Gary Garvin

Aug 122017
 

Day to day pours forth speech,
and night to night declares knowledge.
There is no speech, nor are there words;
their voice is not heard;
yet their voice goes out through all the earth,
and their words to the end of the world.

Psalm 19

There has been no one else in my life like Bill, little as he was in it. Slender and soft spoken, not withdrawn but not forthcoming, had he found himself in a crowded room he would have been the one who called least attention to himself. He did have an eye patch, the result of a childhood accident, but he wore it in such an unselfconscious way that it blended with his reserve. Yet he showed an inward centering that gave him a quiet presence, as if he were in touch with something beyond him, essential and illuminating, that set him apart from the rest of us, and when he looked back you felt he saw you with both eyes. I never heard him speak ill of anyone.

He would explain things, and patiently keep explaining, and treat you as if you were capable of understanding, which is what first drew me. Once, when I was a boy, he told me why the spokes on the wheels of my toy car moving forward appeared to go backward. In the world in which I grew up, defined by roles and ceilings, by the rules of settling down and settling in, he provided a model that helped me wonder what else might be understood and think about where that might take me, to believe that understanding is an engagement worth doing in itself that doesn’t need explanation or purpose, whose reward is the exhilaration of wonder, whose place is the presence that comes from reaching, from grasping. With the presence, the hope some pursuit of my own might return me to a larger, vital world.

He was, in fact, a particle physicist, who devoted his life to the study of the composition of the ultimate parts of nature and the forces that drive them, the understanding that there is no separation between the two but instead a relationship. He would explain that, too, and keep explaining as long as you listened, but it was over our heads and no matter how much he tried to break it down we soon got lost, leaving us with utter bafflement, some of us with skepticism, some of us with suspicion. It is difficult to trust the things we cannot understand, no matter how fundamental.

When I went to Berkeley in the late ’70s, grad school in English, I stayed with Bill a few weeks while I looked for a room. Then I lost touch, as so often happened there. We were all caught up in what we were doing.

Some four years later, midsummer, I got a call from his mother in North Carolina, a distant voice. She was polite and stalling in her desire not to impose and only made brief, oblique reference to Bill, not much more than she hadn’t heard from him in a while. I didn’t know what her concern was or even if there was one. After I hung up it occurred to me she wasn’t sure herself.

So I walked up the hill to his apartment in North Berkeley, but he wasn’t in. I looked in all the windows and nothing stood out. Everything was in place, everything looked as I remembered, everything looked as might have been expected. I debated breaking in, but had no evidence or cause, and was disturbed I even gave it a thought. He simply could have been on vacation. There were other places he might have been. Also I was dealing with a mother’s concern, foremost in mind. I didn’t know her well, and she seemed a little strange on the phone.

Still, I needed to put her at ease. I went back a few days later and saw the same. I started making calls, beginning a search to see what I could learn, not knowing what I was looking for or that I had any reason to look. What I also needed was to settle the doubts I had turned loose within myself.

.

Today, afternoon, midsummer, so many years later, elsewhere, trying to think, to understand, to define a mood or find one, but mind wandering, I look up from my desk and notice before the window a few motes of dust hovering nearly motionless in the still air but not quite, slight reminders of indeterminacy and dissolution, yet, illumined by the sun, bright, tiny specks that break the surface of the ordinary, faintly suggestive, faintly marvelous. Outside the window the foliage from the backyard trees shifts irresolutely in a gentle breeze, a dense, erratic pattern of dark and lighter greens, a constellation of rough-edged, roundish oak leaves, largely rising, and the smooth, long leaves of a walnut and Podocarpus, thin and thinner, largely falling, and of the leaves of the other trees behind them, almost covered. Now, inside, at the corner of the window, a jagged crack suddenly appears—it has always been there but has been forgotten and put aside—that runs to the ceiling like a bolt of lightning, a rip of quick terror, or a rent in the commonplace that opens revelation. Now, outside, flash reflections of the sun on the front leaves, the leaves glaring, nearly white, nearly bleached of detail, bright and blinding, like the rush of shock, or surprise. In only a few gaps among the leaves, small and scattered, can I see the sky. Beyond the sky, all the rest.

The day speaks—

Everything is exactly what it is.

In the beginning—

Or rather 10-43 seconds after the beginning, some 14 billion years ago, according to the standard model, a symmetry breaks and the universe explodes from a size so small that it would be pointless to state it, having a denseness, in comprehension, inversely related to its size. Its energy is 1032 Kelvin, against which the energy of the sun would not provide manageable comparison, but it is cool enough to allow the force of gravity to separate itself from the other forces, though nothing sensible can yet be said about its effects. The energy, however, is still too strong for quarks to join to form neutrons and protons, much less neutrons and protons join to form nuclei, or nuclei to draw free electrons to form atoms, or atoms to join to form molecules and gas clouds and masses and the planets and stars and solar systems and galaxies we now see. Our knowledge of the universe depends on understanding this moment.

