can do all things” from Philippians 4:13.

And here I come to a stop. I have made religion an option for Christopher but haven’t followed up.

My skepticism about faith, as about values, as about nearly everything, however well-founded, has left me at loose ends. Though I know there is not much to be found at either end, I have no firm sense of whether I am good or bad in any sense. Nor do I know what spirit moves me, or if there is one. I have to wonder about what kind of model I present for my son.

While not necessarily a reflection of either, the fusion of church and state, in England’s past as here in recent years, is troubling in the ease with which it has occurred. But room has to be made for faith as well as doubt. While I grew up in a Presbyterian church, I never attended the one at Davidson and set religion aside long ago. Last year, however—I should make it a fourth event for this essay—I stumbled across a piece by Marilynne Robinson in The Best American Essays 2007 that discussed, of all things, the theology of John Calvin. She notes the irony that fundamentalists today have somehow managed to join the mission of Christianity with that of capitalism while at the same time overlook Christ’s love of humanity, His concerns for our well being, all of us, and our salvation. Such a horrible contradiction, and really a damning indictment—how has that irony survived?

But this is the thought that struck me most and made me rethink Presbyterianism in particular and religion in general: “Calvinism encourages a robust sense of human fallibility, in particular forbidding the idea that human beings can set any limits to God’s grace.” Because of our fallibility and because of this distance that cannot be closed, none of us—and no institution, religious or other—can claim a mandate from God we can pass on to others. Our history is filled with too many examples where our institutions have gone horribly astray. But our existence is based on His love of us, all of us, a condition just as unassailable. It is this love that gives us hope and encourages us to keep trying, keep finding ways to better our lives and the lives of those around us, and keep testing and refining our institutions. It is when this love is forgotten that heads begin to roll. We have every reason to doubt what we say and do, but our salvation, here on earth and later, depends on constant love and application of our faith. Still we doubt, but doubt encourages tolerance, allowing us to accept each other and “live together in peace and mutual respect.” Uncertainty is not a detraction from faith but one of its terms.

In many ways such an understanding was implicit at Davidson, and I realize now the influence of my earlier years in church. I still haven’t sorted out my religious views. I am certain of this much, however, that I have profound—call it religious—respect for all that I do not understand, all that has not yet been figured out, all that never will be figured out or understood. I also stand in awe of all the ways we have violated our best intentions—start with a body count of the horrors of the last century, then add the numbers for this one. But there has to be something about me, about all of us, that is vital, that is valid, that must be preserved, and something outside ourselves just as vital, and some way to talk about both and factor them into our lives. Call it faith in faith. These belong to the domain of religion, and we have centuries—millennia—of discussions to review. I will always remain skeptical, but it is because I cannot answer fundamental questions of doctrine that I do, in fact, have faith. Doctrine will always lead to conflicts and debates, many of them useful, but answering such questions still leaves too many questions unanswered. Uncertainty is sustaining and keeps possibilities alive, the discussion open.

Those who are religious might complain utter compromise, but I see a lot of common ground.

As for those who are not religious, I can only ask them to look at the images of humanity and the world they offer and consider how well those images fit us, they serve us, what they ask us to look at, what they give us to strive for—then see how much they miss the mark.

Presbyterians also believe in salvation through good deeds: what we believe should be put in action. McKillop, though Catholic not Presbyterian, doesn’t just say the words, he practices them. He made the change not for the team record or his career, but for the players themselves. He realized he had to restore their belief in themselves and in their desire and motivation to play, to be themselves and reach their potential, all rewarding in themselves. Winning was a by-product. He still drove them hard, but now they responded. As for religion, I have never heard an instance of his praying for victory or playing for God to fulfill His purpose. “Walk humbly with your God” McKillop tells us, citing Micah 6:8. Rather, voice is given to what coach and players believe in, giving it a chance to flourish and make them whole. Curry’s “I can do all things” is not egotistical at all but rather a testimony to his faith. The full passage is “I can do all things through Him who strengthens me.” In an interview with ESPN he explains, allowing other interpretations: “Don’t play for anybody other than your family, or God, or whatever you believe in. It’s easy to get caught up in playing for the crowd, trying to play a game you’re not capable of.”

