May 172010
 

Warning:  The following post contains traumatic and emotionally harrowing details.  Not for the faint of heart.

I lost my copy of James Salter’s short story collection, Last Night, and it’s torn a hole into the depth of my soul. On a flight to Northern California for the weekend, I was reading the collection and happily marking up several stories as I went. Only after arriving at my hotel did I realize that the book was not in my luggage.  I must have left it in the little seat pocket on the plane.

I hate losing books!  I feel like a piece of me has been ripped away and is out there floating around the skies right now, on some Virgin American 737-300.  I spent several hours marking up this book and writing notes in the margins and now those thoughts, those connections, are gone.

To demonstrate the profound emotional trauma of this experience, I offer the following evidence:  This is the third book I’ve lost.  My first lost book was Crime and Punishment (also a heavily marked copy). I lost this about 8 years ago and have yet to recover.  (One wonders if they have therapy for this affliction?)   Then, about 4 years ago, I lost my copy of J.M. Coetzee’s The Master of Petersburg…this one in the San Diego airport.  And now Salter.  Seriously, these losses stay with me.   My only comfort, my only hope, is that these three lost books have found new, gentle homes.  I beseech the universe that some lonely traveller has stumbled upon these lost books and is reading them.   I need to imagine someone curled up by a fire with a Salter story, perhaps with a glass of single malt Scotch, a snoring dog at his (or her) feet, rain lashing against the roof.  Only this fantasy will help me get to sleep tonight.

—Richard Farrell

May 162010
 

Another of the gorgeous Dore illustrations

In Judges 11 we find another fascinating little story. Jephtha is another one of the “judges” called to save errant Israel. He’s an interesting character in himself. Son of a prostitute, he has to live in exile in the land of Tob until the Ammonites attack Israel. This echoes several Bible stories including the early life of Moses who has to escape from Egypt for a while before coming back to save the Israelites from Pharoah. Any number of Biblical heroes have to live in exile or in the Wilderness before achieving greatness (echoing shamanic practice).

The Israelites promise Jephtha he can govern them if he helps them fight the Ammonites. So off he goes to whack some Ammonites after promising God to sacrifice the first thing that comes out of his front door when he returns home victorious (what was he thinking? what was home life like? what sort of innocuous thing wandered in and out of his front door? goats? puppy dogs?). As luck would have it, the first thing that comes through the door to greet him is his little daughter who dances out happily expecting big hugs and, maybe, souvenir t-shirts. She asks Jephtha why he looks grumpy and he tells her, well, now I have to offer you as a burnt offering to the Lord. She is, to my mind, justifiably dismayed, but she’s a good daughter. She says, okay, but let me go up into the mountains with my girlfriends to mourn my virginity for two months. Jephtha says okay to that (the text emphasizes that his daughter is an only child–think of it). And the girl and her friends spend two months camping and hiking in the mountains bewailing her virginity (have teenage girls changed since then; I mean, really?). Then she comes back and Jephtha burns her on the altar. The KJV translation here is absolutely gorgeous in its description of a sweet, real little girl on the cusp of womanhood.

Continue reading »

May 162010
 

Voting is now CLOSED for the 2010 Numéro Cinq Annual Villanelle People’s Choice Competition. Gary, this time you cannot vote more than once (although if you are indecisive, you can change your vote). The judges are puzzling over what to do with David Helwig who wants to be considered in the Golden Age category. Also there are three entries from authors under 16. Since voters have already begun splitting their votes, we shall just continue except that the new “Barracuda Class” will be for authors under the age of 16 (Sage, Sarah & Julie Marden’s students Danny & Anibelys).

In any case, let popular opinion reign here. Remember that so far no one has been expelled from Numéro Cinq for over-indulgence of psychotropic drugs or expressing incorrect ideas.

The official entry list is here. Vote for your preference in the COMMENTS section below this post. Voting closes midnight next Saturday, May 22, 2010. Remember, ANYONE can vote!

And for your edification, I attach a photo of Hobbes which proves without a doubt that he is not fat as suggested in one of the entries.

————–

As of Saturday midnight the votes cast are:

NC People’s Choice Open (Shark Class) Competition

Jacob’s dating poem 1 vote

Farrell A Dream Deferred 1

Axelrod This is why I rant 1

Gary’s Spam Villanelle 2

Julie’s Art of Rat… poem 1

Sandy’s Villanelle No 2  1

Julie’s Mind at Play 1

Gary’s Blue Dog 2     1

Anna Maria’s watersnake poem 2

NC People’s Choice Barracuda (Under 16) Class

Sage’s poem about Hobbes & the mouse 3

Sarah’s “Unlikely Hero” poem 2

Danny & Anibelys 1

dg

May 152010
 

Gustave Dore illustration

I have surged through Joshua, Judges, Ruth, and part of 1 Samuel (Kings), catching mistakes and misinterpretations from the last time I read through. The Bible seems more strange and alien than ever, fascinating in its fierce anarchy. (Might I just mention in passing the plague of hemorrhoids God sends to the Philistines and their attempt to make a Trespass Offering by fashioning five gold statues of their hemorrhoids. 1 Samuel 6:4 I went to bed last night trying to imagine what a golden hemorrhoid would look like.)

Briefly, since I’ve been trying to keep track of what I called the slaughter of the innocents (or collateral damage), I want to draw your attention to the horrific story of the Levite and his concubine (Judges 19). This follows a murky little bit of text about a man named Micah who seems to set up his own mixed religion with pagan images and Hebrew sacred items mixed and a Levite priest to conduct services–this is during one of those backsliding moments when the Israelites have fallen away from the truth faith. Judges 19 seems to start fresh, but it could be the same Levite priest. He takes a concubine (later she’s referred to as his wife as well), but she “plays the whore” with him and runs away to her father’s place. The Levite goes to get her and eventually starts home. They stop for the night at a place called Gibeah where a nice old gentleman invites them to stay at his place. During the night a crowd of party animals called “sons of Belial” surround the house and ask the old man to send the Levite out so they can have sex with him (this is a repetition of the Genesis 19 episode at Lot’s house in Sodom). The old man offers them his daughter and the concubine instead, but the rowdies want the Levite.

Finally, the Levite convinces them to take the concubine after all. The young gentlemen rape her through the night, and when they’re done, they turn her loose. She manages to crawl to the door of the old man’s house, manages to reach up and get her hands on the doorstep, and dies. In the morning, the Levite gets ready to leave and notices the concubine. He tries to rouse her, but she doesn’t respond. He packs her on his donkey and takes her home. And then he gets a knife and cuts her body up into 12 parts (including the bones) and sends the bits off the the far corners of Israel. His reasoning is that he wants to gather a horde to wreak vengeance on the men of Gibeah–and he does. (This part of the story refers forward to 1 Samuel 11:7 where Saul cuts up a yoke of oxen and sends the pieces to the corners of Israel to summon the hosts. Weird connection, yes? concubine=oxen?) But my mind is still back there with the concubine for whom things have not gone well. Not well at all.

Here is the climactic bit of the story (my emphasis).

019:021 So he brought him into his house, and gave provender unto the
asses: and they washed their feet, and did eat and drink.

019:022 Now as they were making their hearts merry, behold, the men of
the city, certain sons of Belial, beset the house round about,
and beat at the door, and spake to the master of the house,
the old man, saying, Bring forth the man that came into thine
house, that we may know him.

019:023 And the man, the master of the house, went out unto them, and
said unto them, Nay, my brethren, nay, I pray you, do not so
wickedly; seeing that this man is come into mine house, do not
this folly.

019:024 Behold, here is my daughter a maiden, and his concubine; them
I will bring out now, and humble ye them, and do with them
what seemeth good unto you: but unto this man do not so vile a
thing.

019:025 But the men would not hearken to him: so the man took his
concubine, and brought her forth unto them; and they knew her,
and abused her all the night until the morning: and when the
day began to spring, they let her go.

019:026 Then came the woman in the dawning of the day, and fell down
at the door of the man’s house where her lord was, till it was
light.

019:027 And her lord rose up in the morning, and opened the doors of
the house, and went out to go his way: and, behold, the woman
his concubine was fallen down at the door of the house, and
her hands were upon the threshold.

019:028 And he said unto her, Up, and let us be going. But none
answered. Then the man took her up upon an ass, and the man
rose up, and gat him unto his place.

019:029 And when he was come into his house, he took a knife, and laid
hold on his concubine, and divided her, together with her
bones
, into twelve pieces, and sent her into all the coasts of
Israel.

dg

May 152010
 

Herewith it’s a huge pleasure to introduce my friend  Bill Gaston, a writer of poignant and sometimes Rabelaisian family stories, plays, novels, and a fine sports memoir Midnight Hockey. He teaches creative writing at the University of Victoria on Vancouver Island (way to the left if you’re looking at a map of Canada). “The Night Window” can be found in print in Bill’s story collection Gargoyles. It’s a story I know well because I included it in Best Canadian Stories the last time I edited the annual anthology (during my ten years as editor, I picked Bill three times).

dg

The Night Window

By Bill Gaston

 

Tyler’s librarian mother has brought two home for him. He hefts them, drops them onto his bed. One is on fly fishing. The second is Crime and Punishment. Tyler suspects Dostoevsky is a writer he will read only if made to, for instance if it’s the only book he brings on this camping trip.

Tyler knows that what he is actually weighing here is his degree of insubordination. Yesterday his mother’s boyfriend–Kim–went through all their gear, inspecting wool sweaters and cans of food. Peering into Tyler’s hardware store plastic bag he shook his head and pointed in at the new reading-light with its giant dry cell battery.

“It’s a natural-light camping trip,” he said, unpointing his finger to waggle it, naughty-naughty, in Tyler’s face. Tyler saw how he could fall to an easy hate of his mother’s boyfriend, except that Kim was just always trying to be funny. His mother had explained this early on.

“Umm…no lights?” his mother began, half-coming to Tyler’s defense. “If I have to pee in the middle of the night? Kim, you want some on you?”

It was this kind of statement (which had Kim laughing over-loud) that made Tyler turn away blank faced, that made him not want to go camping, and let his mother go wherever she wanted without him. It must be exactly this sort of statement that offends her co-workers at the library; it’s the reason she fits nowhere, and dates someone like Kim Lynch.

Continue reading »

May 142010
 

I recently saw the film adaptation of Disgrace, J.M. Coetzee’s 1999 Booker Prize winning novel.  In the novel, David Lurie is a white college professor in post-apartheid South Africa who has an affair with one of his students, a girl named Melanie Issacs.  Melanie files a complaint against Lurie and he is dismissed from his post.  He travels to the country to live with his daughter, Lucy, a young woman trying make her way as a farmer.  At the farm, Lurie and his daughter are attacked by three black South Africans, foregrounding the huge issues of race and land ownership and post-colonial Africa.  Lucy steadfastly refuses to leave the farm, even though her attackers continue to roam nearby.  David begins a healing process himself by helping to euthanize stray dogs in a make-shift animal clinic.

The book was sparse, dark and moving.  I had very little hope that the movie could capture the tonality of the book.  Overall, the movie adaptation managed to convey both the somber tone of the book and the meandering inner journey of Lurie.  John Malkovich played Lurie, and though his quirky face (I mean that in a good way) at times had a comic effect, I thought his portrayal of this serious character was excellent.

I found myself thinking about Doug’s section on “Novel Form and Memory” from his book, The Enamoured Knight.  Doug discusses how novels use “substitute memory devices,” usually within a character’s consciousness, to remind the reader of the what has happened and keep the novel from “sprawling.”  By using only dialogue to access memory (or substitute devices), the story tends to get clunky and the dialogue begins to sound unnatural and un-dramatic.

I suspect this is the main reason feature films run mostly between an hour and two hours: films and plays simply can’t supply the substitute-memory devices needed to develop length (it has nothing to do with TV and shorter attention spans).

I read this quote a while back but it really stuck with me.  I think this is the first time I’ve been able to apply this idea to a film adaptation of a novel I’m fairly familiar with.  Longer scenes in the book became compressed in the movie.  A novel of some 250 pages (I don’t have my copy…drat…I must have loaned it out…I’m a hoarder with my books too, so this causes me great pain.)  probably takes me 6-8 hours of solid reading.  So even in a good adaptation, like this one, so much of the richness and texture of the book gets lost.

—Richard Hartshorn

May 132010
 

Proctor

 

This past  month I’ve read and re-read fifteen short pieces, each of which  might be called a list essay. I say this with the confession that before last month I didn’t even know such a form existed. I did, though, find myself writing in it and blindly starting to lay out some basic precepts as I wrote, then trying to identify them in other essays. I can’t precisely identify  the methods I used in finding the essays I chose, except to say that I searched through my non-fiction anthologies for essays that looked like the ones I was writing (and I mean “looked” in the most physical sense – I tried to find essays that resembled lists), googled the term “list essay,” and asked everyone I knew if they could think of possible examples. Perhaps rather haphazardly, I found and read the following “list essays”:

  • Leonard Michaels, “In the Fifties
  • Wayne Koestenbaum, “My ’80s
  • Jonathan Lethem, “13, 1977, 21” [from Lethem’s The Disappointment Artist; also the anthology The Fourth Genre: Contemporary Writers of/on Creative Nonfiction]
  • Susan Allen Toth, “Going to the Movies” [from Harper’s Magazine, May 1980; also The Fourth Genre anthology]
  • Carol Paik, “A Few Things I Know About Softball” [from Fourth Genre: Explorations in Nonfiction, Volume 9, Number 2, Fall 2007, also The Fourth Genre anthology]
  • Debra Marquart, “Some Things I Know About That Day”
  • Wendy Rawlings, “Virtually Romance: A Discourse on Love in the Information Age”
  • Nancy Lord, “I Met a Man Who Has Seen the Ivory-billed Woodpecker, and This Is What He Told Me” [from Fourth Genre: Explorations in Nonfiction, Volume 9, Number 1, Spring 2007, also The Fourth Genre anthology]
  • Michele Morano, “Grammar Lessons: The Subjunctive Mood” [from Morano’s Grammar Lessons, also The Fourth Genre anthology]
  • Meriwether Clarke, “The Grimm Brothers: A List Essay
  • Sei Shonagon, “Hateful Things” [from Shonagon’s Pillow Book, also The Art of the Personal Essay anthology]
  • Christopher Smart, “My Cat Jeoffry” [from Smart’s Jubilate Agno]
  • Brenda Miller, “Table of Figures” [from Miller’s Blessing of the Animals, also The Best Creative Nonfiction, Vol.3]
  • Anonymous, “(names have been changed)” [from The Best Creative Nonfiction, Vol.3]
  • Dawnelle Wilkie, “What Comes Out” [from The Best Creative Nonfiction, Vol.3]
  • Tim Bascom, “Community College”

In reading at these essays I tried to establish certain “rules” that the pieces seemed to share, and found that in fact this motley crew did have some common characteristics.  I also should note that I’m looking at the pieces in terms of their connections to this form, not as individual pieces, so all references to them will be in terms of how they illustrate the precepts of the form. So here’s what I learned:

1.

That the term “List Essay” might not be precisely correct. David Blakesley wrote a review of Reinventing Rhetoric: The Dialectic of List and Story by John D. O’Banion, in which he sums up O’Banion’s admixture of the list story like this:

List is the form of discourse utilized by logic or systematic thought; story is the form utilized by narratival thought… In their application, “List records scientific truth, with logic providing tests of a List’s accuracy and universality. Story embodies aesthetic ‘truth’ (meaning), with narration providing guidance in revealing and discovering such situationally bound meaning.”

It’s important to point out here that the list essay is a different entity than the list story, since technically the essay is a non-fiction form that usually contains elements of both systematic and narrative style. So by this reasoning, almost every essay is to some degree  a systematic-narratival or list-story essay – the only “list essays” would be the ones that don’t employ any narrative. With this in mind, I’d propose the title systematic narrative essay. Aesthetically it’s not as concise as “list essay,” but I think it actually rolls off the tongue quite nicely. And the process itself of reading a bunch of unrelated essays and attempting to delineate precepts that they all follow is itself an example of the tightrope walk between narrative thought and systematic application, as each of these essays does tell a story, most of them intensely personal, and my attempt here is to figure out some analogous connections between their systematic methods of telling those narratives.

2.