The very beginning, zero time, may be beyond the reach of physics. The questions as to what existed before zero time and where the Big Bang took place and what existed beyond may not make sense because this may have been the time that time and space were in the process of being created. Also our common conceptions of time and space are inadequate to explain time and space.

The first step is to find the questions we can ask and learn their terms.

Bill was my uncle’s brother, the brother of the husband of my mother’s sister, thus no blood relation. I’d see him on rare occasions during family trips to my grandmother’s house in a small, crossroads town in rural North Carolina when he visited his brother and family who lived there, back from California, Germany, Switzerland, other distant places. We knew he was there when we saw his Karmann Ghia parked in the dirt drive, for us then an exotic car.

His ascent was meteoric, almost from nowhere. He grew up in rural towns nearby, as small or smaller, then went to NC State where he received near perfect grades and was awarded a Fulbright, which allowed him to study at Heidelberg University in Germany and work at CERN, the nuclear research labs in Switzerland, in preparation for his master’s degree. When he returned to the US he had choices, deciding on Berkeley to get his PhD. No one I knew had gone so far away or risen so high. He broke the mold of expectations.

After his PhD he stayed to continue his research. He had a part-time job at Lawrence Berkeley Laboratory and picked up part-time teaching at UC Davis and Berkeley to supplement his income. But his real work still lay elsewhere, further out and further in. The Bevatron at Lawrence had limited experimental use, so when grants came through he went to the more powerful accelerators at Fermilab near Chicago and SLAC at Stanford. That is one reason it was not surprising not to find him the day I walked up the hill.

When I arrived in Berkeley, late summer 1978, I had made arrangements to stay with friends of a friend. I discovered quickly I wasn’t welcome. I called Bill for advice, and in twenty minutes he drove down, now in a Volvo, and helped me load my stuff. I had no cause to expect such care, yet he apologized for not coming sooner.

His apartment, like his dress, was neat, sparse, and functional, though had a few distinctions and showed diversions and other depths. Beneath the stereo, albums of two modern classical musicians in San Francisco, whose performances he helped record. On top of the bookcase, a well-made windup robot, German, I think, a miniature marvel of engineering. On the shelves, among others, books and articles that defended Edward de Vere, the 17th Earl of Oxford, as the author of the Shakespeare opus, which drew from me heavy skepticism, in fact I thought the theory was crazy, but he attempted to explain that too. He was experimenting with making wine and I tried some. I had no opinion; he wasn’t satisfied. There were corner windows in the living room, one which looked out on the bay, the other over the campus. Late afternoons I watched the coastal fog approach, climbing and descending the San Francisco hills, covering the city, the bridge, the bay, some days the school up to the Berkley Hills, with its dense, quiet resolve.

He also gave me a tour of the campus, then the town. The bookstores on Telegraph—Cody’s for new books, where national and international writers read from their work, where wounded protesters once were treated and books by and on Wittgenstein sold well; Moe’s and Shakespeare’s for used, the only places I could find many books I later needed, out of print. The cafés, two floors of Caffe Med, where street life met campus and conversations ran the spectrum. All were crowded at all hours, Telegraph stirring with their traffic. Ideas mattered, and the town radiated the slow burn of minds. Bill had received offers of full-time positions to teach elsewhere but turned them down as the schools didn’t have the facilities and would have taken him from his research and this world. My parents couldn’t understand that decision, or him. I envied his life and began anticipating mine. What he laid out for me was the locus for my own later work.

And he took me to his office at Lawrence, where he showed me a picture of a reaction in a bubble chamber from one of his experiments.

At the time quark theory, like the Big Bang, had gained the status of the standard model. He talked about string theory as well, still debated now. We hear these terms, and if we don’t repel from them, maybe they give us a jolt, a push to the side, a moment of disturbance. Or we learn to repeat and use them to spice our talk. Not long ago it was reported that the Higgs boson—the “God Particle”—might have been discovered, whose existence was predicted by theory, the particle that indicates the field that gives other elementary particles their mass, the universe its substance, belief in which still holds today. Sooner or later, however, we let the words slide and move on. What difference do they make? What is lost is how much is involved, how much our certainties are pushed, how much vision itself is challenged, how far we might be taken, further in and further out.

To research particle physics first the body of the theory has to be understood, then experiments designed to confirm or extend it. Teams are formed, proposals written and submitted to get time on the accelerators. At the site accelerators hurl pulses of particles at tremendous energy towards a detector, where collisions are observed. Deflections reveal what exists inside an atom; other particles are released, some of which point to the existence of still others. At SLAC particles are shot two miles at 50 billion volts. The detector Bill used was a bubble chamber, the technology of the time, which was filled with a medium such as liquid hydrogen that the particles struck, where pictures were taken to record the reactions. In one experiment Bill performed at SLAC, 500,000 pictures were taken over a period of three months; other experiments might take tens of millions. Then this mass of data has to be analyzed for the rare, meaningful event. An experiment, start to finish, can take years, even decades.