Faith, values, and the voices of the heart perhaps cannot be defined, and they suffer most when we nail them down or tie them to a cause. But we can express them and look where their exercise leaves us. I have the NCAA tournament games on DVDs and still watch them. The 17 point deficit against Georgetown should have demoralized Davidson, but it didn’t. The players never stopped running or looking for opportunities. In none of the four games did any of them look like they thought they were going to lose. And they should have been exhausted after pulling even with Georgetown. Instead, they looked refreshed.

David Foster Wallace was editor of the 2007 anthology, an excellent collection, with essays he selected because of our current political and cultural crisis. We do have public critics, but they are not heard.

His death last year makes a fifth event.

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But teamwork, discipline, and faith are still not enough. Of course there is Stephen Curry.

To write about Curry is to risk falling into the temptation of superlatives while depriving oneself of the tools of ironic cuts. But to watch him play is to have belief stretched and received notions, our perceptions of what we think is possible and what is not, thrown out the window.

In the four NCAA tournament games last year he made 13 steals, 13 rebounds, 14 assists against only 5 turnovers—and scored 128 points. In the Gonzaga game he was 8 for 10 from the three-point line, though his percentage was low against Georgetown and Kansas. Still, he kept shooting and eventually the ball started falling in. He was a major reason the team believed they could come back. Against Georgetown he scored 25 points in the second half, 30 against Gonzaga. What makes his numbers even more impressive is that he was able to produce against very good defensive teams, and since he was the major scorer they were able to key in on him, rotating defenders and working double—and sometimes triple—teams. All of this he accomplished when no one thought he could play at the college level in the first place. No major teams wanted the slender six-footer out of high school because they thought he was too small to contend in a game that depends more than ever on power and physical intimidation. Virginia Tech offered him a walk-on slot, while the rest of the ACC overlooked him entirely.

He can do all things. On offense he only needs the slightest opening and gets his shot off fast, his form a synthesis of concentration and split-second decision, of balance and gymnastics. On good nights, and he’s had plenty, he has extraordinary range and accuracy. This season he hit a 75-footer at the halftime buzzer against Chattanooga, and the amazing thing is that I don’t think anyone was surprised. He has conditioned us not to expect him to make shots, but to hit the hoop dead center, giving us that gentle yet peremptory caress of the swish that glides into and seizes our hearts. He can also shake a defender and pull up in the key, or find a narrow opening in the crowd under the basket and slip through for a layup, in either case switching to his left hand if he needs to. This is what makes him tough to defend, that he keeps his opponents guessing, and he knows how to work their uncertainty with feints and moves they cannot predict. Late against Georgetown, coming off a Lovedale screen, he dribbled behind his back, stalling his defender, then popped a three that put Davidson up for good.

He doesn’t just shoot, but is active full court and knows how to read both ends. On offense he is in constant motion, running through screens, finding open lanes. He also dribbles well and can break a press, then, still on the run out of the corner of his eye catch an open player and flick the ball for a quick two. On defense he puts the same energy into guarding his man and with quick hands can force a turnover or make a steal. Or he can switch off at the right moment as a play develops and take on other players, and he is not intimidated by any. He took a charge against Georgetown’s 7-4 Hibbert. Against Wisconsin, he leapt to block 6-11 Stiemsma driving for a dunk. Or he finds the right spot to cut off a pass, or, seeing a turnover, immediately races back down the court for a fast break. In fact he seems to have solved the mystery of perpetual motion. Though he plays nearly the entire game, he doesn’t slow down but seems to become more energized the more he plays.

To be sure, he led scoring this year because he was allowed to take so many shots. Other players—Jodie Meeks, for example—might well have scored as many if put on a similar team and cast in the same role. Nor does Curry make all his shots and he has his off days. This year his shooting percentage fell somewhere short of phenomenal. I doubt, however, any other player could have inspired a team as much. It is only my speculation, but I don’t think Curry is so much a team leader who commands respect so he can call the shots and direct play. Rather he brings a spirit to the court that others see, that taps into their own spirits and encourages them to lead themselves. Or maybe he encourages them to stop thinking about roles and chains of command, and instead look to themselves and what they can do. Teams should be built from the bottom up, not top down.