That the force that drives the essay is at least as much concept as plot. The list essay could be called a non-fiction concept story. In eleven of the 15 essays I read, the concept was even stated in the title:

“Community College”

“Table of Figures”

“Grammar Lessons: The Subjunctive Mood”

“A Few Things I Know About Softball”

“I Met a Man Who Has Seen the Ivory-billed Woodpecker, and This Is What He Told Me”

“Going to the Movies”

“My ‘80s”

“In the Fifties”

“The Search for Marvin Gardens”

“The Grimm Brothers: A List Essay”

“Virtually Romance: A Discourse on Love in the Information Age”

And in the other three the concept was subtly, almost secretly  implicit:

“A Few Things About That Day” [about an abortion]

“What Comes Out” [about an abortion clinic]

“(names have been changed)” [about an 11-year-old girl with HIV, presumably from her stepfather or uncle)

The importance of this is that not just the action, but the structure itself of each essay revolves around the concept. And “revolve” is a good word for it, as very few of the list essays I’ve read follow a linear narrative, and even the ones that generally do, like “A Few Things I Know About Softball,” “Community College,” and “The Grimm Brothers: A List Essay,” break up the narrative with systematic stylistic devices. In “…About Softball” Paik breaks up the sections with headings like “Lesson1: Put your body in front of the ball,” “Lesson 2: Catch with both hands,” and so forth. “Community College” reads like a log book of a college lecturer, with headings for each of the 16 weeks of the semester. “The Grimm Brothers” injects social, literary, and historical critique into a skeletal summary of the brothers’ lives, attempting to draw conclusions as to how they wrote the fairy tales that have become part of Western culture’s collective unconscious.. In Jonathan Lethem’s “13, 1997, 21” he tells the story of watching Star Wars twenty-one times at the age of thirteen when it came out in the summer of 1977, and even the form serves the content – it’s told in twenty-one short, concentric sections.

3.

That they can be panoramic in scope or ultra zoomed in, sometimes both at the same time. The panoramic view  allows essayists to think of their subjects  on a macro level. In Michaels’s “In the Fifties” and Wayne Koestenbaum’s “My ‘80s,” both writers use the decade to frame events in their own coming-of-age stories. Both relate literary and cultural touchstones associated with the respective decades – Michaels using Dylan Thomas, McCarthyism and Greenwich Village bohemians and Koestenbaum using Tama Janowitz, AIDS, and the Greenwich Village gay subculture – to private events in their own lives. This juxtaposition gives these private events an epic scope. Conversely, in “The Grimm Brothers: A List Essay,” Meriwether Clarke uses 53 ultra-short paragraphs (1-3 lines each) seemingly to remove the epic-ness of the Grimm Brothers’ legend, simply relaying fact after fact about their lives and work. I’ve found the zoomed-in approach less common in list essays. But, like on Debra Marquart’s “Some Things About That Day” in which she lists everything she remembers about the day she had an abortion, the process of listing everything one remembers about one event can reveal to the writer and the reader why this event has defined the writer. The essay is only two pages, eleven paragraphs of 4-6 lines each. In the third paragraph, she finds it “difficult to remember the order in which things happened.” In the seventh paragraph she recounts telling her husband she was pregnant and him asking, “Is it mine?” And in the last paragraph she arrives home from the procedure to find him watching the NBA playoffs and telling her how brave she is. This isn’t the only action of the short essay, but I point it out because it reveals the importance of this day as a reflection of the days before and after it. Also, in “13, 1977, 21” Lethem attempts, through the prism of the systematic retelling of his pre-teen obsession with Star Wars, to come to grips with his mother’s death at the time and his own budding sexuality. Which brings me to the next thing I’ve learned:

4.

That the form is a great way for the writer to get grip on material, how it fits together. So many of the essays I read seem to be working themselves out either implicitly or explicitly in the process of listing and arranging all the individual parts. In “Going to the Movies,” Toth, in three brief numbered sections, tells of three different men she goes to the movies with, how they watch movies, and how she watches movies with them. Each of these is reactive, starting with the men’s names (“Aaron takes me only to art films.” “Bob takes me only to movies that he thinks have a redeeming social conscience.” “Sam likes movies that are entertaining.”) and portraying herself only in her semi-romantic relationships to them. Then, in the fourth and final section, she tells of going to the movies alone, putting her feet up, and singing along to musicals with happy endings, where “the men and women always like each other.” It is through the systematic, quantified analysis of the men she goes to the movies with that she finds her own place in the narrative. In “The Subjunctive Mood” Morano employs a 2nd-person perspective to simulate a Spanish language lesson, which she beautifully interweaves with her on-and-off relationship with a suicidal man while living in Spain: “This is the when, the while, the until. The before and after.The real and the unreal in a precarious balance…But at least the final rule of usage is simple, self-contained, one you can commit to memory: Certain independent clauses exist only in the subjunctive mood, lacing optimism with resignation, hope with heartache.” “Community College” also uses this teacher’s perspective to frame his narrative in time and space, logging his students’ actions strictly from their interactions with him as their writing teacher. By Week 16 – Finals Week – he knows probably more about the students’ personal lives than he wants to, and the Week-by-Week log of their failures, excuses, and minor triumphs shows as well as any essay I’ve read the unique relationship a college professor has with his or her students.

5.

That they’re generally pretty short. The title of one, “I Met a Man Who Has Seen the Ivory-billed Woodpecker, and This Is What He Told Me,” is nearly as long as any of the nine sections. The longest essay here by far, “The Search for Marvin Gardens,” clocks in at a whopping eight pages, and is by far the shortest piece by John McPhee I’ve read. I’m going to test this precept this summer in reading what seems like a book-length systematic narrative, The Know-It-All by A.J. Jacobs, in which he writes about reading the entire Encyclopedia Britannica for a year and arranges the book as A-Z mock entries.

6.

That the language of the form is generally spare, implying connections that the reader must infer from the systematic framework the essay sets up.  A good example of this is the pair of essays, “What Comes Out” and “Some Things About That Day.” As stated earlier, both center conceptually on abortion. But they deal from opposite sides of the plate glass window, Marquart recounting her own experience getting an abortion and Wilkie recounting the life of the health care worker assisting with the abortions. Both are short, unassuming, and quietly heartbreaking, and neither says what is implied. Wilkie even starts the essay by telling the reader, “We do not talk about What Comes Out,” then clinically and unsparingly  takes the reader through the process the health care workers go through in removing and disposing of it. Marquart, in two brief pages, reconstructs from hazy memory the same process , stating that “My friend tried to soften it for me afterwards. Just say you had a procedure, dear.” So, for both, perhaps the United States’ most heated contemporary political debate becomes simply a procedure to get something out. The human narrative is embedded in the systematic procedure.

7.

That the form, while contemporary, is not without antecedents. I recently discovered “Hateful Things” from the “pillow book” of 10-Century Japanese matron and snob Sei Shonagon, which as advertised is a list of things she hates, including pretentious people, inkstones that malfunction, and men who leave after overnight trysts without saying goodbye. She even states, “Sometimes one greatly dislikes a person for no particular reason – and then that person goes and does something hateful.”

“My Cat Jeoffry,” a poem, is perhaps the piece I remember most from my undergraduate early English literature survey course.  Its systematic structure is rigid – 74 lines, every one starting with “For,” all praising his beloved cat. Smart was obviously insane and did in fact spend a good portion of his life in an asylum, but the 74 lines of “My Cat Jeoffrey” do give a loose, loving, altogether unique narrative portrait.

Coda

I went out to lunch this week at Hunan Delight, my new favorite place in Park Slope for cheap Chinese, and when I opened my fortune cookie at the end of lunch it read:

Digital circuits are made from analog parts.

I’m not usually one to assume meaning in mass-produced slips of paper, but this one spoke to me. I come from a family of electricians and mechanics, and though I can barely keep the oil changed in my car and frequently need my wife to help me operate my Macbook, I know this much: Digital circuits work in bits of information, each bit working into the systematic logic of the circuit; if any bit doesn’t logically fit, the circuit will malfunction. Each bit, though, works in a continuous  strain, and thus has its own infinitely variable narrative order. I teach a class on convergent media, and one of the things we talk about is how digital (online) media have changed the way we read, and think. With the rise of non-fiction as a predominant form in publishing market, perhaps the systematic-narrative, or list essay, is both a response and a reflection of this change.

—John Proctor

 

May 122010
 

Swoon

redel

/

Hazlitt said, “Every word must be a blow.” And that’s the way Victoria Redel writes. Every word and phrase a hammer blow, crafted along the edge of a twisty syntax that is taut, teasing, emphatic and lascivious.

Swoon is something else, is gorgeous, a complex triptych of a book, a classic three-step structure held together by the strings of eros and femininity and point of view (that woman poet) and the technical threading–the repetition of the italicized “Such Noises” prologue poems and the smaller linguistic and image parallels (see, for example, how “…bend into the microphone…” on p.4 in “Somewhere in the Glorious” transforms into “And with that she’d sing, tilting and leaning into/ the purpled head…” on p. 71 in “Tilted Woman”; and how Akhmatova, the “Russian woman” and “my mothers” in “Such Noises” on p. 3 return as the “old Jew” who kvelts in “Noisy Woman” on p. 77). And so, though the book moves through its sequence–the young lover in the throes of eros the bittersweet, to the mother, to the multiple female characters of the austere, Chekhovian prose poems in the last section–it is one complexly woven whole.

In Swoon, Redel has hit her form in a spectacular fashion. She is alive in language. She’s a mature poet, a knowing poet, a wild, romantic poet. But, in the end, what she is most besotted with (what the poet in the poems is besotted with) is language itself.

Look at that second poem already mentioned “Somewhere in the Glorious”; two lines in the middle go: “I have only all my waiting. For what have I waited/ by cross street and elbow, for what gadget of transformation?” Then, two poems later, in “Cabin Note”: “We are still waiting./ But for what?” And then in the next poem “Damsels, I”: “If not for paradise then for what/ do I rut, incorrigible in the palm of your hand?” Nevermind that I’d give anything to have written any of these sentences myself with their insistent and erotic parallel constructions, their open-ended and endless interrogatives, their theological and sexual weavings, their surprising turns of phrase. But Redel has actually managed to thread and suspend the thought through three different poems over several pages so that the mind of the reader, in the middle poem (with its acute exploitation of white space, the emptiness of waiting, quite specific to this poem), is really suspended, in suspense, unconsciously waiting for the syntactic pay-off. And the pay-off is spectacular, not because of the thematic surprise (the connection between desire for spiritual transformation and for love is an ancient theme) but because of the language, the bull’s-eye perfect “what”/”rut” rhyme in the third poem. It goes straight to the heart and the mind. It’s what makes Redel a masterful poet.

I love things like this: “What we do we do in this life with our clothes still mostly on.” A line I could write an essay on, an epigram made poetry by the atypical verb placement. Think how a line like this gets built up. It starts with the idea: We do what we do in life with our clothes on. (A slightly anti-romantic, pretty realistic view of what life is like after you’re grown up.) Redel inverts natural word order–“We do what we do” to “What we do we do”– to make the line surprising, give it rhythm and zing. What we do we do in life with our clothes on. An interesting idea but still not a line Redel would write. She adds the word “still” so that we get: “What we do we do in life with our clothes still on.” Which builds in the antithetical picture of what we do with our clothes off which, accordingly, is not what we really do in life. And finally she adds the amazing “mostly”–“our clothes still mostly on” which twists the whole sentence with a wry, ironic tweak. The epigram becomes story, it becomes the image of a couple doing what they do in life but half-in or half-out of their clothes, that sad, comic moment of struggling, half-dressed transition from passion to so-called real life.

—Douglas Glover

See also “Swoon.”

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May 112010
 

I recently started reading Steven Heighton’s essay collection, The Admen Move on Lhasa, after discovering his writing on Numero Cinq.  The title essay elegantly compares a work of art to a “living and visionary” city, in this case, Lhasa, Tibet.   He contrasts art (and Lhasa) with advertising and schlock (and modern, planned cities.)  There were many illuminating points which I will not be able to do justice to here.  The following are just a few quotes, the ones I underlined and double starred.

…art usually involves an invitation and solicits the entry and collaboration of the audience, while advertising usually implies a threat.  Or, to continue this meandering trip towards Lhasa: art invites you into the city along any available road, while advertising dictates where you enter.  And when.

Perhaps artists can begin to suspect they’ve created a memorable city, a god-haunted world or visionary town—some site worthy of a repeated pilgrimage—only when responses to the work are unpredictably  and ungovernably divergent, diverse, off the wall, missing the point that good artists do sometimes try to make but without ever quite succeeding—always seeming instead to convey something else.  Something impossible to signpost.

Schlock makes us understudies loitering in the wings of our own lives.

It’s not that art cannot be entertainment, the way schlock is, or is advertised to be, but rather that art, while entertaining us, also unsettles.  For whatever sedates us is shuffling us off towards the great sleep of death.  Art, on the other hand, is a persistent wake-up call, the setting off of a quiet siren in the heart.

This entire collection is filled with great essays, insightful, honest and so well-written.  I hate to be simple-minded and say, This is really good, go read it, but…This is a really good collection.  Go read it!

See also Heighton’s poem and novel excerpt on Numéro Cinq.

May 072010
 

So this is my Friday night:  My wife is getting a massage, my daughter is at swim practice, my son is watching The Backyardigans and I’m eating leftover fried rice, having a glass of Napa chardonnay and reading Lynn Troyka’s Simon & Schuster Handbook for Writers. I’m honestly embarrassed by the frequent and glaring grammatical errors in my writing.  My previous advisors and Doug have correctly dinged me on this, and though I have my grammarian wife proofread all my packets, the errors remain.  I am old enough to have diagrammed sentences.  I am old enough to have been taught grammar by rote.  I remember grammar lessons, but the problems linger like some psychic scar from my childhood.  Did I repress those lessons?  Did I simply memorize and forget them because I never imagined they’d matter?  Anyway, this is a cautionary tale, I suppose.  There are probably better ways to spend a Friday evening, though to be fully honest, I’m kind of enjoying myself.

—Richard Farrell

May 052010
 

I’m pleased here to present the first  few pages of Steven Heighton’s new novel Every Lost Country, published just yesterday (really! May 4) by Random House in Canada. Many Numéro Cinq readers will already be familiar with Steven, having read his poem “Herself,  Revised” published here a couple of weeks ago. The poem is from his recently published collection Patient Frame. It is not my intention to flood the market with Steven Heighton prose and poetry, but the man is a walking definition of the word “prolific” and ambidextrous and a compatriot and his words are good companions in the long summer evenings.

dg

from Every Lost Country

Air this thin turns anyone into a mystic.  Dulling the mind, it dulls distinctions, slurs the border between abstractions—right and wrong—or apparent opposites—dead and alive, past and present, you and him.  The brain, rationing oxygen, quiets to a murmur, like a fine-print clause or codicil.  You’re at high altitude for the first time and this mental twilight is a surprise as rewarding as the scenery.  This recess from judgement, sedation of the conscience.  How your sleep here seems too shallow for the nightmares that await you at a certain depth.  You and the rest of the party are basically drunk.  Till now you’ve had to treat others for minor problems only, small cuts and contusions, headaches, insomnia, so this intoxication remains a luxury, not a medical challenge.  Or a moral one.

To you, right and wrong are not abstractions.

Still, think of the freedom of those summit squads dreamily bypassing climbers fallen in the Death Zone—the strange luxury of that.  What Lawson himself has done.  You might have thought twice about joining his expedition as doctor, and bringing along your  daughter, if you’d known his story when you signed the contract.  But at this altitude your numbed mind has to wonder.  Camp One.  Put yourself in his boots if you can.  Now say for certain what you’d have done, or will do.


September 20, 2006, 4: 17 p.m.

She sees the trouble coming because she knows her father.

Sophie sits where she has sat for the last few afternoons, on the flat top of a concrete cylinder rebarred into the glacier, her backside in Nepal and her boots in China—Tibet.  The seat of her favourite ripped jeans covers the line of Chinese characters inscribed in the concrete.  Beside her stands a lightweight aluminum flagpole not much taller than she is and skewed some degrees off vertical.  The breeze cooling her back can’t stir the small Chinese flag, because monsoon winds or, more likely, mischievous Sherpas like Kaljang and Tashi have spooled and tangled the flag tightly to the pole.  Come to think of it—and the notion pleases her on a number of grounds, playful, political—she is likely seated a dozen steps or more inside China now.  Chinese border patrols have to hike up the glacier and adjust the markers from time to time.  A week ago, she and her father and Kaljang and Amaris stood at the edge of base camp and watched the Chinese set up a device on a tripod and take readings and untangle and lower the flag and remove the flagstaff and pry out the marker and roll it laboriously upslope and core new holes in the ice and slot it in.  Some of the men were in blue coveralls and black toques like a SWAT team, others in olive down vests over camouflage gear.  They trudged from chore to chore and said little.  They ignored their audience, though one of the men in camouflage, maybe eighteen or so, waved shyly and blew kisses to her and Amaris.  Amaris ignored him.  Sophie waved back.  Beside her, Kaljang’s eyes narrowed merrily in his brown face and he showed his nicotine teeth.  She snuck a glance at her father on her other side, but he too seemed tickled by the scene, rubbing his salt and pepper stubble, shaking his head affably.  He seemed almost himself again up here.