The scales used to measure the particles defy any scale we can handle. Particles may exist only an impossible fraction of a second and have a size dwarfed by the size of an atom, though at this level of nature physical size does not apply. Yet these particles and their reactions define the universe, and experiments are now being run in the accelerators to simulate its early stages. The forces involved may extend infinitely or only cover a subatomic gap, yet in the latter case the potential energy is enormous. To study particle physics is to learn that everything is almost nothing, yet that almost nothing has universal extending order. The research is a drive towards total grasp. What particle physicists are looking for are the ultimate parts of nature that cannot be broken down further and their single, unifying force.

If we are disposed to wonder, what else better do we have to wonder about? If we want to understand the ultimate nature of reality, this is the direction to go. However difficult it is to fathom the theories, there is nothing arbitrary or fantastic about them. The movement of the stars away from us and each other now points to the Big Bang, whose background radiation has been measured. Particle physics is supported by a century of thought and has been confirmed by experimental observation, the laws of physics, and the coherence of math. The theories are not complete, but whatever comes next will be derived from what is solid and accepted now, or will break from that ground.

What strikes me now, as I look outside my window and stare at the leaves and their bright reflections, is the enormous irony of effort and perception, one that strains that literary deflection. The picture Bill showed me, set against what it revealed, for all the time and effort that went into its creation and selection, was nothing more than white scratches, lines and spirals, on a black field. And those scratches were not the particles themselves but bubble traces caused by their reaction in the liquid gas, their paths guided by a magnetic field in the detector that provided the means for their precise measurement. There is cause for a kind of wonder just in this irony itself.

When I close my eyes, afterimages of glare on leaves.

But as great is the marvel that a mind, a man, could be moved to study matters so complex, so essential, who could approach nature on its first terms. It is another kind of wonder, a large part of what makes us human.

What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god: the beauty of the world, the paragon of animals. . . .

Hamlet.

.

Any investigation will be affected by the influence of the investigator, the tools, the means at his or her disposal, which need to be factored in or filtered out. What assumptions are brought in, what biases? What does one expect to find? Outside influences—noise—also seep in and have to be dealt with as well. The temptation is to invoke Heisenberg’s uncertainty principle, but that would not only be an inaccuracy but also a mistake of category.

Uncertainty, however, is what I found. I called Lawrence first and got a colleague who apparently knew Bill fairly well. He was friendly but seemed distant and strange in ways I couldn’t pin down. But I was a stranger, and his reserve might have come from the need to protect what was personal. Also I must have seemed strange myself. I didn’t want to raise alarm because I had no cause, yet still I needed to push some question to continue my search. But I didn’t know what that question was much less how to frame it, so I fumbled for several minutes. My call, in fact, was just like the one I had with Bill’s mother and I realized her dilemma. I’m not sure I didn’t raise concerns about me that may have drawn sympathy, maybe tactful evasion, maybe, likely, doubts. He did give me a few names to call, however, including the musicians in San Francisco.

I made those calls and got similar results, again sensing aloofness and something else in the others I could not identify, again wondering what impression I might have made. But I got more names—a contact at Davis and another woman in Berkeley, who was working on her PhD in classics and was closer to him than the others—and kept calling. The others started making calls themselves, the calls reaching out in a widening circle, those calls among those who knew Bill better, where perhaps private knowledge was shared. Then again, it didn’t appear in my calls that anyone knew much. The only thing that was certain was that no one knew where he was, though all agreed there could have been several reasons for his absence, well within normal expectations.

I also made more trips to his apartment, where all was exactly the same as before, nothing moved, nothing out of place, and again debated breaking in, even more disturbed I thought about doing so. I felt like a spy. And the tension I felt might have come from my own misplaced fears. I was also part of a chain reaction in which I wasn’t sure of my influence. I worried I had violated Bill’s privacy by making calls and asking questions, that I may have raised undue doubts about him among the people in his life. Suspicion is insidious and even in the best of us can grow into a monster. And I had disrupted the working assumption of all of us that keeps our lives in order and sustains us when all is quiet, that we are well, that all is well, that all is as it should be.

I had this troubling thought: if I went away without giving notice, could someone find me? If he or she talked to those I knew, what would they say? What suspicions might be unleashed? What would anyone have to say?

Still it seemed we all moved around something that would not go away, but it was only an object of indefinite shape that could have been the ghost of our uncertainty. Yet after another week we were settled that something was wrong. Reserve melted, barriers broke. The police were called. We opened up and talked frankly and pushed the search, extending the net of our humanity to catch one of us who might have fallen.

.