For me, the attraction is not his production but who he is and the way he plays. He shoots because that is his job, but he will do anything to help the team. He sets screens for others, and this season when they played Loyola Maryland against an exaggerated double-team he took his defenders to a corner where he watched his teammates win a lopsided victory, taking only three shots and scoring no points. He never gloats or gets down on himself or loses his composure. He just plays, and does so with a playfulness that is nonetheless serious in its results, showing a selfless joy in which I hope he does not lose himself, and I doubt he does. Watching his effortless long-range shot is like seeing the flow of some easeful, natural force that rises from the floor through his extended legs and arms and up into the rainbow of his shot, and when he shoots we all collect our breath so we can release our cheers as the ball does what it does so often, make its soft descent into the net, when our cheers touch ecstasy. To watch him is to believe that grace is a force in nature.

It goes without saying that Curry is talented and that he has spent countless hours with practice and conditioning. But also he is inspired in every sense of the word, and I won’t argue against what he claims to be his source of inspiration. His play is artful, and what he reveals is imagination at work in his ability to picture the scheme of play and see options others miss, finding a variety of solutions to the game’s shifting, complex demands. Or he might dribble behind his back and split two defenders and try to make something out of nothing. He creates what we haven’t seen before and didn’t know could exist, beautiful in what it might imply. To watch him is to wonder if all things might not be possible. But we also see a play of spirit beautiful in itself, and, for a moment, can put implications aside.

I overdo it. Then again I don’t think I’ve gone far enough because watching Curry and the team last season had this effect on me, that I started looking for openings myself in my life and in my work and thinking of solutions where before I only saw impasse. The team helped me to look up. I’ve read that he inspired the entire Davidson campus as well, and it’s hard not to believe that all who watched him didn’t feel their spirits lift.

C Shoots

I especially wanted Christopher to know Curry because I am always looking for role models. Hey, look at this guy—I showed him some YouTube highlights a year and a half ago, when I first heard about Curry—and Christopher took to him at once. Both have almost the same height and weight, and the same ethnicity—Christopher is adopted. I wanted him to see Curry’s character and have a companion in his spirit. He is growing up in a world that gives him plenty of freedoms, thrilling and superficial, yet also one with limited options and rigid requirements of how to make it there. He has gone to very good, but very demanding and competitive schools, where he hasn’t yet hit his stride, taking required courses that do not always speak to him, learning under the mechanical strictures of point counting, the pressure of the need for high SAT scores and GPA’s to get into college. It is a system that does not question itself and often contradicts. Life will not be much different when he gets out of school. I want him to keep looking for options and see what he can figure out for himself, to never stop trying and always keep his head up.

Christopher also plays basketball, thus his special interest in Curry. High school basketball is much more competitive than I remember it at my age. So many more show up for tryouts, and it is hard to establish a place once on a team and find room to develop. Play can become bogged down as the boys assert themselves yet fight their doubts, often ending up in their avoiding outside shots and clogging up the paint. Curry didn’t first put the thought in his head, but he certainly reinforced a desire. Christopher has always wanted to bomb away, and his coach turned him loose. His shooting was off during the season this year, but during summer league he went through a stretch where he hit from the perimeter with startling percentage—4 for 8, 5 for 7, and in one game, where he only played twenty minutes, 7 for 11. He also played for a local AAU team last summer and bombed away there as well. At first he got dirty looks from the other players—until he started making his shots and, with his points, keeping them in the game. As with Davidson outside shooting can do much to reverse the odds and open up the dynamics of play.

Most, I want Christopher to assert himself, but also, like Curry, be himself and enjoy what he does. I hope he never loses his spirit. My favorite picture of him is of his making a steal and—he is fast—tearing down the court, breaking free of the others chasing him, and laying up.