Read the rest!

May 042010
 

kate_waterKate McCahill on the Ganges

It’s a huge pleasure to introduce Kate McCahill who is a former student of mine at Vermont College of Fine Arts (she hasn’t graduated yet). Before coming to VCFA, Kate traveled in India, and when she came to work with me, she was writing a series of essays about that experience (with a book hovering in the near distance). These essays were remarkable for their structure and verve, their plots and their attention to character and detail. This is one of my favourites.

The big news for Kate, though, is that she’s just been awarded the Mary Elvira Stevens Traveling Fellowship, funded by Wellesley College (Kate’s undergrad school). Kate expects to get about $15,000 to finance a writing trip from Guatemala to Patagonia.

dg

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The day I met Teddy, the heat and the grimy streets of Pune had mixed a muggy haze outside, which leached its way into the bookstore, slicking our foreheads and necks. As I examined the travel section, the bell above the door clanged and Teddy came in, stood for a moment in the doorway, backlit by the sun, and then walked over, close to where I stood, so close I could hear him breathing. I watched from the corner of my eye as he scanned the horror novels and selected an old hardcover. I caught a glimpse of the curling binding: Carrie, by Stephen King.  The bell above the bookstore door clanged again; hot wind blew in.

Teddy was a tall black man with close, tight curls and white teeth save for a brown one towards the molars, which he’d learned to hide by keeping the left side of his mouth closed. Because of this, he talked with only half his mouth, and that, combined with the rotting tooth behind full lips, gave him a sly, crafty look. We were four hours northeast of Mumbai, in a city known mostly for an ashram, built by the guru Osho.

Teddy’s eyes sidled to mine as we browsed, but I looked away. Aman had warned me of certain people on my first night in Pune. There were those who came to Pune for the money there could be made selling drugs to hippies at the ashram, or slipped pills into their coffees at the German bakery, or took them away by motorbike into the night. Aman was a friend of a friend, a second cousin of a farmer I’d met while still in Dehra Dun, and I figured he was exaggerating a little, trying to scare me into being extra-careful. But I took the horror novel in Teddy’s hands as a sign nevertheless. The books on the shelf before me bore beaten bindings and dated titles, and I set my attention on those. The USSR Today, one stated gloomily. Myanmar: Temples of Splendor, read the cracked yellow spine of another. When I tugged it down, opening the long cover that drew stickily back, a flattened moth broke off and spiraled to the floor. The pages showed Technicolor tourists admiring a crumbling, sunlit temple.

Those books were like the maze-like, rutted streets outside, the old men on rickety gray bicycles, even the street-children, their cries at once pitiful and joyful, and the beggars with their practiced wheedling. I would remember each one as an enduring, Indian staple: worn by time, accustomed to crowds, doggedly resilient. Teddy, on the other hand, was fresh, with pearl buttons on his Western shirt and pointy shoes on his feet. “Have you read this?” I heard him ask. I looked up; he waved Carrie. I couldn’t help it: I smiled, shook my head, and pretended to look grim. He wasn’t like the enduring things of India, standing so tall in the bookshop, and speaking English, too.

“What’s wrong?” Teddy asked, seeing the look on my face. “What’s it about?” His question was mockingly innocent. Even if you knew nothing about Carrie, the cover, with her body stained red, told you everything. “Just joking,” he said at my raised eyebrows, and flipped fast through the pages like he was just seeing how long it was, how closely set the type.

“So, you can’t stand the gore?” he asked after another moment. When I looked at him, he winked. Be careful, Kate, a little voice said. But Teddy continued talking, and I kept listening. “That Stephen King—he’s something else,” he remarked, lowering his voice a little as an elderly Indian couple brushed past us. “He’s American, like you?”

I could tell by the way he said it that he knew the answer, but I nodded anyway. His own accent sounded imprecise—a little off-kilter, rolling and round. He was from South Africa, if I had had to guess.

He looked at me like he was waiting to hear me ask where hewas from, but I remembered Aman’s warning and said nothing. When I looked up from the Myanmar book again, he’d bent to examine the rest of the Stephen King section. I slid my book back beside the others on the shelf, and as I walked towards the door to leave I ran my fingertips along the soft spines once more. Just before I reached the end of the stack, the pad of my first finger caught on the broken coil of a spiral-bound book, and I drew my hand back. I thought I felt a tiny spark as my fingers left the book. I stopped, peered at it, then eased it out from between the other books. It was a loose-leafed notebook, the kind you buy in American drugstores. I felt Teddy glance over, but in that moment, nothing could keep me from lifting the cover and looking inside. There was something funny about that notebook, I just knew.

Handwriting choked the inside cover and the very first page: all Sanskrit and all in pencil, delicate marks made by a trembling hand. The words spilled onto the next page, and then the next and the next. In places, the writing ran over itself, and as I turned the pages the characters grew smaller and began to march up and down the margins and snake between each coil of the binding. It was as if the writer had had the book as his only source of paper for a very long time.

“Someone’s journal,” I heard Teddy whisper beside me.

“Maybe,” I said. Put it back, the little voice said, and leave Teddy. That’s what Aman would want you to do. But I just couldn’t take my eyes from those pages. The notebook felt both heavy and flimsy, like the words were weighing the cheap paper down. Teddy didn’t try to take the book, didn’t say anything else, and together we looked at the pages the way little kids look at picture books without reading the words. The tightness of those words; their growing frenzy.

Towards the very end of the notebook, we came across a nearly clean page, startling and white like a flat, smooth stone in grass. The lines resembled the veins on a wrist, and the only other thing there was a signature at the lower right. The signature was both scratchy and looping, if that can describe it: hard at its points, but soft in its curves. How had it happened, this page? I heard Teddy’s breath quicken a fragment. Had the writer waited as he filled up every other page for the person who would sign their name on the only blank one? I imagined a prisoner, or someone exiled. Someone banished. Was it a hastily scribbled prayer?

Teddy brushed the signature delicately with one calloused thumb. I reached out myself and felt the way the writing cut into the page. It was impossible to tell whether the signature was a man’s or a woman’s, in the way it both rolled and cut into the page. I glanced at Teddy; he shrugged. When I looked down again I felt a little chill, even in the hot store: looking at that page was like seeing a secret.

I felt guiltier and guiltier as I held the book in my hands. What was it doing on these shelves, anyway? I glanced towards the counter at the young shopkeeper, who was typing into her cell phone intently, perched on a stool with her legs crossed. I closed the book, knelt down, and slid it onto the lowest shelf, taking care to tuck it in so that it wasn’t easily visible to a browser. Teddy didn’t protest. It didn’t occur to me to even ask whether the book was for sale: I simply assumed it was not. For one selfish second I imagined waiting for Teddy to leave, and then slipping the book into my purse, hurrying back to Aman’s and holding it open again, this time alone.

We stood there for a while, looking at the place where I’d slid the book back. Teddy finally broke the spell. “Want to grab a chai?” he asked, and I felt relieved that he’d broken the strange book’s spell. What could be said, after all, except that those pages had held a mystery? All of a sudden I was aware again of the shouts of chai-wallas outside and the shotgun explosions of motorbike engines in the street. No, I didn’t have time to drink chai, meditations started in an hour and I still had to meet Aman beforehand. I shook my head.

“Can I at least get your name?” Teddy asked, and I gave it to him. What the hell; we’d already shared one secret. “I’m Teddy,” he replied, and plucked Carrie back up off the shelf. “I’m taking this one,” he added, grinning.

“Good luck with that,” I said, and without looking again for the spiral-bound book on the shelf, I left the store and went back out into the sunshine.

The ashram wasn’t like the rest of Pune, which was built, as far as I could tell, around the wide, trash-littered, dried-up river that divided the city. Aman lived on the northern side, opposite the ashram, up a little street lined with apartment buildings built in the seventies. Most of Pune’s streets were unpaved—except for the wide avenues that circled the city center—and were crowded with vegetable stands and bidi shops, vegetable-wallas and munching cows. If you walked from Aman’s flat away from the river and up the hill a ways, it was like stepping back in time: no cars, just cows and bike rickshaws and a crumbling red temple, centuries old. Strings of marigolds for sale. But the ashram was always gleaming, always manicured, perpetually gated to keep in the scented flowers, the shining floors, and the servants in their clean white linens.

Beggars gathered at the ashram gates, but of course they could never go in; two guards planted there day and night made sure of that. You could feel the shift as soon as you entered; gone were the noisy cars, the shouting hawkers, the trash on the ground. Fake waterfalls obliterated all unpleasant noise. Neatly shaven grass; tall, carefully-planned stands of trees.

I was late to meet Aman after the bookstore, even though I’d been rushing. It always took longer than I thought it would to race back to the flat and change into my red robe. Everyone at the ashram had to wear the red robe, even the guards and front-desk agents. The robe was to keep us all looking the same, all equals I suppose, but when you walked around the city you sure could tell who was part of the ashram and who wasn’t. The most devout in the ashram wore their red robes everywhere. Personally, I hated my robe, which chafed against my skin and made me sweat profusely, but when I didn’t wear it to the ashram Aman took offense. He’d given it to me as a gift, and wore his each day, washing it carefully in the evenings and putting it out on the little balcony to dry in the night.

I didn’t tell Aman about Teddy as we sat sipping our tea before meditation. I didn’t mention the notebook either. I wanted to keep it a secret, preserve the mystery. I held it in my mind like a precious stone, something to be guarded and saved. Instead, Aman and I just drank our tea and talked about our schedule: noon meditation, another at two, and then the White Robe ceremony in the evening.

Aman had taken great pains to ensure that I attended at least one White Robe ceremony. In the first few days I’d arrived, we’d both been too exhausted; meditation at five AM followed by afternoons of touring Pune tired us both out. But today, Aman was determined. The morning before, he’d sent me across the street to his neighbor’s, a woman who lived with her teenaged daughter. They lent me a white robe stamped with cream-colored flowers. Aman laundered it again for me after I brought it home – just in case, he’d said. In case of what? I wanted to ask, but bit my tongue. Deep down I knew why. While Aman’s apartment was clean right down to the shoes lined up by the door, the neighbor’s house was really a two-room flat, smaller than Aman’s and stinking of cigarettes, the windows shut tight to preserve the air conditioning. I didn’t mind the smell, just the close, freezing air. The television blared.

Aman drank down the last of his tea now and we made our way to the meditation room. It was just as the website pictured: the whole room sparkled with mosaics made of mirrors. Aman and I showed our ID cards at the door, removed our shoes, and went in; thirty people or so already sat cross-legged on the low, wide steps that rose toward the back of the room, their eyes closed. Silently, Aman and I joined them, and he settled into a cross-legged position. His breathing soon deepened and slowed. I closed my own eyes.

I tried to let me thoughts slip from me, but my legs fell asleep right away, still unused to the position. I cracked my eyelids open: everyone around me kept their backs straight and their hands folded. Someone dimmed the lights and a gray-haired woman wearing lots of turquoise jewelry lit a candle up front, clicked two little chimes together, and the room fell into an even deeper quiet, steady breath the only sound.

But I couldn’t keep my mind still. This wasn’t like the yoga I’d practiced up in Rishikesh, in an old man’s living room that became a studio every afternoon. In this glittering space, thoughts crowded in on me and raced around. Little twinges in my muscles and on my skin grew into itches, cramps, and I wanted to stretch so badly but knew that if I did, I would bump the people around me, break them from their trances. The candle smelled sickly sweet, and the room grew very warm with all of the bodies. Notice your breath, I reminded myself, but my thoughts just shot away from me again like little film reels. I was hungry. What were my parents doing, right now? And where was that scarf I bought in Thailand? I hadn’t seen it lately. My mind circled over itself, and then I remembered the journal. I thought of the words that filled the pages, and then startling empty one. I settled on the thought of slowly turning the notebook’s pages. I imagined touching the penciled words. Teddy’s breath on my neck. When the gray-haired, turquoise clad woman touched the chimes together again, I blinked in the light with everyone else, like waking up from a dream. I hadn’t emptied my mind, but I’d come close, had thought only of that creamy blank page for the final long minutes of the session.

Aman never spoke about his actual meditation. When I tried to ask him, on our second day together, what he tried to think of when he meditated, where he tried to send his mine, explaining that I was struggling with the concept, he’d shrugged. “We each find our way,” he’d said, and though he was never short of words anywhere else, we both avoided further discussion of the hours we spent in inward silence. After this meditation, we talked of yoga later on, of his adopted son who was planning a visit later in the week, and of where we’d take our lunch. We ambled to the German bakery, still in our robes, and ate soup together at a long table where other soul searchers, also in their robes, talked and ate too. Outside the German bakery, vendors displayed long racks of red and white robes for sale. I tried not to meet their eyes on the way out.

Aman liked to wash before the White Robe ceremony, so after we’d attended the second meditation and eaten dinner, which Aman purchased in tins from the same neighbor who’d lent me the robe, he went into the bathroom. I could hear the water running as I took off my red robe and slid on the white one. At least it was cooler, sewn of thin cotton instead of the red robe’s scratchy polyester. Aman emerged from the bathroom eventually, his hair slicked back with water, his white robe cloaked over him. He’d ironed the robe that morning; I told him it looked nice. He told me mine did too. Then we walked back across the river to the ashram, where a hundred other people in white robes waited outside of the big auditorium, its silhouette reflected in the meditation pool that lay before it.

You weren’t allowed into the auditorium until right before the White Robe ceremony, so while Aman chatted with old friends who’d donned the white robe for years, I recognized an Israeli girl, Eti, that I’d met in a yoga class the day before. She, too, was looking around, standing a little apart from everyone, so I went over to say hello. She always toted a huge backpack, and it was no wonder, with the number of robes we needed here. She smiled when she saw me coming over, and we talked about the mall, where she’d been that morning. “I just could not get up for this morning meditation, you know?” she said. “Maybe tomorrow!” And then the doors were opening and people began flowing in along both sides of the meditation pool.

It took quite a while to get to the door, because everyone needed to remove their shoes and place them in cubbies, then grab a handful of tissues for when the breathing meditation got started. People murmured and mumbled in line, but no one spoke too loud or laughed, unwilling perhaps to break the stillness of our reflections in the meditation pond. Slowly we made our way up the stairs and into the cavernous auditorium lobby. I unlaced my sneakers and tugged them off, tucking my socks inside, and stuffed them beside Eti’s in an available cubby. We started to follow the other white-robers inside.

“Miss,” I heard a woman call from behind me. Eti and I turned; the woman was talking to me. “Miss,” she said again, and beckoned with her hand for me to come back. Eti and I looked at each other; I shrugged, and she found a place on the floor.

“I’m sorry, miss,” the woman was saying, as I pushed back through the doorway, against the flow of the white robes. “You can’t attend the ceremony today.” She glanced at my robe. “It’s the flowers, these little flowers here. The robe needs to be totally white, just plain.” She shrugged her shoulders and legitimately tried to look sympathetic. Sorry, they’re the rules, her look said.

“Are you serious?” I asked her, and a few heads turned. I was making a commotion, but I just could not believe it. After Aman washed the robe? After the neighbor lent it to me? The woman nodded. “Sorry,” she said, out loud this time, and then coolly moved her gaze from my face to monitor the others who still trickled in. I glanced through the doorway; Eti had craned her neck from where she sat and was watching me, confused. I didn’t see Aman anywhere. I held up my hands at Eti, the universal gesture for who knows? Eti waved, smiled a little smile that genuinely seemed sorry, and I was at least grateful for that as I laced my shoes back up and left, taking the stairs two at a time, my face aflame.

Mostly, I was annoyed—after the initial shock of being banished wore off—that I didn’t have a change of clothes. I figured, as I tried to steady my breath and slow my beating heart, that I had two choices. I could go home, or I could wait for the White Robe ceremony to end so I could still walk back with Aman. After pondering the walk home alone, across the bridge beneath the dimming sky, I chose to wait, and so I walked out the ashram gates, white robe and all, and down to the German Bakery, where I thought I’d get a coffee and try to find a magazine, or a person to talk to, that would take my mind away from this mess.