I grew up looking at pictures of order, demonstrations of function and purpose, of meaning, models of the world that located me and reassured. In grade school science texts I saw diagrams of atoms that looked like miniature solar systems, clusters of balls, perfect spheres, neutrons and protons in their nuclei around which smaller balls, electrons, revolved in perfect orbits. I don’t think I ever wondered what kept the nuclei together since their protons had the same positive charge and should have pushed away, why the world did not fly apart. I also saw colorful pictures of our solar system, more balls, more perfect spheres, the nine planets revolving in their orbits around the sun, moons around the planets.

Here on earth I was presented with diagrams of men and women in various uniforms and dress walking between buildings that represented our institutions, who carried a dollar bill or a law to show the orderly workings of our society, of our government, of our economic system. Also pictures of the people here to help, doctors, lawyers, and teachers, entering hospitals and courts and schools. Along with these, pictures of our enterprise, more people moving raw materials from building to building to create finished products and put them in our hands. I saw strings of dollar bills, and of products and other things we made and carried, stretched around the earth or sent to the moon and back to give me some idea of the magnitude of our order. Elsewhere I saw pictures of heaven, a radiance among clouds. On the dollar bill, a pyramid atop which hovered a shining eye.

Somehow all the pictures were of a piece.

Elizabethans looked at a picture of the world as well:

The heavens themselves, the planets and this centre
Observe degree, priority and place,
Insisture, course, proportion, season, form,
Office and custom, in all line of order;
And therefore is the glorious planet Sol
In noble eminence enthroned and sphered
Amidst the other; whose medicinable eye
Corrects the ill aspects of planets evil,
And posts, like the commandment of a king,
Sans check to good and bad. . . .

Shakespeare.

The Elizabethan picture was based on a cosmic understanding, with earth and us at the center, that located and reassured as well, that established hierarchies of functions and status, a picture that radiated harmony and correspondence throughout, infused with the light of divine inspiration shining upon the royal court.

As I got older I was attracted more by pictures that questioned the pictures of order I saw, scathing parodies, distorted, scattered views. The problem, of course, was with who got to wear which uniforms and go to which buildings, with what we were left holding in our hands. I reacted myself in simmering restlessness against their neatness, their constraint, the narrow roles.

None of the pictures, however, early in my life or later, gave much to charge the heart, or the spirit, or whatever we can think to call the part of us we most want to name, something that might move us separately to warmth and fullness, that might bind us together.

Or put us at ease on sleepless nights

Many of us were upset by the discoveries of Planck, Einstein, and the others, whose theories of nature shook the ground on which we stood and disrupted the harmony of solid balls pushing and pulling and revolving against, toward, and around each other. With the shaking, doubts were raised whether anything worthwhile might be built on top. Everything is relative and indeterminate, life is arbitrary, an unleashing of random forces. I suspect, though, we would have come to the same conclusion without physics. We had the evidence of the collisions on the battlefields of the last century as well as elsewhere to unsettle our beliefs.

In a sense, according to the Heisenberg uncertainty principle, what scientists find at the atomic level depends on what they’re looking for. They can design an experiment that observes the position of a particle, say an electron, or an experiment that observes its momentum, but they cannot observe both because both cannot be known at the same time. The indefiniteness is not a problem of observers and their assumptions or their equipment, but a matter of the essential nature of electrons themselves, dual and indeterminate. Our solid balls are not solid. Yet either experiment can yield precise, meaningful results. Heisenberg’s uncertainty principle is fundamental to quantum mechanics, which provided the foundation for the atomic theory that followed. Physicists embraced the indefinite to develop an understanding more precise and thorough. The new physics did not disrupt the order of the world but brought us closer to what was beyond our vision, strengthening our grasp after classical physics had reached a dead end.

Then again, the desire for order is not the order of desire. The Elizabethan picture is built on gross cosmological error, though many knew otherwise at the time. Metaphorically, however, it is perfectly valid and has value. Our lives can matter, and putting us and our planet at the center reinforces that desire, its force, its possible extension. A context is provided that helps explain the marriage of our actions and our beliefs when all goes well, or at least contain them, and what is wrong when our lives, our world fracture. It does not matter where the planets are. Science helps us understand the world, but metaphors are where we live.

Now older still I tire of being unsettled and uncontained, yet remain restless. I have also begun asking questions that did not concern me when I was younger. What I realize now is that I did not reject the pictures of order I saw because I did not believe in order but because they did not hold the order in which I wanted to believe.

I do not care about chains of command. Power over others, however large its effects, is a sterile study. Still I read Shakespeare for what might be left after aggrandizement is factored out. I want to feel I have a place where I can move among others and be moved alone, where there is a picture of understanding that explains that motion. Even if Shakespeare’s explanations are incomplete, even wrong, at least the possibility of understanding is constructed, and looking at a picture of order moves us to think of other pictures that might help us help each other, and sustain us, and keep us together.

Or help us, on rough nights, to know the place where we will wake up.

Yet I want to believe that pictures are not made up, that there is some connection between them with what I see when I look out.