C breaking free

There was a sublime five minutes of basketball in Davidson’s game against Wisconsin that showed what Curry and his team could do. Wisconsin, the heavy favorite, was much taller, though less assertive, and the game was close up until the last fourteen minutes, when expectation told us that Wisconsin would finally assert its size and pull away. Instead Davidson shut the Wisconsin offense down, holding them to a handful of shots, while they themselves scored at will. First Richards, Davidson ahead by 3, brings the ball up, starts to drive, but then makes a quick pass to Curry who has just slipped a screen, who quickly shoots from the arc and swishes. Up 6. Wisconsin on its possession gets the ball to Krabbenhoft who drives, but Curry comes from behind and knocks the ball loose and Richards picks it up and starts back and Curry is already racing down the side ahead of him and Richards passes to the corner, where Curry loads and Krabbenhoft, rushing desperately back, makes a running leap to stop his shot, and Curry waits for him to fly by, then reloads and nails another. Up 9. Davidson forces a tie-up on Wisconsin’s next possession, then a turnover on the inbound pass. Davidson ball, Richards takes the shot this time, several feet behind the arc, and swishes. Up 12. Then Meno steals in the backcourt and Davidson, with the ball, keeps getting offensive boards and takes several shots, Richards finally banking in a three, though it doesn’t count as the shot clock has expired. Then Davidson rebounds on defense and on offense the ball goes back to Curry who dribbles off his defender and swishes yet another three. Up 15. Wisconsin only manages a free throw in their next two possessions, then comes the shot that brought the house down. Richards, seeing Curry cut for the basket, shoots a pass to him off the dribble with his left hand and Curry drives from the left side to the right, where he spins 180 and, behind the board, his back to the stands, fronted by Stiemsma, who fouls him, underhands a layup, then makes the free throw. Up 17. A few possessions later, with Curry on the bench taking a breather, Lovedale, playing out, makes a quick cut and already the ball comes from Richards into the opening both know is there, though they scarcely looked, and Lovedale drives for the dunk, keeping the lead at 17. Wisconsin never closed the gap.

I suppose it would be attractive to offer some kind of lesson or draw a moral from their performance last year. I don’t want to do anything of the sort. Sports are gloriously pointless; keeping score only highlights that point. Our expectations in the NCAA tournament are excessive—March really is a madness—but we need some container for our excitement so we can turn it loose. We don’t have to justify sports any more than we have to explain our existence. Rather they tell us that our lives at any given moment matter, giving us a meaning that cannot be reduced to some abstraction or taken out of time, offering us a chance to assert ourselves and express our better spirits and enjoy our time together. Sports provide overwhelming evidence that we are, in fact, alive.

I would be curious, however, to see what kind of world we might create if we were allowed to exercise our faith in ourselves, in something higher, and give our hearts and minds full range.

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I will spend even less time on the Saint Mary’s game than Hazlitt did on his fight. The context made it exciting and I finally got to see the team and had a chance to stand and give my affection full voice, but I realize now the game itself wasn’t that important to me. I’m not sure what victory might have meant. Davidson would have had a long haul to make it to the finals of the NIT against several other competitive teams, all out to prove themselves, and I’m not sure how satisfying winning at Madison Square Garden would have been in a tournament that isn’t taken seriously, at a time when the nation’s attention is on the NCAA. Their season had to end somewhere.

The NIT, of course, is not a big deal.

Also, they lost.

Richards graduated last year, so Curry moved to point guard, where he showed much talent, ranking high in assists. But the move put a greater load on him as now he had to bring the ball up and run the offense. It was harder for him to shoot because instead of running around screens for openings he had to work much harder to get clear looks. Defenders could key in on him when he had the ball, and he couldn’t very well pass to himself.

But in the first half of the game, we saw how the offense could work. With so much attention on Curry, other players were open and Curry fed them, though they missed several mid-range shots. Still, Davidson got out to an early lead, but then stumbled and Saint Mary’s made a run. Davidson pulled back, and the half remained tight and tense, Davidson only down three at its close. At some point Christopher and I stopped sitting and just stood, following the student section’s lead. Neither of us stopped shouting either, yet we scarcely put a dent in the crowd’s mood, loud though still not sure of itself, and often raucous. They cheered when Curry missed a shot and were silent only once, early in the half, when Curry slipped in a quick, long-range three, a reminder of what he could do, of what could keep coming.

At halftime I went outside to a roped-in area to smoke. There, much mulling over and unresolved tension, and disapproval of my shirt. Inside, the Saint Mary’s dance team, some twenty of them, entertained those who stayed.

Curry opened the second half with another three, tying the score, but Mills replied with a quick layup. The game remained close for the next ten minutes, Saint Mary’s gaining the lead, but even with six minutes to go Davidson was in range. Yet Saint Mary’s pulled away, the crowd mood finding the clarifying voice of victory, and they finally won by 12. Curry did score 26 points, but it was Patrick Mills’ show. While he didn’t shoot well from the outside, he still could drive and scored 23 himself. He really ran the offense well—10 assists—and the whole team responded, playing together, their play inspired. They also covered Curry well. Forward Diamon Simpson and center Omar Samhan, big men with skills, had fine games, and Mills was able to find them. When the game was over, Mills invited the crowd to the court, where they flooded.