Stupid white robes, I muttered as I walked past the beggars, who must have sensed my frustration because they didn’t even bother to approach me. Or maybe they just figured I was stingy. Or, maybe even beggars hold off when someone’s having a conversation with herself. Damn freaking flowers, I mumbled as I entered the German Bakery, and what finally stopped my cursing was the sight of Teddy, standing there at the counter plain as day and talking with the girl serving coffee.

He turned and grinned, recognized me immediately, then took a moment to look at my white flowered robe. He studied my face. “Everything okay?” he asked carefully. I must have still been red in the face.

“I’m okay,” I said, then blurted it out. “I got turned away from the White Robe ceremony just now.” He grimaced.

“Was it the flowers?” I nodded. “How’d you guess?” I asked, half sarcastic.

“I’ve been to a few of those White Robe’s in my time,” Teddy said. He put on a grim doctor’s face: “I’ve seen this a few times before.” I laughed at his tone, which compared the ceremony to a serious condition that lacked a cure.

“It’s silly,” I admitted, “but I was so embarrassed! It really sucked, you know?”

“Let’s have a coffee and make fun of the ashram,” Teddy said. I couldn’t help but laugh, and nodded yes. A coffee was what I needed, all right. For those moments I forgot all about the empty page in the journal and the little voice that warned me about Teddy, and instead just felt happy that Teddy was there, for sly as his half-smile was, he was being kind. He bought two coffees, and we looked around for somewhere to sit. All the chairs were full, tables littered with dirty cups and newspapers.

“Let’s go outside,” Teddy suggested, so I followed him out the door and we sat down on the sidewalk outside of the coffee shop, lowering ourselves carefully so as not to spill the steaming contents of our mugs.

“So what do you do here, Teddy?” I asked him as we sipped. I could smell chocolate emanating from the bakery.

“I’m a PhD student,” he answered. I was surprised, but then I knew nothing about him. “Anthropology,” he added, anticipating my next question. “I’m especially interested,” he paused, put down his books, stretched his hands out before him, “in the palms.”

“You read palms?” I asked, before I even realized the words were out of my mouth. Sure enough, he looked offended.

“I don’t just read palms,” he insisted, like he’d dodged the question all his life. “I read them in the traditional, voo-dooey way, yes,”—he wiggled his fingers in the air to emphasize voo-doo—“but my degree has many levels. Astrology, physiology, human biology, psychology…” the list petered out. He set his coffee down beside him and leaned back on the heels of his hands. “It’s a complicated degree,” he finished, and drew a pack of cigarettes from his pocket.

I watched him strike a match and light a cigarette. As an afterthought, he offered the pack to me. I shook my head. “So, what can you see in the palms?” I asked him. I looked at my own; they were sweaty, for one thing, with a few scooping lines.

“Oh, you can read many things,” he finally said vaguely, maybe still miffed at me. He drew on his cigarette and blew the smoke out into the street. He took another drag, exhaled.  “Many things,” he said again, this time as if to himself, drawing the words out like swoops of honey pulled from the jar. I guessed he’d decided to make me beg. He turned and looked at me for a long moment, his gaze uncomfortably piercing. I looked away.

“You don’t have to tell me,” I said. I reached for his pack of cigarettes and took one out. He struck the match.

“It’s not that I don’t want to tell you,” he finally said. “It’s that…” he paused, dragged. “I’m afraid to tell you what the palmist sees.” I waited for him to explain. The cigarette tasted smooth and had a thick gold filter.

“Everyone wants their palm read,” Teddy said, “but when they hear what the lines mean, they often see them as…” he waved his hands, looking for the right word. “As ugly,” he finished. “People are afraid of the truth in the lines.” He looked over, down at my hands. I was touching the lines of my left hand with my right fingers. When I noticed the movement, I lifted my cigarette to my lips.

He grinned at that. “Do you really want me to read it?” he asked.

“Yes,” I said, and then I realized that I meant it. I guessed I wanted to hear what was so bad, the way we’re compelled to stare at car accidents we pass on the freeway.

“You sure?” he asked. “Because I will. I’ll tell you what it says.” His voice was still lighthearted, and I nodded.

“Okay then, hand it over. Ha, get it? Hand it?” He snickered. I fake-laughed. “I get it,” I told him, and stuck my left palm out.

He flicked his cigarette into the gutter. “Get rid of yours, too,” he said. “I need to see both.” I obeyed, tossing the golden butt in behind his. He rubbed my outstretched palms with his thumb, as if to draw out the lines. For a very long time he stared at them, looking back and forth between my two hands.

“It’s a very interesting hand,” he muttered finally. “A very, very interesting hand.” Again he went quiet, pressing my palms again with his thumbs. Then he let both hands fall.

“You will have an ordinary life,” he said with a shrug. He wouldn’t meet my eyes.

“That’s it?” I checked my palms again myself; what was so wrong with them? “Tell me, Teddy,” I urged. “I won’t be hurt.” Even then I think I knew that was a lie.

“Yes, you will,” he affirmed, and inhaled deeply, let the breath out slowly. “This is why I never read the palm of a friend,” he said, and went for his cigarettes again. “They never leave me alone, after that.”

But I wanted to know! I had to know. “Please tell me,” I said, and now I really was begging. What could be so terrifying in the lines?

“Okay,” he finally said, after a few long drags on his new cigarette. “Okay. I can tell you about here, because the hand is always changing to show the present. Here,” he reached for my right palm and poked a finger into the longest line, “in India, you are afraid. You are suspicious. And, you are often alone?” he looked at me. I nodded. “But, you feel as though you are searching for something here?” he continued. “And,” he added, “you worry you’ll go home without it.” Again he looked at me, confirming. I nodded yes. “You’re expecting something. Not expecting,” he laughed, “as you Americans say, but expectant. You’re waiting for something.”

“That doesn’t sound so horrible,” I said. It was all I could think to reply. Only later would what he’d said would really sink in; all throughout India, I felt challenged by the constant eyes upon me, the crush of people always.

“There’s something else,” he told me. “Something happened, before you were born.” He let the words sink in for a moment, then continued. “Maybe something happened with your parents, or in your family, or something. I think,” and he paused, took a drag, let the cigarette fall. “I think it was something bad.”

Ever since that moment, I’ve wondered what he meant when he said that. My parents lost a child before me; is that what so darkened my palm? But Teddy was standing now, his coffee cup empty. He stretched his arms high and glanced down at me. I must have looked bewildered, because he said, as if to comfort me, “Don’t worry, Kate. Luck will be on your side.” He mumbled something about how he had to meet his friend inside. “You okay?” he asked. I nodded. “See you, Teddy,” I called softly as he walked away, but I can’t be sure whether he heard.

Instead of returning to the ashram, I walked towards the city center, letting my mind wander into everything I passed. I just couldn’t think too much of what Teddy had said, I just couldn’t. Yet his words were like the empty page of the journal we’d found together: meaningless without context, yet important too, somehow. The most frightening thing was his hesitation, and what he withheld. I thought of the meditating rooms, and tried to send my mind to the quiet tranquility they claimed to hold. I took in the world around me, and walked for miles.

The walk to the city center was always rich for the senses. Food-sellers tended stands from dawn until dusk and the cigarette and sweet shops stayed open through the night. Boats on the river pulled up to the banks, and bums and sadhus slept on the shores, shaded by day and protected from the wind by night with trees and boulders.  Taxis pulled up from the train station; buses came through from Bombay and sometimes from as far away as New Delhi.  The wealthier, more modern side of Pune came next, with paved roads and expensive restaurants, a shopping mall and a university. Aman’s side of the river had bumpy, narrow streets, the buildings alongside crumbling from a dozen layers of paint. I thought that old paint made walls more beautiful, because you could see every color of paint ever used on the place—cream was popular, and yellow and blue. The paint told a history of the building it clung to, and judging by the number of layers around here, that history was usually long. Thin old men pedaled bike rickshaws as I approached the city-center, their sandals flapping on their feet.

The center, when I reached it, pulsed with people bicycles, a score of buses, cars that slunk through the crowds. The visitors ambling around the mall were dressed in Western clothes; almost everyone wore sunglasses, their skin tanned. I forgot about my white robe and let myself observe: the women walking here could have stepped onto Fifth Avenue and would have been admired for their beauty, their cutting-edge style. I hadn’t seen Louis Vuitton since Hong Kong, and suddenly I was surrounded. There was Jimmy Choo and Vera Wang, draped over the wrists and arms and heads of the women who glanced at me, taking in, I guess, the silly robe and the sweat at my hairline. Clearly what they thought of me was not much; they didn’t interrupt the flow of chatter into their cell phones, just raised curved eyebrows or half-smiled to themselves and turned their eyes down, amused. Still, I liked the walk, a striking contrast to the crowd Aman’s street. The woman here picked their way along in stilettos, the men in polished loafers. I imagined them pausing for a bag of mangoes or a pack of American cigarettes before hurrying on down towards the bridge to catch a rickshaw that would rush them back to the city center’s magnetic glitter.

I remembered the wealth I’d encountered in America: a few friends with houses like mansions, a ride in a limousine, dinner at an elegant restaurant with my parents, one night in a four-star, silk-sheeted hotel with my boyfriend.  Here in Pune, amidst all this downtown glamour, I felt a pang at the disconnect. How strange it seemed to have known such comfort, in a place where such a level was now inaccessible to me. I had little money, and my pack at Aman’s contained everything I’d needed, this whole time I’d been traveling. It struck me that everything I had could fit in one bag and meant nothing.

I got lost in the winding streets of Pune, and it was dark before I took a rickshaw back to Aman’s flat across the river. He’d been worried sick about me, it was clear; when I knocked on his door, he opened it immediately, relief in his eyes. His hair was greasy, like he’d run his hands through it over and over. He’d changed out of his white robe, but still had his black sneakers on.

“Oh, Katie,” he gushed, before I was even inside. “I heard about the robe.” He looked me over. “I guess I should have known. They’re very strict about the white robe.” He went to the stove to start tea. “Oh, Katie,” he went on as he filled the kettle, “Where were you? Oh, I’m so sorry. I apologize. What a long night you must have had.” He turned to look at me, to check whether indeed I’d had a long night, and perhaps to hear where, exactly, I’d been. But I couldn’t think of an excuse. How could I tell Aman that a palmist had seen something bad in my hand, and I’d wandered the city as a way to escape? I apologized, explained that I’d gone to the library and lost track of time. As we sipped our tea, I thought of being banished from the White Robe ceremony, but spared Aman the details.

Aman and I resumed our routine. For three more days we rose in the morning, walked across the river to morning meditation, then sipped tea at the ashram. I walked around the city again, this time with Eti, and together we strolled through the mall. Malls are universal things, I realized in Pune. The shops are just an excuse to gossip, to waste time, to escape from whatever burdens your home life brings to you. Each shop window was painstakingly decorated, the costumed models thin and exuberant. Aman and I did not attempt the White Robe ceremony again; we didn’t ever again speak of the night I’d been turned away.
But the ashram wore on me. Beyond the issue of the flowers on my robe, there were the fees, and the guards at the door, and the aging hippies who floated around, seeking nirvana. There was the overpriced tea, the glittering meditation room, the pristine, manicured lawns. This was not what I’d come to India to find; the closest thing to peace I’d encountered so far was the illicit blank page in the journal, the one I could settle my mind upon. After my seventh day in Pune, I told Aman I’d be leaving. I told him while we both stood in the kitchen that night, preparing tea. He was sorry, wishing I would stay so as to more fully experience the ashram, but in the end he relented, helping me to book a train ticket online to Goa, where I planned to meet a friend.

That night, Aman and I went out to dinner, I guess to commemorate my final night in his city. Aman selected a touristy place in the city center, where he was practically the only Indian man ordering dinner, but we had a fine time in any case. We both grew jolly with Kingfisher beer, and I paid the tab in order to thank Aman once more for his hospitality. We took a rickshaw back home, and then Aman lay down in his hammock and I shut out the lights. I packed the rest of my things; my train left at five the next morning. I wished, right before sleep came, to see Teddy again, of all things, and then my alarm was going off, and it was time to wake up and get going.

Aman still slept as I crept out the door. I scribbled a note on the pad beside the phone: Aman: thanks for everything. Will call when I get to Goa. Then I let myself out, closing the door quietly behind me, and then I saw the envelope on the ground.

Whoever had left it had tucked it halfway under the door. I thought it was an electricity notice, or some apartment document, but when I picked it up and lifted the open lip, I saw that it wasn’t anything Aman was meant to see. I drew the page that was inside from the envelope, knowing what it was and at the same time hoping it was anything but.

It was the empty page, with the signature in the lower right corner.

The edge of the paper was ruffled from where it had been torn from the notebook. Now ripped from its context, it had clearly been folded and smudged. It resembled trash. I held the envelope and the piece of paper with trembling hands. I remembered my train. With the papers still clutched in my hands, I ran down the stairs, through the gate, and out into the main road, where I caught a rickshaw that would take me to the station.

I don’t have the empty page anymore. When I got to Goa, I looked up the address of the bookstore and mailed it back. I don’t know why Teddy tore the page from the book, or how he knew where to leave it. But the story has stuck with me, even as my time in the ashram has fallen away. That ashram was a place where I failed, spiritually and logistically, but Teddy and the empty page remain unanswered questions in my mind. Maybe, holding that book in my hands, with Teddy looking over my shoulder, I did find what I was seeking in India. No, the memory of that moment has never left me. I think of Teddy now, his sly half-smile, and realize that perhaps its purpose was both sad and true: the gesture’s most basic intent was to hide something ugly from the world. And I can only hope that whoever wrote that journal will someday come to claim it again. I’ve prayed that they will open the cardboard cover, checking for the scrawled name, and find that page just where they left it, torn from the spiral rings but still intact, blessed in its comparative bareness.

—Kate McCahill

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May 032010
 

Eglon, king of the Moabites, from Figures de la Bible (1728) Illustrated by Gerard Hoet (1648-1733), and others.

Procrastination has reached biblical proportions this packet round–on the other hand, not all my students got their packets here on time, so I have an excuse.

Over the weekend, I got through Joshua and part-way into Judges before I broke down. Joshua divides (like Caesar’s Gaul) into three parts. The first 12 chapters contain the dramatic crossing of the Jordan and the battles for Jericho and Ai (and various other places), also the stories of Rahab, Achan and the trickery of the Gibeonites. The next section is mostly an administrative  interlude in which the various tribes are assigned their allotments in the conquered land. And in the last section, Joshua dies. The first few chapters of Judges recapitulates Joshua, sometimes repeating chunks of text and story pretty much verbatim. And then we begin a series of cycles of backsliding (whoring after strange gods) by the Israelites (who, really, never seem to learn), punishment by God, and then rescue by a local hero who, for some reason, is called a judge. Some of the judges get a good deal of face time, their stories told in graphic detail (the Jael and Sisera story mentioned in an earlier post is part of the story of a female judge named Deborah).

The first time I read through all this material I came away with the impression that it was a kind of veiled history of the Israelites establishing themselves as a monotheistic community amidst a land teeming with polytheists. From Leviticus on, the emphasis seemed to be on establishing and maintaining cultural purity against contamination from the other regional communities. This seemed like a reasonable anthropological synthesis of what I was reading. Now, however, with my trusty Literary Guide beside me, I see greater complexity (and confusion). God makes a covenant with the patriarchs in Genesis to make their people prosper and bring them to the Promised Land. But as we read through the later books of the Pentateuch, we see God gradually introducing an override condition. At first the Israelites are the Chosen People, but then, it seems, they will be the Chosen People as long as they obey him. If they keep acting up (whoring after strange gods), he promises to obliterate them (and there is prophetic material that predicts just this). One of the conditions for God’s beneficence is that the Israelites completely eliminate (early ethnic cleansing) all the strange peoples who already live across the Jordan. God says specifically that they should not make any treaties or deals. Then Joshua goes across the Jordan and the very first thing that happens is that his scouts make a deal with Rahab the harlot which allows her and her family to live with the Israelites for always, thus breaking the covenant. The story of the Gibeonites involves a similar deal with the pagan Canaanites who are allowed to live among the Israelites–and the list goes on. Rather than expunging the polytheists, as they were meant to do, the Israelites keep them around, using them as labour, and then begin to intermarry with them, and so on.
Read the rest!

May 022010
 

Just following my thoughts earlier begun on the way the c(v)ulture industry skews our experience of war (“our” meaning those of us who haven’t actually experienced war). Here is a link to the beginning of an ongoing series of reviews of episodes of the The Pacific by a Marine veteran who did fight in some of the battles portrayed. Why does this man buy the HBO/Spielberg version of war while my student Ross Canton, a thrice wounded Vietnam veteran, doesn’t? Does this man want to remember his life as a made-for-TV movie? Is that what happens to memory and the imagination?