But a picture of order is only a picture of order.

After another week Bill’s Volvo was found parked by the Golden Gate Bridge, his eye patch resting on the dash.

.

The reason why the spokes of the wheels of my toy car appeared to go backward when they were rotating forward is because of a stroboscopic effect created by the pulsating fluorescent light that hung overhead in my grandmother’s kitchen. The phenomenon can be observed in continuous light, though here theories vary.

The reason why protons in the nucleus of an atom do not push apart is because they are bound by the strong nuclear force, which is greater than the positive charge of their electromagnetic force. Or more precisely, neutrons and protons are made of quarks that are bound by the strong force, and it is the residuum of that force that keeps the nucleus together.

I do not know what happened to Bill and never will.

If we only knew—is what everyone says at times like this, but no one knew, no one saw it coming, and that is what is often said as well, and it was. Even after the funeral, when we gathered, when talk was freed, almost nothing was revealed. I had a long talk into the night with the third woman that only ended in more questions and exhaustion. I have also since talked to the family with similar results. And I have tried to contact others over the years but only one email has been returned, the silence lately perhaps because some of them may no longer be with us.

It’s not just that no one knew what happened. Not much precise or substantial was said about Bill himself. I don’t think any of us knew who he was.

I would like to examine a world where his life had not ended so soon, and it wouldn’t matter what kind of world it might have been, or would matter less. But I have to look at the world where it did, and now there is a concern not of helping but of understanding, which might help us in our own lives, and of preserving a memory before it decays. I am left, however, only with contexts and their reasons.

There is his work and the context it might provide. I have searched online databases from the labs and physics organizations and found his name among teams of others in some twenty documents describing proposals for experiments, experiments performed, tests on and refinements to the detecting equipment, a computer program to speed analysis of results, those and whatever thought and time and effort and strain they might represent.

Search for strange baryonium states in p-bard interactions at 8.9 GeV/c

For example, this abstract of an experiment, his largest and longest running, that had that title, published by the American Physical Society posthumously:

A search for SU(3) manifestly exotic Q2Q-bar 2 baryonium states in antiproton-deuterium interactions was carried out at the SLAC 40-in. hybrid bubble-chamber facility. The I = (3/2, S = 1 channel, X-, produced in conjunction with a forward produced neutral antikaon was studied. Such X- states would decay into an antihyperon and a baryon. The fast forward K-bar 0 was detected in a three-view segmented calorimeter placed downstream of the bubble chamber and used as part of the trigger. Upper limits of 0.50–1.63 μb are reported for the X-→Lambda-barnπ-, Sigma-bar -n, Lambda-barpπ-π-, Sigma-bar -pπ-, Sigma-bar /sup +- /nπ/sup minus-or-plus/π- exclusive channels based upon ≤13 events per channel.

The abstract refers to the developing body of the standard theory in which his experiment was designed to find a place. Nature, at its core, is vastly more complex than revolving spheres and their order. There are other particles than electrons and the quarks that make up neutrons and protons, a host of them, many flying free in the universe, most of which can only be observed an instant at high levels of energy before they disappear. It is by studying those that physicists hope to understand the universe of all particles and the nature of all forces. The language is impenetrable to anyone who does not know the physics and the words are odd because there are no common words to signify what is not part of our common experience. The term quark was lifted from James Joyce. Physicists, like writers, have to appropriate their words or make them up. Strangeness, though, is not some ambiguous term that hints at mystery and uncertainty but rather refers to a property of particles that has precise meaning and can be stated in a formula that describes their decay in strong and electromagnetic forces.

The only thing I understand from the abstract is that the experiment produced no meaningful results. It only had two citations online, an indication of its influence in the physics community and its contribution to the theory. His other, earlier, experiments had few as well. But science depends as much on failure as success. A failed experiment points to reformulation and another try. Yet a particle physicist only gets so many chances. Bill could only advance in his research by performing experiments, but there were just a handful of accelerators in the world powerful enough and only three in the US. Getting the time needed on them depended on having success and building a reputation, but time was expensive and scarce, and he had to compete with others. A team had to be assembled who might impress. Scientific committees had to be convinced, as well as the US government, specifically the Department of Energy, who provided most of the funding and for whom his work had no practical value, adding the difficulty of all the maneuvering and sidetracks involved in convincing committees and government agencies. Bill talked about another experiment he performed that he thought was not worth running—he said the reasons for its being accepted were political—but he had to take what opportunities presented themselves, and there were few. We see this situation elsewhere, in other pursuits.

Add to those difficulties the demands of the science itself, so involved, so complex, so abstruse, particle physics still hovering over the borders of the unknown, along with the pressure of always having to be exactly right. Factor in the ambition, the desire for final comprehension, total grasp. It is possible for physicists to get stuck in the wrong theory. Some hit the ceiling of their abilities and can’t make the leap to the next level of a theory. But it is possible Bill never had a chance to find out what he could do. Practicing particle physics can leave a physicist stranded.