Mills would make a good story—someone should write that essay. Leon Powe, at Berkeley, my other alma mater—Christopher and I saw him play a few years ago—would make another. There are plenty of good stories in college basketball, in all sports, all of them different, and all of these essays should be written.

The Davidson resurgence of last year didn’t happen. My view is the team was a few pieces short. We couldn’t match up with Saint Mary’s size—Miami agreed with me. Sander and Meno also graduated last year, putting most of the inside load on Lovedale, who was well guarded and had to watch his fouls. Without an inside game, more pressure was put on the perimeter, on Curry. Maybe the team relied too much on Curry, maybe he had too much to do—he also got 9 rebounds. But Davidson didn’t execute well—17 turnovers, 6 by Curry. The team was uncertain of themselves. They also looked tired, even Curry. It had been a long, emotional season, trying to play to last year’s expectations and appearing before packed houses. They were in the national spotlight for an entire season and fell under the scrutiny of a critical press that debated the team’s worth all year. McKillop himself acknowledged that pressure and its effects.

I know I am supposed to make some philosophical statement about loss and its meaning, perhaps concede the necessity of a return to reality, but I have no interest whatsoever doing so here and don’t see any point. They just lost. Nothing can diminish what they accomplished, or what others, what any of us, given the right circumstances, might yet do ourselves. And reality is a subjective study. We have to be careful to see how it is defined, by whom, and why.

Still, the loss upset me. I had invested a great deal into the team, which I now would have to recover, on my own. I was tired myself—it was a long, emotional day.

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The crawl out of the parking lot, the late drive on the rough freeway, the winding road, dark hills. Not much traffic, but it was a strain to see the lines, worn and faded…

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Thoughts on returning home, the returning thoughts…

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No comment from Christopher or any idea of what he thought because he soon fell asleep and slept the whole way. He was exhausted.

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How does one talk to one’s son?

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Tom Hickman, “The Gas-man,” did get up in the twelfth and fought six more rounds, though still took a beating. But he couldn’t come to his senses in time after the eighteenth, and on December 11, 1821, Bill Neate was declared the winner.

— Gary Garvin

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Sources, in order of appearance:

Terry Eagleton, “The Critic as Partisan,” Harper’s Magazine, April 2009, pp. 77-82. He reviews Duncan Wu’s recent biography, William Hazlitt: The First Modern Man.

David Higgins, “Englishness, Effeminacy, and the New Monthly Magazine: Hazlitt’s ‘The Fight’ in Context,” Romanticism, 10.2 (2004), pp. 170-90.

All comments on McKillop’s coaching from Michael Kruse, Taking the Shot (Butler Books, 2008).

Marilynne Robinson, “Onward, Christian Liberals,” The Best American Essays 2007, ed. David Foster Wallace (Houghton Mifflin, 2007).

“I can do all things,” from Curry interview, Kyle Whelliston, “Curry shrugs off the glory in Davidson’s Elite run,” ESPN.com, March 29, 2008.

McKillop comment that they were tired from Stan Olson, “Wildcats play free of pressure,” Charlotte Observer, April 1, 2009.

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Gary

Gary Garvin lives in San Jose, California, where he writes and teaches English. He has written two novels, and his essays and short stories have appeared in Numéro Cinqthe minnesota reviewNew Novel ReviewConfrontationThe New ReviewThe Santa Clara ReviewThe South Carolina Review, The Berkeley Graduate, and The Crescent Review. He is currently at work on a collection of essays and another novel.

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Mar 152010
 

THE FIRST EVER NUMÉRO CINQ APHORISM CONTEST

Submissions March 15-31, 2010

Submit by commenting on this post

Submissions must be no more than 150 words in length

Do not enter a submission unless you have figured out what an aphorism is first

Wit and arrogance appreciated

Contest open to everyone including employees of Numéro Cinq, their significant others, children, and small pets