See also.

dg

May 012010
 

I finished up Deuteronomy and the death of Moses this morning and pushed on into Joshua through the well-loved story of Rahab the harlot and the cautionary tale of Achan, the poor guy who stole from the plunder at Jericho and ended up stoned and burned in the Valley of Achor. There’s a great scene in which Joshua gets him to confess by calling him “My son.”  When I was a kid we used to sing the old Negro spiritual (that is what they used to call them–what do they call them now? African American spirituals?) “Joshua fit the battle of Jericho” with hand actions. No doubt this set the stage for my later writing career. Here is Mahalia Jackson singing the song. I love the verb “fit” and the way you have to drop syllables in Joshua’s name to make the song work.

Excellent elucidation of the narrative structure of Deuteronomy in The Literary Guide to the Bible: First person narrator quoting Moses quoting God who is sometimes quoting himself (nested quotations technique). Also the time dance. Moses speaks of that time (in the Wilderness, on Mt. Horeb) and this time (now, when is addressing the Israelites beside the Jordan), while so-called Deuteronomist talks about that time (the time of Moses) and this time (the Israelites in exile in Babylon). The book is full of prophecy because Moses seems to know ahead of time that the Israelites will eventually transgress and God will abandon them and they will be conquered and enslaved and long to return to the Promised Land and he knows this just at the moment when they are about to enter the Promised Land the first time.

Great curses, lovely reference to arrows drunk with blood, also the well-named “hill of the foreskins” (this was after the mass circumcision on the banks of the Jordan–imagine it! or maybe not).

In haste, I am doing packets!

dg

Apr 292010
 

Jaak Panksepp and non-rat friend

This is how reading goes. A friend alerted me to a NY Times piece called What is Sleep? by Siri Hustvedt that led me to look up Morvan’s Syndrome (when you don’t sleep) and an Estonian-born researcher named Jaak Panksepp who is famous in the media (or was famous for ten minutes) for claiming that rats can laugh like humans. Of course, Panksepp is far more interesting than that. He does brain and behaviour research with an eye to investigating the differences between the ancient subcortical brain functions and the newer (in evolutionary terms) generalized gray matter we’ve grown on top of the old brain. Of course, there must be a difference. We trundled along, like most other animals, with those early brain parts for millions of years before we began to think and speak and make tools. All that is pretty new stuff, and much of what we feel and imagine and dream comes from much further back. This theorizing dovetails somewhat with a book called Origins of the Modern Mind by the Canadian neuropsychologist Merlin Donald. Donald’s book played a role in the way I read Don Quixote and formed part of the argument in my book The Enamoured Knight, especially in the last section “Night Thoughts of an Insomniac Reader.” But where Donald is interested in recent evolutionary developments (mimetic and representational functions and cognition), Panksepp is interested in basic emotional systems within the primitive brain. Deep in the older parts of our brain, we are quite similar to most other mammals. We separated from rats, for example, about 80 million years ago, but Panksepp finds certain rat brain structures that resemble parts of human brains (I always suspected this). He watches rats (he’s done lovely papers on the structure and function of play among rat cubs that yield suggestive ideas for autism, ADHD and early childhood socialization), for example, and that led to his notorious research on rats and laughter. His big book is Affective Neuroscience: The Foundations of Human and Animal Emotions, but there are several articles he wrote or co-wrote on the web if you can access them through a library database. Start with “The Seven Sins of Evolutionary Psychology” for a general roundup of current debates about brain evolution.

dg

Apr 272010
 

jacob-10-09_115-edited

Jacob Paul is a former student of mine, a VCFA graduate, a ferocious mountain climber, and the only person I know who was in the World Trade Center when the planes hit on 9/11. 

This is a hot-off-the-press excerpt from his first novel Sarah/Sara, a book that reflects Jacob’s own orthodox Jewish upbringing, his love of Nature’s astringent extremes, and, yes, the haunting mystery of political terror and death.

dg

 

August 10

What will become of me? Yesterday, I skipped out on Shabbat. I wrote all day, cooked over my stove, didn’t da’aven. Basically, the only violation that I could conceivably have done, but didn’t, would have been to travel in my kayak.  And that’s the one thing it might have made some sense to do (though the fog was really too thick to travel; it seems to be fog season here). Today, on the other hand, I da’avened three times, morning, noon and night (the distinctions between which I’m coming to accept as any sense of ongoing wonder at this unmitigated day bores me now).  It makes no sense.  I don’t transgress smartly.

And here is the other thing that doesn’t quite jive. Those days on which I da’aven, do follow my structure and order, are my best; and yet I so rarely bother to pray anymore. But really, today was a perfect day. I woke up on time; promptly washed my hands and said the bruchah for that; doused myself in mosquito repellant; said Shemah and Shemonah Esrai; ate, saying bruchahs before and benching afterward; rowed out past the breakers in the fast sea like I am trained; pulled ashore for lunch saying bruchahs before eating, benching afterward, and then saying Shemah and Shemonah Esrai before getting back in the boat.

The afternoon session on the water was equally productive. I felt strong and elected to row rather than sail, blissfully blanking my mind in an exegesis of physical endurance. A small pod of white whales breached intermittently on my left – generally a common sight but anomalous in the dense fog – atomizing a sardine-scented mist that drifted in wisps of otherwise indiscernible wind and precipitated along the lee side of my boat and myself. I really stink now.  And then past that interlude, and late in the day, I rounded a rock-corniced jetty, a jumble of leaning shattered gray rock testifying to a lost glacier’s ocean border. On its far side, a concavity of black sand beach steeply shelters the facing side of a frigid trickle rushing through tundra from the hills. I set up camp on a step in the beach’s curve well above the high-water mark. Above the beach, all still passes for summer, but the sun will set soon, and once it starts to do that, darkness grows like a bad habit, staying out a little longer each night until it loses itself in a months long binge of black night and effervescent celestial light and death-cold.

I prepared a dinner of rice and beans cooked with butter and rehydrated eggs and ate it wrapped in flour tortillas. Gradually, while I ate, lifting fog uncloaked a broadening landscape. Finished eating, I benched and da’avened for the third time, leery of saying nighttime prayers proscribed for sometime after three stars come out, in what passes for broad daylight here. Finished with the day’s obligations, feeling good, swaddled in fleece, top, bottom, head and toes, and able to see the landscape for the first time in a while, I delicately felt my way down the deep rut my hull carved on the way up to what passes for surf here, my down booties finding there slightly less tenuous purchase than on the rest of the steep slick sand.

Near the waterline, the grade relented and I comfortably walked along surf-scum tailings towards a large flat rock I’d noticed on the way in.  The rock was about four feet high, and I easily climbed on top of it. Scanning the now-visible horizon, my intention was to lose myself in a meditation on my mother. I perused the ocean in front, beach and jetty to the left, mountains behind, wondering what she might think if confronted with this brutal landscape, empty of people, jagged and raw and colorful. She’d made fun of it for years. I continued my revolving watch. To my right, where the beach abruptly ended in a scrub of brush, I saw the glint of glass. I focused. Yes, the low sun caught something amber and reflective. I thought, well here’s evidence of people; trash is everywhere. I thought to go pick it up and pack it out, but figured that with all the corroded oil drums I’d passed and not thought to remove, what difference could this infinitely smaller relic make?

But I have all the time in the world, in a certain sense. There’s nothing for me to do, really, once I’ve rowed for the day. I was under no obligation or discipline to stay on my rock, thinking about my mother, and staring off into space (literally, when the clouds clear, the horizon here ends in space. I’m confident of it).  So I sort of slid-slash-jumped off the rock, smashing out twin bootie prints that seeped water like a rotten hull, and picked my way across to the shrub.

I have to say, I’ve never felt so self-consciously awkward as I did walking over, completely unobserved, to investigate this oddity in the bush. After several weeks of purposeful motion, this luxurious amble made me feel guilty. And how innocent and clear my mind was then. Because this is what I found in the shrub: my whiskey.

Abba and Eema, if you guys are watching over me, please explain what this all means. Am I being tested? Am I meant to hurl the bottle back into the surf whence it reemerged having so successfully followed me here? Am I supposed to carry it out as trash? Or am I being regranted the right to drink having had a recovery of sorts these past several days? Or is the world in fact entirely random as my mother believed? No, I’m way to creeped out to believe that this is entirely accidental.

And have I mentioned how pissed I am that in two week’s hard effort rowing – has it been two weeks since I cast off the booze? I should check this journal – I’ve made no better time than a drifting bottle. Though, in my defense, I have at my best rowed twelve hours in a day while this bottle has plugged ahead twenty-four seven, no rest stops for it. Or has it? Can’t it be possible that it too washed ashore from time to time, only to be sucked out by a changing tide, all the while wondering whether it would be better to go backwards or forwards or just stop for once and for all? Could it not have in fact been carried by a playful polar bear great long distances?

Ursus Marinus may well have seen that glinting, highland confection and taking it for a reflective bauble playfully pushed and batted it along the frozen shoreline, carrying it like a dog’s toy baby on long northward detours to ice floes past the 85th parallel. Perhaps he showed it to his friends, and in the face of their ridicule – what ferocious white bear, god of the natives, carries a manmade, glass liter bottle around with him – abandoned it back to the waves. Or maybe he had it beside him as he lurked on top of a seal’s breathing hole and when making that fateful lunge, slipped, tragically on the smooth, rolling glass, and succeeded in losing at once both libation and dinner. And maybe the seal, inquisitively trailing the stream of bubble accompanying the bottle’s temporary plunge, pushed its savior along the bottom of the ice until it reached open sea again, bidding it alas farewell, safe home, good journey. Or maybe the bear stashed the bottle here temporarily. Or maybe it wasn’t a bear at all but some people in a boat, or on a beach, who found my whiskey and expecting some special message in that buoyant bottle instead found the best of clan McCallan, aged in oak twelve years. And those people, as they passed this piece of shore, stashed the bottle for safekeeping (unlikely, the bottle hardly seemed stashed, it looked as if it had been entrapped on the backwash of wave, held back in a sieve of stunted willow as the water dropped. No, if in its journey it encountered other humans, they did not willing leave it there. And yet, they may have parted with it as willingly as I, taking that piece of dangerous trash far out into the ocean and dropping it, hopefully to never return.

Or perhaps Hashem, creator the universe, simply ceased the bottle’s existence once I cast it from me, and now, for reasons only known to the divine, has recreated it in my path.

I don’t know.

I also don’t know whether to have a drink or not.

I don’t think I’ll throw it back just yet.

August 11

Like a donkey after a carrot, I followed The Whiskey bottle duct-taped to my bow all day. It sits there, glowering, an ever-watchful, never-sleeping bowspirit; baruch Hashem.

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August 12

White-knuckled, not-sleeping, hanging-on-for-dear-life, tehillim-reciting me is still here. And so is It, unopened. Baruch Hashem.

But I passed a long abandoned sod and wood hut today. Something I expected to see far more of than I have. I stopped there for lunch. A track where the last visitors hauled boats out persisted above the waterline. I reached and circled the hut. Behind it, meadows broken by rain-pools stretched back at a gentle but increasing slope into the foothills of the mountains, which are growing ever nearer. In a week or so, I expect to reach their near-confluence with the ocean, which will be the closest I come to the tree line on this journey, one of only two stops in towns, and the Canadian border. The hut’s roof was well set into the small rise of land on which, and undoubtedly, from which, it was built. It faced out towards the water. I went inside, an easy feat in the absence of doors. Ancient cigarette filters – lone survivors of butts long pilfered for remnant tobacco – mixed with bits of fur and random decomposition on the floor.  The space would have been claustrophobic had the front opening been closed and the sod washed away from the wood walls. In other words, restored, the hut would have been quite unpleasant.

Yet there were conveniences and comforts that made sense for a small outpost on a near empty arctic shore. The center of the floor was carved in lower, the way snow caves are, so that cold air sinks out of the structure. The walls were well shaped to accommodate sitting backs and stacks of fur. A small oil fire in here would be very warm. No longer. This place is like nature now. For decades, passing itinerants, what few there are, have probably used it to get out of the wind, maybe cook a meal. But no one vests an interest in maintaining the hut, or what others like it persist. No one counts on it as a point of return. No, nomadic arctic life is a failing experiment, even amongst those born into it. What am I doing here?

—Jacob Paul

From Sarah/Sara pages 98-103, courtesy of Ig Publishing, Copyright 2010

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Apr 262010
 

Though I’ve known and admired Jack Hodgin‘s work for ages, we actually hadn’t met til we ended up on the same judges’ panel for a literary award three years ago. Usually, these things are tense affairs, but Jack, our third panelist, the novelist Joan Barfoot, and I had such an agreeable time together we became internet friends, a tiny community of three sending group emails back and forth. Joan lives in London, Ontario, and Jack lives far, far away on Vancouver Island. He has been known to complain ruefully, upon finding a sequence of emails from Joan and me, that everything happens in the rest of the world before he even wakes up in the morning.

Jack has been a huge and beneficent presence on the Canadian literary scene for a couple of generations now. You can find all this for yourself by exploring his website (which, incidentally, contains a generous amount of writing advice). I love the list of prizes he’s won; it’s almost as long as the number of books he’s published. I am also fascinated by his real life relationship with the fictional character Dr. Jack Hodgins in the TV series “Bones.”

This little essay is just a taste. I like it because it reminds me of all the friends who have made the pilgrimage to Oxford–so many of us loved Faulkner and yet had to fight our way out from under his stylistic shadow.

Jack has a new novel coming out in May. It’s called The Master of Happy Endings. This is what Alice Munro says about it: “From one of Canada’s master storytellers comes a powerful new novel about memory, belonging, helping others, and the vagaries of the human heart. It is also a compelling story about how a man in his later seventies manages to conjure one more great adventure for himself.” Buy the book.

dg

FAULKNER MISSISSIPPI:  April 1982

Walking up the pathway towards the front steps and white pillars of the house known as Rowan Oak, I was aware of a chill that lifted the hairs at the back of my neck. William Faulkner had lived here, had written most of his novels here, had walked up this pathway, perhaps had even laid this herringbone brickwork in the pathway himself. The man would not be inside, of course – he had been dead for several years – but the house was open to visitors, with a resident guide from the nearby university.  Still, I was about to reach the destination in what was really a sort of pilgrimage.

We had spent a few sunny April days in New Orleans before driving the little rented car north, pausing only briefly in Baton Rouge before passing into Mississippi. We’d visited the ante-bellum houses in Natchez and toured the 16 miles of Vicksburg battleground before driving on up the highway through pine forests in the direction of Oxford.

In the direction, that is, of the town where once lived the man whose books had thrilled and inspired me, and whose powerful voice and vision had so invaded me as to destroy all my earliest attempts at writing – two bad novels and several stories, all rejected and abandoned — before I’d eventually found my own place and my own voice. Still, though I may have shaken off much of the power I’d once allowed him to have, I had not abandoned my admiration for the man and his work.

Of course the first indication we were entering Faulkner country was the little signpost naming the Yocana River, which was just a narrow yellow creek barely moving at the bottom of a muddy ditch.  It was not easy to imagine this “Yoknapatawpha” in anything like flood, or to believe in the difficulties it gave the Bundren family when they crossed it with the mother’s coffin, heading, as we were, for the town where “Pa” would get a new set of teeth, bury his wife, and find himself a new one. I hoped this was not a hint of more disappointments ahead.

Read the rest!

Apr 242010
 

ENTRIES ARE OFFICIALLY CLOSED. COMMENTS STILL WELCOME.

Herewith the first ever (annual) Numéro Cinq villanelle writing contest. I am announcing it early so that you can work on your entries. Entries will be accepted between May 1 and May 15. Entries, as with the aphorism contest, should be posted as comments on this page. Entries are open to anyone in the world, but only if they are written in  English, French, Latin, or classical Greek (the only languages anyone can speak in this house). As with the aphorism contest, I encourage you to familiarize yourselves with the form. See the craft and technique page for help. Roughly speaking, we’re talking about a 19-line poem written in tercets (except for the last stanza which has four lines). The first and last line of the first stanza become the last lines of the following stanzas and also turn into a couplet at the end of the last stanza. These are fun to write and can actually turn out surprisingly well if you arm yourselves with strong refrain lines (think: panache, drama, obsession, schizophrenia). You need not be a poet to enter. And it’s always a good thing for prose writers to extend themselves; it makes their prose more interesting. One lesson to be drawn from writing a poem like this is the way form drives content instead of the other way around.