Then there are the effects of channeling oneself into abstract thought, which might exclude other ways of thinking, and multiply those by the strain of staying there for years. It is a place where it is easy to put too much importance on some details, or not know what others are worth, or let a few slip, where one can get caught in loops.

But I am just guessing and speculate only on possible tensions, not the desire that might have sustained him, nor the parts of him not involved in science. Some of the challenges, instead of taxing, might have driven him and given him a place where he thrived.

No one saw mood swings, though there was talk of withdrawal. But we all pushed ourselves and withdrew from time to time. I did have reservations about what was said by some I met and what wasn’t, about what they knew, how broad, how human their understanding, and not just the scientists. We all had committed ourselves to fields that channeled thought and limited understanding, not that we were self-absorbed but that our selves could become absorbed in what we were doing. And we all had hit ceilings, or were aware of them and knew we might be approaching.

The funeral was a brief, quiet session, a diffident motion towards uplift and comprehension, yet still it brought revelation, but not insight into Bill, but what I saw in us, in our quiet, drawn faces. What was opened up is the impression of Berkeley that still shadows my other impressions, what I had not seen before or was fending off. There would be days when our energy dissipated toward nothing, when we didn’t know ourselves, leaving us separate and alone in broken silence.

Not just Berkeley, but what I began to see after, or had put off seeing, elsewhere, everywhere, and still see no matter how we think or what is thought—how distant, how disconnected we all are, how little we understand.

When his apartment was cleaned out, the only thing discovered out of the ordinary was a file he kept on the UC Davis campus police, who he apparently thought were keeping an eye on him. Likely, in his head, there were other spies.

.

What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god: the beauty of the world, the paragon of animals. . . .

They are the words of a man whose connections with the world have been severed, who questions the value of his existence and debates keeping it, a man who talks to himself, and to ghosts.

Perhaps it is his noble father Hamlet has in mind, as well as himself, or what he might have become had it not been for the murder that ripped apart the fabric of Elsinore, where now there is no beauty and nothing is apprehended well. His words create a model to set against his corrupt stepfather and corrupted mother, and against the others, including Rosencrantz and Guildenstern, sent by his parents as spies and to whom he speaks those words, his suspicions aroused.

Yet his words only create a picture of perfection, impossible in its reach and wholly abstract in conception, a container that does not contain anything. The picture could be the obsessive projection of a man who has become disturbed, one that invites a comparison against which no one will stand up well, not even a noble prince. He has already began to slide, just before, in his talk with Ophelia, where his feigning of madness gets out of hand.

Whatever the case, Hamlet’s options are narrowing to a single exit and there is almost no one he can trust.

There is this context and its reasons, and I have no other to examine. The Earl of Oxford, those books Bill had on his shelf—how could anyone question the identity of the author whose writing has set the standard against which all of literature is measured, unless he identified with one he believed was misunderstood, unvalued and unknown, an interest that could only have grown as his frustrations mounted and fed suspicion as he narrowed his gaze to pictures of subatomic events to find their perfect order, his world shrinking to a nutshell. That interpretation fits the facts and has the most compelling logic, or the most compelling logic we know.

But I have read the books Bill showed me and others more recent and am convinced Oxford wrote the plays. The evidence is large. The plays are filled with correspondence to his life and knowledge. I have more reason to accept his authorship than much else I believe, including the nature of our universe, the existence of quarks, the play of forces. If knowing an author matters, even if Oxford didn’t write the plays he provides a fuller study than the man from Stratford, about whom we know almost nothing. Reading those books has made me wonder about other certainties to which our sanity clings.

Oxford’s family ties to the court went back centuries, but, while intimate with the queen and her entourage, he was alienated from that life and had little room to move. Praised as the man whose countenance shakes a spear, he took that pseudonym because the code of nobility forbade peers staging plays or publishing them under their own names. Nor could the court, unsettled and conflicted, allow the common public to know one of its own was revealing its inner tensions, reflected in his plays. Oxford’s pursuit, writing, like particle physics, like other ambitions, contended with contingencies and risks.

Hamlet especially reads like autobiography both in overall conception and in its details. Oxford’s father had an untimely death, and, like Hamlet, Oxford lost much of his birthright through questionable maneuvers. He had to contend with his meddlesome father-in-law, Lord Burghley, the source for Polonius, and with Burghley’s spies. He was captured and ransomed by pirates; his brother-in-law was sent on a mission by the queen to Elsinore, where he met courtiers with the names Rosenkrantz and Guldenstern.

I don’t know where Oxford takes me, though. Like the passionate and aspiring Hamlet, he could only brood on what might have been, and, like Hamlet, he stumbled in several places. He may have lost himself in writing the play, at least a moment, but also an eternity.