First Prize — Instant Worldwide (e)Publication w/ commentary

Plus honours & laurels

Mar 152010
 

During our packet discussion this weekend, Doug and I had a long conversation on critical thinking as a writer. I also read last night and this morning his essay “The Novel as a Poem” from Notes Home from a Prodigal Son (and also Cynthia Huntington’s “Poetic Technique in Nonfiction Writing” from the VCFA anthology). I think I might have made a breakthrough, or at least found a foothold. In his essay Doug mentions two types of patterns, patterns of verisimilitude (or “aboutness”) and patterns of technique. This distinction is one I think I’ve reacted to a bit emotionally in the last couple of months, and I think I might know why – in my non-fiction work, I think I’ve focused almost exclusively on patterns of verisimilitude. I think this might be because of the form itself. Until the last three or four years, I wrote almost exclusively fiction and poetry. My transition to non-fiction has been one I didn’t necessarily consciously make – people told me I needed to write about my crazy family, and I also was getting more publications in online media for the more journalistic work. Perhaps, in this not-entirely-conscious transition between forms, I made some assumptions, one being that, since non-fiction is about things that actually happened, it was more important to tell them as they happened (or at least how I remember them happening) rather than imposing structural forms on them. I’m starting to think this was a grave error. Two of the people in my writers’ group have said they like my fiction better than my non-fiction, that it just seemed to get to the “heart” of human experience better – I’m starting to think now that they were reacting to the “completeness” of the form, as they also said my fiction “pays off” better. I’m not sure what this says about the direction my non-fiction is heading, but I am now having a bit of a renaissance of formal introspection. It makes writing a bit less fun right now, but as Doug says in the essay:

Getting the balances right in any given work is part of the art of art and its mystery and is a skill that cannot be taught. It leads to a feeling…of submission, of loss of freedom, of loss of expressiveness. But there is a point in the process of writing a novel  [or personal essay – my note] at which you must submit to the strictures of pattern that you have chosen.

—John Proctor

Mar 142010
 

There was Claw-fingered Kitty and Windy Ike
living the life of shame,
When unto them in the Long, Long Night came
the man-who-had-no-name…

So yesterday I drove Jonah to the woods of Middle Grove west of Saratoga Springs where he spent three hours with this amazing musician named Russell Slater. Listen to Slater at motherbinary.com. While Jonah fondled synthesizers and midi guitars, I wandered over to the Ballston Spa Antique Center where I stumbled upon a copy of Ballads of a Cheechako by the Scottish writer Robert Service; you probably all know “The Cremation of Sam McGee.” Service spent a good deal of time in Canada and became world famous for his poems about the Yukon. His brother joined the Canadian army and was killed in action in the First World War. Service’s poems are comic but have this mysterious edge, like dream figures coming out of the darkness. I love the lines above. He works with types instead of metaphor, but the types seem mythic, rock-hewn, and silly all at once. Take the phrases by themselves (notice the capitalization):

  • Claw-fingered Kitty (I can’t get much traction with Windy Ike)
  • living the life of shame
  • the Long, Long Night
  • the man-who-had-no-name

dg

Mar 132010
 

Hathaway

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Bitterness

For sure that sea is bitter in its seethe
bitterly cold between cold black rocks
below us and one of us remarks
the wind shivering these scrawny aspens
into so much panic feels bitter and raw
across bare faces and I can tell you
if you were to pluck and chew just any
of these leaves around us you’d find
just how much more bitterness lies
beneath the skin of so many things
you thought you knew and so yes it’s true
these words taste bitter that we
are us no more but cold as the black sea
that seethes so raw behind cold eyes
and across hidden hearts frozen faces
never bare except beneath remarks
about weather that taste to us
each apart as savorless as the wind
we chew with every bitter word
fluttering like this monotonous uproar
of bitter leaves whose only fear
trembles in words we dare not say.

—William Hathaway

See also “Bufflehead Dawn,” “Martin Points

Author Interview with Adam Tavel in Poets’ Quarterly

 

Mar 132010
 

I was just looking through Keats’ “Ode on Melancholy.” It had never occurred to me to think of it as a poem about the aftermath of a fight with your significant other, the massive, hugely depressive feeling you get when things go south in the kitchen or the bedroom and the person you thought was your nearest companion turns out not to have the faintest clue about your inner being and no sympathy whatsoever. But, of course, that couldn’t be what the poem is about, right? Compare with D. H. Lawrence’s “Kissing and Horrid Strife” discussed in an earlier post.

I love the train of poisonous medicaments in the opening stanza, the piling up of death. This appeals to the baroque and macabre side of my nature which, as you know, doesn’t come out much.

dg