Continue reading »

Apr 232010
 

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Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off—then, I account it high time to get to sea as soon as I can.

Down in the mouth myself the past months over matters personal and literary, I decided to follow Ishmael’s advice and took to the sea, vicariously at least, and reread Moby Dick, or rather Moby Dick; or the Whale—the full title of the original edition. It was a good break. I had a chance to leave behind the present noise and let myself drift in its sea of words, be carried by the slow, restless rhythms of musings that took me everywhere and nowhere. To read Moby Dick is to become aware of the immensity of things one cannot explain, that one may never understand, yet at the same time be reminded of humanity and culture. All three are related.

I also ran across two recent editions, both abridgments. Orion, a British publisher, released Moby Dick (Moby Dick: In Half the Time) a version that did just that, cut the novel in half, to make it accessible to those of us who just don’t have the time to read those big, old books. This edition prompted Damion Searls to take all the parts that were removed by Orion and present them together as a novel in their own right, ; or The Whale—the part of the title Orion cut—which appeared in its entirety in The Review of Contemporary Fiction (Summer 2009). The Orion edition does not name the editor (editors?) who made its cuts.

I have the Searls but not the Orion. It’s impossible for me to read either fresh since I have read the full version several times and would be able to fill in what is left out in both. I have, however, skimmed through ; or The Whale. It is a strange, wild book that intrigues me in many ways, for reasons I may never be able to sort out, which intrigues me as well.

The introduction to the Searls also gave an excerpt from Adam Gopnik’s New Yorker review of the Orion (“The Corrections,” October 22, 2007), which I also tracked down.

These passages are, by modern critical standards, “showy” and “digressive,” nervously intent to display stray learning and to make obscure allusion more powerful than inherent emotion… Melville’s story is intact and immediate; it’s just that the long bits about the technical details of whaling are gone, as are most of the mock-Shakespearean interludes, the philosophical meanderings, and the metaphysical huffing and puffing.

Gopnik is referring to the parts that were deleted. He is also voicing an esthetic, “modern critical standards,” and that is what I want to look at in this post.

Melville does spend an enormous amount of time detailing whales, whalers, whaling ships, and the history and practice of whaling—and so much more. He also densely packs his writing with a wide range of allusions that span centuries and cross cultures, East and West. Many day-to-day incidents are related in scenes that have no dramatic bearing on the essential plot, the course of events leading up to the fatal encounter with that huge, white fish. Allusions and other references are pared down; the introductory section “Extracts,” which contains excerpts from the Bible and literary writing that mention whales, was removed entirely. What Shakespeare did with language, apparently, should be left in the Bard’s grave. Not only is philosophy idle bluster, neither, apparently, is there much use for religion. Orion also removed the chapter on Father Mapple’s pulpit and, needless to say, we don’t get to see him climb it and hear him deliver his sermon—based on the book of Jonah, of course.

But what is essential to this novel—or to any novel? Some standard needs to be set, and one is suggested: emotion is what should drive a novel and not thought. Gopnik elaborates:

By the same token, the Orion Moby-Dick is not defaced; it is, by conventional contemporary standards of good editing and critical judgment, improved. The compact edition adheres to a specific idea of what a good novel ought to be: the contemporary aesthetic of the realist psychological novel.

Moby Dick does have many penetrating psychological observations, but these are only one part of his development of characters, of the ground beneath the plot. The main plot itself, the pursuit of the white whale, is determined by more than Ahab’s obsession and subsequent mental breakdown. Melville takes a position that people are more than a mixed bag of motives, traits, and pathologies, that our identities and behavior are defined not just by the interaction of these with those of other people, but also by whatever else exists in our cultures and whatever might lie beyond that.

I’m not sure what a realist novel is, however, though know I haven’t read one yet. Reality is a subjective matter that depends on who looks at what, how he or she looks, and why. Melville’s technical and historical excursions are what ground me in the “reality” of the book, and their bulk massively persuades me to accept it. But reality is only one effect in fiction. Mystery is another. Why are we so profoundly moved by an immense mammal that is largely comprised of that fragrant, oily stuff whalers refined to light America? Melville explores this question at length. We need to ask a similar question about his novel.

It is what a good editor, of the Maxwell Perkins variety, would do: cut out the self-indulgent stuff and present a clean story, inhabited by plausible characters—the “taut, spare driving” narrative beloved of Sunday reviewers…

There is nothing self-indulgent about Moby Dick. Ishmael, the narrator, is self-effacing and rarely speaks about himself. He always step backs, placing himself in the vast perspective of the subject matters of the novel. It is one of the least egotistical books I’ve read.

Self-indulgent, however, is a word I’ve often heard lately from readers and reviewers—and editors and agents. Pretentious is another. Again, I’m not sure what they mean, but these words seem to be applied to anything that taxes them in content or form, or slows them down, or stretches their frame of reference.

The subtraction does not turn a good work into hackwork; it turns a hysterical, half-mad masterpiece into a sound sane book. It still has its phallic reach and point, but lacks its flaccid, anxious self-consciousness.

If these editors have their say—and they have—this is my greatest regret about writing today, that we can’t have anxious, half-mad, much less fully mad, novels. For me it is enough cause to write one.

But the novel is an exploration of sanity, set against the serious madness of Ahab. Not mentioned in Gopnik’s comments is what buoys the narrative and helps keep madness in check, Melville’s generous democratic spirit and the expansive humor that infuse his book. Nor does Melville ever rest with certainty, or the appearance of certainty. He does not claim to have all the answers, or any of them. This, to me, is sanity, and Moby Dick is as sane as a novel can get.

Moby Dick is a ponderous book that promotes pondering. Is there a god or gods, thus a basis for religion? Is there any point to philosophy? Is our culture determined by anything other than our desires and their manifestations and perversions? I have no idea, but all of these are engaging esthetic propositions that give a novel depth and extension. Literature, however, I am certain exists, and Melville sustains a discussion about literature that has been going on for millennia and, I would argue, looks forward to its future.

Some of the writing, to be sure, is overblown, and many of his allusions strike me as odd and forced. And it is an odd book. The novel takes the point of view of Ishmael, yet often abandons it. In one chapter we see Ahab in his cabin, talking to himself; in another we hear a voice from another ship, the Delight, as the Pequod sails away. Several chapters are written like plays, with stage directions and characters’ lines. Sometimes the narrator steps back in time, sometimes forward, and sometimes steps out of it altogether as he writes chapters that take the form of entries in an encyclopedia.

None of which disturbs me. It is a novel that necessarily has to be hit or miss in its writing, given the magnitude yet elusiveness of its subject. A harpooner has to hurl several times before he hits his target. Not only does it grapple with life’s questions, it questions novels themselves, taking on the conflict between form and content, between containers and what they try to contain, between points of view and larger perspectives. It is a novel that debates the novel. I don’t have to adjust much to make the shifts work.

“Call me Ishmael”—is that actually the narrator’s name, or is he characterizing himself by this allusion, a kind of Ishmael about whom the angel said:

And he will be a wild man; his hand will be against every man, and every man’s hand against him. (Genesis 16:12)

A judgment Melville must have taken to heart, given his literary career. Or is Ishmael a pseudonym the narrator gives himself? We never hear his last name and are told almost nothing about Ishmael’s prior life except that he once sailed on a merchant ship. Is the young narrator, in fact, a budding novelist, who presents himself both as a character in the book as well as the Author? (The Author is Melville, writing from his experience as a sailor and writer, but not Melville, since Melville never sailed on the Pequod.) The dominant time of the novel is not that of the events on the Pequod but of the writing of the book itself, a time to which so many chapters return; the dominant voice is that of the mature writer. It is a novel of reflection and looking back, and the Author is an author who tests authorship.

I have no objection to judicious editing or to realist psychological novels. Both depend, however, upon a set of assumptions, which, like any other, need to be examined and considered against other possibilities. To decide these modern critical standards have priority is to make the mistake that form should determine content, and not the other way around.

If these are our only standards, what esthetic and cultural decisions have been made, with what effects? These editors suffer, I fear, from a modern condition known as sanity. Fiction has made progress, and we have discovered its true structure. There is no longer any need to experiment with the form. Novels must be terse, direct, and clean, where motives and actions are what count most, perhaps all that count. Action speaks louder than thought and should be decisive and quick. There is no room for doubt or hesitation, no reason to question ourselves or look for other contexts. Our references should come from the things that most catch our attention at the moment, that most thrill. We know all we need to know now and have no need for looking back.

And what if our ways of telling stories are telling us how to live? Once upon a time there was a passionate man of action who decided if we took out the bad guy—well, what? Peace and world order would be restored? Did our last president look at other texts or think past the dramatic climax to the story he wrote about Iraq?

An excerpt from ; or The Whale, Chapter 10 in its entirety:

Chapter 10

A Bosom Friend

long-drawn

It may seem ridiculous, but

He made no advances whatever; appeared to have no desire to enlarge the circle of his acquaintances.

If there yet lurked any ice of indifference towards me in the pagan’s breast, soon thawed it out, and

More excerpts can be found here. Searls comments on ; or The Whale here, at The Quarterly Conversation. A translator, he also writes fiction and offers his manifesto for the New Aestheticism here, again at The Quarterly, which might be compared and contrasted with Gopnik’s esthetic. We’re trying to find our way now, once again. Excerpt:

Modest in aim, New Aestheticist art does not want to change the world—to bear witness, deconstruct, problematize. It does not batten onto greater social goals, the kind responsibly fundable with tax dollars. It wants merely to be beautiful.

It differs from the old Aestheticism, “art for art’s sake,” in that it no longer believes in Art as a sake either, as a holy cause. New Aestheticism is art for people’s sakes. It is not antisocial; it aims to please. It is elitist but not discriminatory, for it is open to any and all who care to love it.

Seamen had to take their turns standing at the mastheads, ever on the lookout for whales. But they didn’t have a crow’s nest as such, but rather had to stand and balance themselves on two thin spars—the t’ gallant crosstrees—with only two metal rings to cling to. Ishmael describes the temptations of his first watch:

… but lulled into such an opium-like listlessness of vacant, unconscious reverie is this absent-minded youth by the blending cadence of waves with thoughts, that at last he loses his identity; takes the mystic ocean at his feet for the visible image of that deep, blue, bottomless soul, pervading mankind and nature; and every strange, half-seen, gliding, beautiful thing that eludes him; every dimly-discovered, uprising fin of some undiscernible form, seems to him the embodiment of those elusive thoughts that only people the soul by continually flitting through it. In this enchanted mood, thy spirit ebbs away to whence it came; becomes diffused through time and space… There is no life in thee, now, except that rocking life imparted by a gently rolling ship; by her, borrowed from the sea; by the sea, from the inscrutable tides of God. But while this sleep, this dream is on ye, move your foot or hand an inch; slip your hold at all; and your identity comes back in horror. Over Descartian vortices you hover. And perhaps, at mid-day, in the fairest weather, with one half-throttled shriek you drop through that transparent air into the summer sea, no more to rise for ever.

Also deleted in the Orion.

I must confess I took a few lines out myself.

The picture of an American whaler, above, is by Currier and Ives.

— Gary Garvin

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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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Apr 232010
 

Call me Ishmael.  Well, not exactly. I’ve been more Ahab than Ishmael this week.  A stray gray whale, Eschrichtius robustus, wandered into the San Diego Bay on Monday, off-track on its spring migration back to Alaska from the warm waters of Baja, Mexico.  I spent several hours along the shoreline of the bay in search of the mighty beast, but alas, no sightings.  My daughter swears she spotted him once, but her sighting remains unconfirmed.  I will use the whale-in-the-bay excuse next week to request an extension for packet four.

Part 2: I’ve just returned from my daughter’s music recital at her school.  I couldn’t help but think about writing  whenever a kid hit a wrong note (not my kid, of course!)  I know nothing about playing music.  I never learned how, truly one of the great regrets of my life, probably because I enjoy listening to music so much.  But when a song gets mangled by a young music student, the effect reminds me how difficult the structure of music is.   (Forgive my laymen’s terms…see earlier caveat.)  It never occurred to me before how these young musicians’ struggles are similar to my own.  I am often so careless with words, not realizing the effect my carelessness has on the rendering.  Language can be such an easy thing to play with, yet the power of language, when used with rigorous care, is not unlike the power of music when played correctly.  They both can elevate to such majestic heights.  I suppose I have a new, deeper sympathy for my advisers now.  Just be thankful I’m not getting my MFA in chamber music.  Oye.

Part 3: This week, between feckless whale watching and festive music performances, I started re-reading John Fowles novel, The Magus.  (I think this will be my fifth reading.)  This novel ranks in my all-time top two.  If forced to choose, I’d say Crime & Punishment is still #1, The Magus is #2.  But it’s a close race.  I’ve not read this novel since staring at VCFA, so my appreciation for it has grown considerably.  I also travelled to many of the places Fowles talks about in the book since the last time I read it, so that’s an interesting change too.  Fowles’ ability to weave disparate, wild ideas into a cohesive, almost taught narrative astounds me.  This book forces me to think deeply and experience emotions, all the while challenging my assumptions about reality.

I suppose I’ll push through and finish my packet this weekend, unless the whale surfaces again.

—Richard Farrell

Apr 232010
 

Raphael’s School of Athens

The University of King’s College Middle Bay version of the School of Athens. Jacob Glover is Parmenides, holding the book, talking to a young woman named Hypatia, centre left.

Apr 222010
 

The early books of the Bible are littered with strange names and peoples. I mentioned giants last time and the Sons of God who came down and had sex with human females. There are also the mysterious Nephilim or Refraim (I think I am getting the words right). And in Numbers and Deuteronomy, there are the giantish Anaks or Anakim. Of course, later on there is Goliath. The Anakim and Og of Bashan, mentioned in my previous giant post, are cited by Moses’ pusillanimous scouts to emphasize the might of the Canaanite hosts the Israelites will face if they go down across the Jordan as God wants them to do. Their fear (or prudence) is infectious. God gets angry and wants to kill his chosen people (once again). But Moses (once again) talks Him down, and God merely sends them off into the Wilderness til everyone in the cowardly generation dies off.

In any case, I find these giants fascinating, as I do the prophets (like Balaam) and the dreamers (like Joseph & Jacob) and the 70 tribal elders who sit down around the tabernacle, go off into an ecstatic trance, and can’t stop prophecying (although their prophecies aren’t true). I like the Children of Israel dancing naked before the Canaanite Golden Calf and whoring with the Moabite (or was it the Midianite) women (really a quasi-euphemism for lapsing into ancient religious ways)–all these are traces of cultural elements beginning to disappear before the book and monotheism, the first signs of modernity.

I also like that 1971 George C. Scott movie They Might be Giants about a wealthy man who thinks he’s Sherlock Holmes and manages to convince the psychologist his relatives hire that it’s better to live thinking there might be giants than not. Which is, of course, a re-working of Quixote. The words “they might be giants” are from the windmill chapter of the novel. Quixote convinces his friends that life is more interesting when he’s insane than when he’s not. The message of the Bible is somewhat different–there is so much effort put into stamping out the last vestiges of the ancient religions; those old beliefs are a kind of cultural insanity (uncleanness), though the problem for God and Moses is that they are also deeply attractive. As you all know (or maybe not), I wrote a book about Quixote which talks, among other things, about obsession, plot, and books.

I think I used to like Jack and the Beanstalk more than any other fairy tale. I seem to recall lying in bed a night, thinking of how I would approach a giant.

I don’t know where this is leading. Probably the fact that I drove 720 miles to Halifax on Monday and then most of the way back on Tuesday has something to do with this.

dg

Apr 212010
 

Herewith, a lovely poem by my friend Steven Heighton from his new book (his fifth poetry collection) Patient Frame. Steve is also a prolific novelist, story writer and essayist. He has a fourteen-year-old daughter and recently took up hockey–has been trying to lure me into a comeback (not going to happen). Read him and look up his other books. Something here not to be missed.

dg

—-

HERSELF, REVISED

There’s a final bedtime when the father reads
to his daughter under the half-moon lamp.
The wolf-eyed dog sits guard on the snowy
quilt at their feet—ears pricked, head upright
like a dragon on its hoard—while the daughter’s
new clock ticks on the dresser.  When the father
shuts the book, neither feels in the cool sigh
cast from its pages a breath of the end—
and how can it be that this ritual
will not recur?  True, this latest story
is over, Treasure Island, which held them
a dozen nights, but “the end” has arrived
this way often before.  Maybe she’s tired
of the rite, or waking to a sense of herself
revised?  Maybe he’s temporarily bored,
or unmoored, reading by duty or rote,
turning deeper inside his own concerns.