Bill, Oxford—differences aside, I am left with the essential common term: Hamlet. And there’s the rub. The problem with thinking about Hamlet, and wondering who created him and why, and wondering why someone should have wondered who his creator was, and thinking about someone who might have been like Hamlet, is that you become Hamlet yourself, doubting everything and not knowing where to stop.

Maybe the Elizabethan picture of order itself is an obsessive projection of the times, against which Oxford, like Hamlet, strains. Or maybe it is the order they both embrace. Either way, putting us at the center, metaphorically, can be a kind of madness. The play itself asserts and at the same time questions identity in almost every line, while its repressed plot and swelling individuality push against the seams of structure, against any kind of order.

And perhaps physics itself is an obsessive compulsion to grasp, a breeding ground for neurotics.

But such an analysis, however tempting, however compelling, is closed off itself and can lead to more obsession. A picture of madness is only a picture of madness, from which there is no escape. The only thing I am certain of is that if you look for madness you will always find it.

This too I saw in Berkeley, where we learned to doubt and were doubted at every turn, where people talked to themselves or bottled up. There were days when our minds would flare, separately and together, on the streets, in the cafés, in the classrooms, in our gatherings at our apartments, when the air was filled with suspicion, leading to injury or injuries contemplated, to random disruptions, Hamlets all of us pulling or sheathing swords.

And saw elsewhere later.

And everywhere.

The world is filled with spies.

Hamlet, of course, was right about the ghost and much else.

Oxford remains a ghost.

I do not know what else Bill was right about or where it left him in a life where occasions might have informed against him.

I—no one—knew him to be anything but kind and honest.

He must have been in pain.

I will never know who he was.

No letter.

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It is late, and I have been up staring at a screen where I see these words:

There has been no one else in my life like Bill, little as he was in it. Slender and soft spoken, not withdrawn but not forthcoming, had he found himself in a crowded room. . . .

When I look away to rest my eyes, I see only night black against the window, the glare of a desk lamp, and my glassy reflection, looking back. On my face, lines of weariness and anxiety I didn’t know were there.

We are well, all is well, all is as it should be.

Everything I once thought solid has melted into air.

I grew up looking at pictures of order that located and reassured. Really, they did not explain anything but rather closed off questions and explanations. There are advantages here, however, and at times I miss them. Equality itself was only a bare concept that told us nothing about ourselves, but at least it provided a vanishing point in a perspective that slowed us down, gave pause, and allowed some changes.

Now I look at pictures not of buildings and people moving among them, but of long rooms where men and women sit at long tables and make decisions, and of larger rooms divided into boxes, where more sit and work, though it isn’t clear what any of these people do. And I see pictures of performance and aptitude in lines on graphs that are supposed to rise, and of shifting bars of attitudes and desires, though it isn’t shown where the lines should end or the bars settle. I also see pictures of an outside world where there are pretty trees and pretty skies and people moving in a soft ether, not quite smiling, and at the bottom pastel pills to ease depression, along with words of warning.

I do not know why this world exists.

Our metaphors have slipped.

A proton is made of two up quark particles and one down; a neutron is made of three quarks as well, two down, one up. In both protons and neutrons the quarks are bound by the interaction of gluons between them, particles that carry the strong force, just as photons carry electromagnetic interactions, such as light. Some of that force escapes the binding of quarks into neutrons and protons, and through more particle transformations binds neutrons and protons together to form nuclei. All this interaction occurs in an atom’s infinitesimal heart.

Particles of what? Gluons, like quarks, like all particles, are only bundles of energy with various properties, in various states and motions, or that is all we can know about them. There is nothing to pick up and throw against a wall or hold before your eyes. The process of binding cannot be pictured but only explained by complex formulas that analyze fields, by making calculations and observing how it works. And the process is still more complicated, and much is still debated, still not understood. Gluons may yet be replaced by something else. Yet experiments continue to return consistent results and point to fundamental order. Other evidence is unassailable: the energy from the interactions that bind a nucleus, when released, can be used in nuclear reactors and bombs.

It must be exhilarating to come this close to nature and feel its pulse. It is exhilarating to think about those who have looked and what they have discovered, the complexity and power in the smallest things, their order. And it is exhilarating not to rest with commonplace appearances of anything, not let them pass, but inspect them closely and think about their order. These thoughts, those efforts, their possibilities, charge the part of us that stirs us. It is exhilarating simply not to stand still.

. . . in apprehension how like a god: the beauty of the world, the paragon of animals; and yet to me, what is this quintessence of dust?

Perhaps Hamlet is giving in to his mood, or perhaps he is losing his grip, but quintessence is a term used by the Greeks, the fifth of the five elements, the eternal stuff of the heavens, the spark that inhabits the smallest part, yet from which Hamlet has been divorced by circumstances and whatever else, further in and further out.