How does the end enter?  There’s a hinging
like a book’s sewn spine in the raw matter
of time—that coded text, illegible—
and stretched too far, it goes.  An innocent
break, the father off one weekend or the child
sleeping at a friend’s, followed by a night
or two she wants to read alone, or write,
for a change, in her new padlock journal.
She has no idea what has changed.  She
can’t know that the enlargement of her life
demands small death after death, and this one,
the latest, is far from last.  She will not
notice this death, being so intent on life—
so implied in its stretching crewelwork
of seconds.
Some nights later, suddenly,
writing cheques or checking email, he might
notice and wonder at the change.  In a sense
such minor passings pre-enact his own.
For a moment he might lay down his pen,
forget the figures, peer over the roofline
and find she was right—Orion, rising,
is more blueprint of butterfly, or bird,
than hunter.  How does it enter, through what rift
or flaw?  Maybe it doesn’t enter at all.
It was there in every sentence: the end.

–Steven Heighton

Apr 182010
 

Scott Russell Sanders

I would like to add the following as a general rule: a work of art is perceived against a background of and by association with other works of art. The form of a work of art is determined by its relationship with other pre-existing forms. The content of a work of art is invariably manipulated, it is isolated, “silenced.” All works of art, and not only parodies, are created either as a parallel or an antithesis to some model. The new form makes its appearance not in order to express new content, but rather, to replace an old form that has already outlived its artistic usefulness. (Theory of Prose p20)

I start with this quote from Shklovsky not because it necessarily says anything specifically craft-related that I hadn’t already heard this semester, but because it reinforced a couple of truths I think I’ve been subconsciously evading for the last couple of months: 1) that the strength of a non-fiction story doesn’t come only from the events and people themselves but from the formal choices I choose in telling (writing) them, and 2) I can see these formal choices in just about everything I read, if I read pieces for form rather than content. In other words, both my writing and my reading have been focusing on finding the “aboutness” of a piece or an experience, attaching myself to writing and events that have some verisimilitude for me, at the expense of focusing, as an artist, on the formal patterns other artists employ. Doug’s been telling me this from the start, but it’s taken awhile to sink in (and of course still is).

I chose to write critically about Scott Russell Sanders‘s “Under the Influence” because I found it so similar in structure and content to what I was attempting with the creative work I submitted last month. Some of these similarities include the central conflict of understanding the father, the thematic framing of addiction (though I think we differ in our final verdict), and perhaps most importantly the way he juxtaposes the past he remembers so vividly with his present self, a self that seems so removed from that past but still finds bits of it in him. One way he frames the past and present that resonates with me is the juxtaposition of addiction with biblical imagery.

The essay, as implied by the title, is a meditation on alcoholism, primarily his father’s. But it also delves into the nature of addiction, indicting his own obsession with work that prompts his daughter to label him a workaholic, and delving into the influence Sanders’s father had on his siblings’ and his own habits, hence the first two interpretations of the title I found. A third possible interpretation is the influence of the Bible, as a source of mythology, an instruction book for living, and, because of this perhaps most importantly, as a source of shame for Sanders at his father’s miserable failure at living up to these instructions.

As it turns out I had to rethink and revise my work to get to what Sanders was doing formally. I initially chose to write critically about it because I found the people, themes, and events in the essay immediately recognizable, and similar to some of the people and themes I’m writing about in my own work. Because of this, in my first critical essay, I focused primarily on those elements that I connected most to my work thematically and explained how they connected. The next time out, though, I focused on just one section of “Under the Influence” (on pp737-739 of The Art of the Personal Essay) only in terms of its structural patterns, specifically the parallelism of biblical passages and parables with events in Sanders’ family, and tried to discern how these patterns work. This is what I came up with.

Sanders’s intent in this section is to juxtapose his adult understanding of his father as an alcoholic with his childhood understanding of his father as a sinner, which he sets up in the first paragraph of the section:

While growing up on the back roads and in the country schools and cramped Methodist churches of Ohio and Tennessee, I never heard the world alcoholism, never happened across it in books or magazines. In the nearby towns, there were no addiction treatment programs, no community mental health centers, no Alcoholics Anonymous chapters, no therapists. Left alone with our grievous secret, we has no way of understanding Father’s drinking except as an act of will, a deliberate folly or cruelty, a moral weakness, a sin.

This juxtaposition is important because it contrasts Sanders’ adult authorial voice, for whom the phrase “under the influence” in relation to his father’s alcoholism has the commonly accepted connotation of addiction, with his child-presence, for whom the “influence” in the same phrase is far more sinister, mysterious and frightening. One of the most commonly voiced concerns I’ve heard (and voiced myself) is the difficulty, in writing of childhood, of balancing the child-awareness with the adult authorial presence. This mingling of the biblical with the clinical is how Sanders balances the two.

The following three paragraphs give a sweeping panorama of biblical allusions he remembers being used by his church to scare the bejesus out of him, of a different ilk for each paragraph, giving his adult-voice recollection of the connections he made between them and his father. The first one has three proclamations by the prophets Isaiah, Hosea, and an anonymous seer of the Book of Proverbs:

  • “The priest and the prophet reel with strong drink, they are confused with wine, they err in vision, they stumble in giving judgment. For all the table are full of vomit, no place is without filthiness” – he remembers “fouled tables at the truckstop where the notorious boozers hung out, our father occasionally among them.”
  • “Wine and new wine take away the understanding” – his father, fairly astute at math, was unable to even help with fourth grade math when he was drinking.
  • “Do not look at wine when it is red, when it sparkles in the cup and goes down smoothly. At the last it bites like a serpent, and stings like an adder. Your eyes will see strange things, and your mind will utter perverse things” – Here his adult voice is in full command, with an authoritatively ironic “Woe, Woe” dismissively concluding the prophets’ passages.

Sanders then in the next short paragraph, his authorial presence subtly lurking,  summarizes the Old Testament cautionary tales of Noah and Lot, in which both violated their parental boundaries when drinking, and Sanders concludes in his adult voice, “The sins of the fathers set their children’s teeth on edge.” And in the last of these three paragraphs Sanders takes his church’s ministers themselves to task, noting their prudish assurance of the children that they were drinking grape juice, not wine, at the Last Supper, and finally noting the implication of the “Eleventh Commandment: Thou shalt not drink.”

The final three paragraphs of the section go even deeper into the dichotomy of addiction as possession, with “the scariest and most illuminating Bible story apropos of drunkards,” the New Testament parable of the drunkard and the swine. He spends most of the first paragraph summarizing the story of Jesus finding the lifetime drunk of a village, seeing immediately that the man is simply possessed, and sending the demons into a group of swine “conveniently rooting nearby.” The poor hogs go crazy and jump off a cliff, and the now-former drunk “bathed himself and put on clothes and calmly sat at the feet of Jesus, restored – so the Bible said – to his ‘right mind.’”

Sanders begins the next paragraph with, “When drunk, our father was clearly in his wrong mind.” Then, he sets out, in his adult voice, at explaining the connections he made as a child to the story. He says he saw his father as this lunatic, both “quick tempered, explosive” and “maudlin and weepy,” and notes the support he received for his theory from the local church, which referred to liquor as “spirits” and “demon drink,” and local newspapers with their reports of driving “under the influence” (interestingly, the paper probably meant it in the clinical sense, but as a child he took the influence as demonic). And finally, in the last paragraph, he asks four questions in succession in the confused, pleading voice of the child he was:

If my father was indeed possessed, who could exorcise him? If he was a sinner, who could save him? If he was ill, who could cure him? If he suffered, who could ease his pain?

And then he answers them in the sad, regretful voice of the adult who sees beyond the time and place:

Not ministers and doctors, for we could not bring ourselves to confide in them; not the neighbors, for we pretended they had never seen him drunk; not Mother, who fussed and pleaded but could not budge him; not my brother and sister, who were only kids. That left me. It did not matter that I, too, was only a child, and a bewildered one at that. I could not excuse myself.

Interestingly, even as an adult, the answers he gives are not really answers, but ironic justifications of the answers he gave as a child. The effect is chilling, but also endears him to the reader – he still is questioning, and even the answers just bring in more questions. This seems central to the voice of the personal essayist – not the desire the answer the questions, but to raise them, bringing the reader into the story, with his or her own questions, and his or her own answers.

–John Proctor

For a further discussion of aboutness, verisimilitude, and patterns, see dg’s essay “The Novel is a Poem” in Notes Home from a Prodigal Son.

Apr 172010
 

I started rereading the Bible yesterday; it seems quite different from the last time. Now I recognize favourite passages or structural elements that organize the stories. But the recognition of familiar bits also frees me up to appreciate new things. More on that later. Right now here is one of my absolute favourite verses from Genesis.

There were giants in the earth in those days; and also after
that, when the sons of God came in unto the daughters of men,
and they bare children to them, the same became mighty men
which were of old, men of renown.

Read it out loud for the sonorous rhythms. This passage describes the era after Adam and Eve and before Noah, God’s little temper tantrum starts in the very next verse. What’s interesting to me, besides the poetry, is the claim that before the Flood there were giants and also that the “sons of God” (whoever they were) had sex with human women who bore a race of heroic men. This is stirring stuff, but it somewhat clashes with conventional biblical readings. I never learned about the giants in Sunday school, though I would have enjoyed hearing about them. (Also mentioned in Deuteronomy 2:11.) And, of course, in the New Testament, Jesus is God’s only begotten son–apparently, the author forgot all the others; either that, or we have here a little Orwellian rewriting of history. But, really, I don’t mean to trivialize the passage by descending into simple-minded textual comparisons. The verse about giants and the sons of God is one of those bits that slipped into the Old Testament from some more ancient myth cycle–there are lots of these textual erratics: I still keep puzzling over the famous “incident of the bloody husband”–something about a demonic apparition and a hasty do-it-yourself circumcision (Exodus 4:24),  for example.  But I love the words and the feel of an ancient speaker speaking to me.

This is written much in haste, first thoughts. I almost forgot Og of Bashan (if I ever have another son, I will name him Og).

Deut. 3:11 For only Og king of Bashan remained of the remnant of giants;
behold his bedstead was a bedstead of iron; is it not in
Rabbath of the children of Ammon? nine cubits was the length
thereof, and four cubits the breadth of it, after the cubit of
a man.

dg

Apr 162010
 

breckenridge-cropped

It’s a huge pleasure to introduce Donald Breckenridge to these pages. He’s an old friend and supporter, the fiction editor at The Brooklyn Rail, editor of The Brooklyn Rail Fiction Anthology and co-editor of the Intranslation web site. He’s written a dozen plays as well as the novella Rockaway Wherein and two novels, 6/2/95 and YOU ARE HERE.

The following is an excerpt from his forthcoming novel This Young Girl Passing (Autonomedia, 2011). A while ago I read the ms. and wrote the following: This Young Girl Passing is a deceptively short, dense, ferociously poignant novel of sexual betrayal and despair set in impoverished upstate New York, a Raymond Carver-ish milieu of never-weres and left-behinds. Breckenridge is a pointillist, constructing scene after scene with precise details of dialogue and gesture, each tiny in itself but accumulating astonishing power and bleak complexity. The novel’s triumph though is in its architecture, its skillfully fractured chronology and the deft back and forth between the two main plot lines, two desperate, sad affairs twenty years apart and the hollow echoes in the blast zone of life around them.

dg

 


Monday April 19, 1976

Bill had kept Sarah after the bell to find out why she was failing his class.  She dutifully asked him to recommend a senior who would be willing to tutor her. He wrote a name and number down on a scrap of orange paper then offered her a ride home.

“And the photographs,” Sarah glanced at Bill, “you should see them,” as they continued along the narrow path, “the models are wearing casts and some of them even have black eyes,” they walked by a cluster of bluebells as she concluded, “it’s like pornography only worse.” A chipmunk scurried across a large rock then disappeared into a pile of leaves. “Women being beaten by groups of men in suits… How could anyone find that beautiful?” Bill stepped over a tree trunk that had fallen over the trail, “I know I don’t,” turned to her and held out his right hand. The cloudless sky was teeming with dozens of songbirds in flight. She placed her left hand in his, “it’s like the feminist movement never happened,” and stepped over the trunk. The plaster cast on Sarah’s right arm extended from her elbow to her wrist. He stepped on a brittle weed and a cluster of brown thistles clung to the cuff of his pant leg. Her best friend Laura had covered the cast in tiny red hearts and flowers with fingernail polish. When a blossoming willow caught Bill’s eye he stopped walking, “I think they’ve run out of supposedly wholesome ways,” and pointed it out to her, “to sell expensive clothes to wealthy women.” The willow’s flowering limbs swayed as the breeze cast off a shower of yellow petals. “What does that say about the way society treats women?” A multitude of bees, undeterred by the breeze, pollinated the tree. Bill realized that he was still holding her hand, “but the models are just well paid mannequins.” She frowned, “What does that mean?” “It isn’t that complicated Sarah,” beads of sweat appeared on his forehead, “the people behind the camera simply script fantasy roles for women and those roles have little or nothing to do with reality.” The air around them was enriched by the scent of the blooming tree. “Well,” she looked at him closely, “don’t you think it says a lot about the kind of people who buy them?” and noticed the faint outline of her reflection in his brown eyes. “I suppose,” he nodded, “but aren’t most of those designers gay?” A robin in a nearby tree began to sing. They saw each other in class, their last class of the day, five-days a week, and yet she never looked the same. He was almost twice her age, “I mean, that really doesn’t have anything to do with it, but it does seem strange that you would get so worked up about advertisements in fashion magazines.” She smiled tentatively at her reflection while asking, “How is it not complicated?” Bill had been married for three years, “things like that are very temporal,” and he was as bored by his wife’s passionless lovemaking as he was repulsed by the middle-class existence that pacified her. He was as embarrassed by his wife’s ideals, “next year they’ll find something else,” as he was resigned to them. “Like what?” “Who knows,” Bill shrugged, “maybe next year they’ll use vivisection to peddle their dresses.” Sarah let go of his hand, “that’s very funny,” and began walking away. He watched her hips sway beneath her blue jeans, “Can I ask you something?” She turned around, “you just did.” He stepped toward her, “Why does that bother you so much?” She lowered her eyes, “I really thought you were different,” and scratched at the rash above her cast, “So, why make jokes about something you obviously don’t understand?” Her fingernails left faint whitish trails around the rash. “I was being ironic, Sarah.” A bee hovered above a cluster of dandelions just inches away from the tips of her sandals. “You’re being an asshole.”

She had told him in the car that the cast would be removed next Monday and that she was very self-conscious about the way it smelled. When asked if her parents were concerned about her grades she looked out the open window of his Impala and laughed. When asked why that was funny she spoke enthusiastically about Truffaut’s 400 Blows that he had shown the class a month ago—then made it clear to him that the only place she didn’t want to go was home.

“What is it that I don’t understand Sarah?” She placed her hands on her hips, “What is it that you wanted to show me, mister Richardson?” He took two steps forward, “I thought that maybe we could talk and that you could tell me-” “Tell you what,” she held her ground, “that I’m going to love playing in your magic tree-fort?” “You can start by telling me why you’re failing my class.” She shrugged before looking intently above his head. He softened his tone, “there’s a beautiful lake a short walk from here,” then motioned toward the tail, “are you coming or not?” She nodded sullenly and they continued along the trail. “I don’t care if you call me an asshole, we can always disagree, but please don’t ever call me mister.” “Why not?” “Because it makes me feel like an old man.” “What about mister Asshole,” she laughed, “Can I call you that?” “That really doesn’t work either,” furrowing his brow, “I’d really like for you to think of me as a friend… okay?” She took his hand and asked, “How old are you?” “I’ll be thirty-one this August.” “Oh, that’s right, you’re a Leo… you are the most willful.” “Not that nonsense again.” “It’s not nonsense Bill, you can tell a lot about a person from the sign they are born under.” “For instance?”  “The Zodiac is how we, as mortal beings, have passed from the spirit world into the material one.” Holding Sarah’s warm hand while being lectured about the Zodiac made Bill feel like he was sixteen again. “The world is divided into two opposing parts, involution and evolution.  The first six signs of the Zodiac represent involution and-” “What are the first six signs?” He asked. “Aries, Taurus, Gemini, Cancer, and then you the Leo,” squeezing his hand for emphasis, “the willful lion and then Virgo, the soulful giver.” “And when were you born?” With a smile, “my birthday is in February, under the sign of Aquarius.” “Isn’t that a water sign?” “Right, it’s the eleventh sign in the Zodiac and it’s a water sign, on the side of evolution. Aquarius symbolizes the disintegration of existing forms. It’s a symbol of liberation.” Bill’s foot got caught on a root and he almost tripped. “Be careful there…” he nodded sheepishly as she continued, “the Egyptians identified Aquarius with their god Hapi who personified the Nile and when it flooded it was a tremendous source of both agricultural and spiritual importance.” He was tempted to suggest that if she spent half-as much time studying French as she did astrology then she wouldn’t be failing his class. They passed a rusting black and white sign nailed to a tree warning trespassers that they would be prosecuted. “So,” Sarah concluded, “we are from opposite sides of the Zodiac and I think that is a very good thing.” The trail opened onto a small clearing. “And you consider yourself a liberated person?” They startled a pair of Mourning Doves foraging in the tall grass and their wings made an airy whistling sound as they flew away. “I do,” with a solemn nod, “to the extent that a woman can be in a society dominated by men.” He turned to her, “And how much of that has to do with the sign you are born under?” She said, “everything,” with conviction. “Come on Sarah, don’t you think your environment has more to do with shaping the person you are and the one you’ll turn out to be?” “No I don’t,” she stopped walking, “I think it’s the other way around,” then let go of his hand. “It’s all up to your astrological sign?” “You know,” noting his smirk, “arrogance is another one of the Leo’s traits.” He placed his hands on his waist, “it seems to me that you’ve got it all backwards.” “How so?” A crow cawed as it flew above the meadow. He looked away from her before asking, “How did you break your arm?” “I fell off my bike,” she bit her lower lip, “I told you that.” He frowned, “yes, you did.” She looked down at the clump of green grass between them, “So how far away is this world famous lake of yours?” He nodded in the direction they’d been walking, “it’s just beyond this meadow.” She tried to sound apathetic, “Are we going there or not?” He cleared his throat before stating, “the most important virtue in any relationship is honesty.” She stepped toward him, “you are nothing like any of my other teachers.” “I think most of your teachers are in school because of the paycheck they get every other Friday.” She nodded, “it is so easy to talk to you.” “If they had to sell shoes instead of teaching to pay the bills it wouldn’t faze them one bit.” Her curly blonde locks, “everyone in class thinks you’re really cool,” were rearranged by the breeze. He glanced at her chest, “it is very important to me that we are always honest with each other.” Her dark brown nipples were erect and visible through the light cotton blouse. “Sure Bill.” He scratched the top of his head, “I’m really glad you feel that way Sarah,” and looked down at her sandals, “let’s not keep any secrets from each other.” Her toes were perfectly symmetrical and the nails were dark red. “Sure Bill, I think that honesty-” “I think you already know that I really care about you,” he looked into her eyes, “and I always want you to tell me the truth.” Her smile, “sure,” revealed the narrow gap between her two front teeth. “Don’t you have a boyfriend?” “No, I did,” shaking her head, “but he broke up with me right before Christmas.” “Did he hurt you?”  The trees cast shadows around the edge of the meadow. “Not really, he was a real jerk though… I still don’t know why I went out with him.” “No,” Bill shook his head, “I meant physically,” while looking at her intently, “Did he break your arm?” “No way,” her eyes widened, “I don’t like guys like that… jocks or violent ones.” A jet silently streaked across the blue sky leaving a thin vapor trail behind. “What kind of guys do you like?”  She began to blush, “older ones I guess, most of the guys my age are so immature… they behave like little kids.” “What about married men?” She laughed out loud. “Why is that so funny?” The last thing she wanted to do was offend him, “it’s not,” but he had such a constipated expression on his face, “you make it sound so serious,” she took hold of his left hand and examined the gold band, “Aren’t you married?” he nodded before she quickly added, “I’ve even met your wife.” Bill slowly pulled his hand away, “When?” “She’s almost as tall as me and she has long brown hair and,” Sarah winked, “and her name is Mary.” “How do you know her name?” She felt like a lawyer on television presenting a surprise witness to a stunned jury, “Mary chaperoned a dance in my sophomore year,” with a giggle, “your not very happily married to Mary though.” “Sarah,” he began to blush, “I asked you a question and I’d like for you to answer it.” She held up her left hand, “okay,” and whispered an oath, “I’ve never dated a married man,” before placing her left hand on his shoulder and kissing him on the mouth, “but in twenty years you’ll still be fourteen years older than me.”
/

Friday March 28, 1997

Sarah contemplated his tranquil expression before saying, “I always thought that you had,” in a soft voice. Bill pulled the damp condom off his flaccid erection, “that isn’t true.” The pounding in his chest had begun to subside. Sarah possessed a glowing intensity that radiated between them, “a lot of girls in school,” her cheeks were a rosy pink, “said they slept with you,” and her eyes were wide open. Sperm collected in the tip of the condom he held between the thumb and forefinger of his right hand. She pressed her thighs together and sighed. He weighed the fluid with an absentminded pride, “that certainly doesn’t mean that I did.” A television could be heard through the wall behind the bed. She reached behind her back with both hands and undid the tangled clasp of her bra. He leaned over and placed the condom in the ashtray. She pulled the black bra away from her breasts and cast it onto the edge of the bed. To the right of the ashtray there was a beige touch-tone phone. “How could you believe something like that was true?” To the right of the phone a red and white brochure instructed the occupants on how to exit the building in the event of a fire. A metal lamp with a beige lampshade was mounted to the wall above the nightstand, a sixty-watt bulb illuminated a portion of the room. She waited for him to adjust the thin foam pillow beneath his head before claiming, “because you never took me seriously.” Long brown watermarks ran across the ceiling above the bed. He closed his eyes, “that isn’t true,” clasped his hands and rested them on his stomach.

Bill had saved a batch of color photographs of Sarah from the spring of ’76 and would remove them from the cardboard box marked poetry that was buried in the bottom of the closet in his study at least twice every five years. Mary would be spending the weekend at her sister’s in Bridgeport and he would be home alone and very drunk. Bill and Sarah had driven up to Sylvian Beach on a sunny weekday during the Easter break of her junior year. The image of Sarah standing on the beach with her jeans rolled up to her knees as small waves broke before her pale ankles. The image of Sarah feeding a seagull (with outstretched wings) French-fries while sitting at a dark red picnic bench. The portrait of her looking directly into the 50-millimeter lens—her blue eyes almost mirrored the cloudless sky. Sarah sitting on the back of a green bench overlooking Oneida Lake. Sarah holding a melting chocolate ice cream cone with a sardonic grin. Bill would spend hours pouring over the images until he was seeing double.

The springs in the mattress creaked, “like you were just testing the bath water with the tip of your foot,” as she placed her right arm on his chest. He opened his eyes, “What does that mean?” The television on the dresser reflected their faint silhouettes on its darkened screen. She noticed the crows-feet, “That you were just interested in having sex with me,” etched around the corners of his eyes, “and that you just saw me as some dumb, needy girl-” “How can you-” He tried to interject.  “-Who really couldn’t give you anything else.” “-You were sixteen years old,” Bill shook his head while adding, “and I couldn’t believe how lucky I was to have found someone who was as… as passionately interested in me as you were then,” then lowered his voice, “it was like a dream come true,” as the realization that it had taken two decades to tell her that descended upon him. “You never made me feel like you were committed to our relationship.” “I certainly tried,” he nodded with conviction, “the sex was very important, the sex was incredible, as it should be in every relationship, although it never is… but we shared a lot of the same interests as well.” Her eyes narrowed, “you never made me feel appreciated.” That she would berate him about the way their relationship ended didn’t come as a surprise, “I think that had a lot more to do with your upbringing and besides-” “I always felt like you were taking me for granted,” she pursed her lips, “like that letter you gave me.” “Twenty years ago,” he shrugged his shoulders, “you can’t change the past so why live in it?” Wasn’t renewing their relationship a way of reliving the past? Televised laughter could be heard through the wall as she thought about his question. How could she have harbored his betrayal for twenty years?

Sarah took her arm off his chest and sat up, “you know that I kept it.” Bill looked puzzled, “Kept what?” “That letter you gave me on the last day of school,” Sarah rested her shoulders against the headboard. “Oh that,” he contemplated their reflection in the television screen. “Oh that,” she placed the tip of her index finger on her chin, “I should have brought it tonight,” while watching his expression turn sullen, “Do you remember that day?” He nodded, “I don’t remember what I wrote in it though.” “You don’t?” “No of course not… Jesus Christ… not word for word.” She saw herself sprinting through the teacher’s parking lot, “I guess you’ve done it before,” and reached his car just as he was turning the key in the ignition. She was about to ask him what was wrong, “it was in the parking lot,” as he rolled down the window, “on the last day of school,” and shoved the envelope into her hands. He noticed the burgundy lipstick, “yes,” smudged around the corners of her mouth, “I do remember that.” “I’ll have to show it to you sometime… maybe that will freshen your memory.” Bill recalled how idiotic it felt waking up with a hangover on the daybed in his study to discover those photographs scattered across his desk. “What good would that do,” he shrugged, “I’m sure that you can find a lot of faults with anyone in retrospect.” “And I would get so angry with myself for wanting that life with you,” she brushed his right hand off of her thigh, “you had convinced me that you didn’t love her and I gave myself to you… unconditionally… and then you-” “I think you were being delusional,” Bill unclenched his fists, “I was never going to leave Mary,” before changing the subject, “What happened with your parents?” Sarah swallowed hard, “my mother is in a nursing home and I haven’t spoken to my father in thirteen years.” A door down the hall slammed. “Really?” She leveled her eyes at him, “if anyone hurt Kate the way he hurt me I would kill them.” “And no jury would ever convict you,” He cleared his throat before adding, “what if you got pregnant.” “I wanted that life with you so badly,” she hadn’t taken her eyes off his chest, “and I…” “What then Sarah,” he pressed his hands on hers, “what sort of life would we be living now?” “And I…” she blinked twice while looking intently at his face, “and I’ve never loved anyone the way I loved you. Not even my husband,” she squeezed his hands, “even when things were really good between us. I’ve compared every man I’ve been involved with to you and none of them have even come close.” He leaned forward, “I’m right here,” and kissed her on the forehead. “I had an affair,” she turned her head away, “with my boss.” “The dentist?” She nodded, “at one point he wanted to leave his wife and kids for me and I told him I would quit and end our relationship if he even suggested it again.” “How long did this go on for?” “The other night I realized that I was never really able to love any of them… it was more like a role that I was playing,” she cleared her throat, “after we ran into each other last month I ended it with him.” Bill managed to mask his skepticism, “just like that,” but how many hours had she spent with her boss in a room like this, “you didn’t know,” he swallowed dryly, “you didn’t know that we would be intimate again?” “That didn’t matter,” she leaned forward, “knowing that you still cared about me was enough,” and kissed him on the mouth. Bill thought of taking her picture as she stood on the shore of Sylvain Beach. Sarah had removed her sneakers and socks, rolled up her jeans and stepped into the dark gray water. “It’s sooo fucking cold!” He was standing five yards away when he framed her in the viewfinder and focused. She looked down at the miniature waves breaking around her ankles just before he took the picture.

“Why were you playing a role?” Bill asked. Sarah’s shoulders were covered with gooseflesh, “I guess in some stupid way I felt that if I couldn’t be fulfilled by one person than two might make me feel,” she stopped herself from saying happy, “the thing is I could never convince myself that it was true.” He shifted on the bed, “That what was true?” She frowned, “that I was unhappy,” shrugging her shoulders, “or that I was just really lonely,” then looked closely at his face, “or maybe I had finally convinced myself that things would never change and that I would never have another chance with you.” Bill examined their entwined fingers, “When did you start sleeping with your boss?” comparing their mismatched wedding bands. “In December.” “That wasn’t very long ago,” he sighed, “you made it sound like-” “December of ’94,” she bit her lower lip, “it was three years ago… right after I started taking Prozac.” “And you’re still working there?” When she smiled and said, “I just got a raise,” he noticed how white her teeth were. He took his hands away and stood up. “Where are you going?” He slowly crossed the room, “to the bathroom.”

Dearest Sarah, She saw him in the teacher’s parking lot and ran over to his car. We have had the very real pleasure of each other’s company for more than a year now, but this relationship cannot continue any longer. She got there just as he was turning the key in the ignition and breathlessly asked, “What’s the matter with you?” I know this will not be easy for you to understand and it wasn’t easy for me to reach this decision but I need you to be strong for me and for yourself. He rolled down the window and gave her the letter. I have carefully thought through the plans we have made and the dreams we share for our life together and I honestly feel that I will be nothing more than a blight on your future. When she asked what was wrong he replied, “I think it’s time to move on.” The love and passion we have shared has been a real blessing and you have helped me rediscover a part of my youth that I thought I had lost forever. “What,” she pressed her hands on the car door, “what are you talking about?” I am ashamed to admit that I could never be willing or able to leave my wife for you. He revved the engine while asking, “How is this being discreet?” And instead of living a lie that would have only created greater unhappiness for us in the future I think it’s best that we come to our senses now and honor the secret love and friendship that we have shared. The car pulled away as she stood there. I will never forget you and I will always be devoted to the memory of our time together.

With much love and gratitude,

Bill

She was smoking when he returned. “Does it bother you that I’m on anti-depressants?” He stood at the end of the bed, “Isn’t everyone in America on Prozac?” She exhaled, “I’m being serious,” while scrutinizing his torso. “Well,” shifting his feet, “is it helping?” She said, “sometimes,” before placing the cigarette between her lips. “Then it doesn’t bother me,” the mattress sagged beneath him, “I didn’t know that you smoked,” as he sat next to her. “Maybe a pack every other week,” she noticed a tiny bit of flesh-colored wax on his earlobe, “why were you looking at me like,” picked it off with her index fingernail and flicked it onto the floor, “like you were afraid of me.” Bill shrugged, “Did you hear about that cult in California?” Their clothes had slipped off the back of the wooden chair and formed a pile on the gray carpet. “Heavens Gate?” The smoke from her cigarette swirled above the lampshade.  He nodded, “it was all over the news again tonight.” She cleared her throat, “they thought the comet was coming to take their souls away,” and placed the cigarette between her lips. “And maybe it did,” he turned to her, “you know it’s flying above our heads right now.” She exhaled slowly, “Hale-Bop,” and the smoke was pushed beneath the lampshade, “that is just so sad,” where it lingered in the yellow light, “they claimed their bodies were only temporary vehicles holding in their souls and when Kate and I saw that clip on the news she said that all of those bodies, that the way they were dressed in those uniforms, made them look like envelopes.” “I really loved you Sarah.” Her eyes were downcast, “Then why did you end it?” Shaking his head, “I wasn’t.” She reached over and crushed the cigarette in the ashtray, “you used me.” “That was twenty years ago.” She crossed her arms beneath her breasts, “Can’t you just apologize for hurting me?” “Why have you victimized yourself over this?” Clenching her jaw, “I want to know why you took me for granted.” He let out a long sigh, “The risks were just impossible.” She placed her hands on her knees, “Just tell me why you gave up on us.” He frowned, “Answer my question.” “It’s not like I could have gotten pregnant anyway,” she looked at him uneasily, “I was on the pill, remember that, that was your idea.” He nodded, “Weren’t you on the pill in college?” The off-handed way she said, “I really wanted to have your baby,” stunned him.  Bill shook his head in disbelief, “I wouldn’t have given you that choice.” “You’re an idiot,” she looked away and whispered, “I wanted to spend my life with you.” “That’s not what I thought was best for you,” he examined the tufts of hair below his knuckles, “that was a mistake on my part, a selfish and –” “Is this a mistake?” He didn’t hesitate, “No, no it isn’t.” She stretched her long legs out on the bedspread, “I’m going to see you again?” He nodded before asking, “If we had married then do you think we would still be happy?” “Why,” she placed her hands on his shoulders, “wouldn’t we be happy now?” and kissed him on the cheek. He cleared his throat before saying, “that’s an interesting question.”

—Donald Breckenridge

/
/

Apr 142010
 

So I picked Jonah up from school and he was in a good mood. He had to sell chocolate bars for a Latin class trip. At lunch, he set himself up at a table with a sign that read COCAINE with the word crossed and underneath, in much smaller letters, Confectionery Sugar. Kids lined up to buy. A second ploy involved a group of boys, always at the same lunch, who hang around together and always bring an extra dollar for ice cream. Jonah went over to the ring-leader of the group and offered him a free chocolate bar if he promised to say how good it was and not share any. Jonah promptly sold several chocolate bars.

All the way home he was talking about getting an MBA.

dg