The black picture from the bubble chamber I saw in Bill’s office, however, did not show tiny people walking its white lines carrying pieces of paper or sitting at long tables, much less golden men and women on thrones or fantastic animals or winged spirits or tailed demons, not malevolent stirrings or glowing benedictions, not even a mysterious tremor of an unvoiced sign that indicates one thing could or should be another. The order of the world has nothing to do with the order of our world. It has always been that way. Physics just brought the point home. And if we think about it, we realize the order of our world has never been that orderly or good. It is exhilarating, too, and anything else we might want to feel, and we can feel anything we want, to think about all the things we do not see in the black and white picture and what not seeing them might mean.

Ashes to ashes—there are other ways to look at dust.

There was a condition, not named, not diagnosed, not treated, whose cause could have been internal, chemical and/or psychological, or it could have been environmental, or a combination of all those causes. Most likely there was a nexus of causes, accidental to us but which followed a nexus of orders whose complexity cannot be sorted out, though I do not know what sorting them out might explain. There is no name, however, for the condition that makes one wonder and reach. We only have names for conditions when life goes wrong. Nor do I know if the first condition might not be related to the other, whether the two can be separated. I only know it is impossible to think of Bill’s life without the second. I doubt it is anything he would have wanted to consider or could even have imagined.

There is an order to the world and we have a good grip on its process. Ultimately everything at its root is the result of the interactions of particles. It is possible to theorize the process extending to consciousness itself. Yet the complexity from quark to the simplest molecule is vast. The complexity to extend the process out to a mind, to thought, is unthinkable. It would take—and my guess is as good as any—a computer larger than the size of all of our imaginations an eternity to make the calculations. But also such a study would reduce awareness to the terms of the process, self-referring.

In the beginning—

The ultimate goal for particle physicists is to discover the single force that unifies all forces, which, they theorize, was the force that existed at the very beginning of time before it split into the other forces. Yet most concede they will never have test equipment anywhere close to being powerful enough to perform an experiment to find it. There will always be a ceiling.

I did not reject the pictures of order I saw growing up because I did not believe in order but because they did not hold the order in which I wanted to believe. I have not stopped wanting to believe, though I am less sure why. I want to feel I have a place where I can move among others and be moved alone, where there is a picture of understanding that explains this motion. And I still want to believe that pictures of the order of our world are not made up, that there is connection between them with what I see when I look out, even though I know none exists.

We only know the orders of processes that only know themselves and infinite complexity, further in and further out, infinitely beyond our reach, those and our metaphors, and whatever terms we can manage to stick between the terms of tautologies, whatever ambiguities we can suspend.

I have read Hamlet at least a dozen times over the years and still reread it. Every time it is a different play. I do not know what it means. When I reach the final scene I feel a dozen different ways. Sometimes I feel charged, with varying qualifications of thought and mood, because order has been reaffirmed. Its collapse shows its force, the possibilities that remain had it not been corrupted. Sometimes I only see senseless death littered on the stage. A prop has been pulled out that supported nothing. Sometimes I don’t know what I feel but am left with complex moods split in intricate ways, none of them coherent.

Every time I leave the play I am a different person.

Every time I return to my world it is a different world, brighter and darker.

The problem with thinking about Hamlet, and thinking about someone who might have been like Hamlet, is that you become Hamlet yourself, lost, not knowing who you are. I have also seen a half-dozen film productions, and I don’t think any actor gets him right, or even that it is possible to stage him. But it is the actors who think they know Hamlet, who fortify themselves with wrongful injury and brace for just revenge, I most question and least understand. Only the Hamlets who reach and doubt and lose themselves seem close to whole.

It is only by projecting our hearts and minds into the world, and whatever else we can think to project, then looking at what is returned that we have a sense of what the world might be worth. But it is only by testing the world, and ourselves, and doubting both, that we have any sense what we might be worth.

Sometimes in the cracks between the words that create the world of Shakespeare’s—Oxford’s?—plays, those ironies, I find release. Sometimes, even if there is no explanation in the words, or the explanations do not explain, at least I find a container and the possibilities of containers that might provide a context for a fall, that hold our doubts and pain and suffering and give them full expression and allow them, allow us, to exist a little longer. Here I see some light.

We should always extend the net of our humanity and not question why it exists.

But I cannot rest without looking at the complexity and power in all things.

And remembering those who once were moved to understand.

While searching the online documents, I did find one sentence I fully understood. It was from a PhD dissertation by a Berkeley physics student with this dedication:

I gratefully acknowledge the friendship, advice, and encour­agement of Dr. William Michael, whose enthusiastic interest in all areas of physics will always be an inspiration.

Gary Garvin

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Gary Garvin, recently expelled from California, now lives in Portland, Oregon, where he writes and reflects on a thirty-year career teaching English. His short stories and essays have appeared in TriQuarterly, Web ConjunctionsFourth Genre, Numéro Cinq, the 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 a novel. His architectural models can be found at Under Construction. A catalog of his writing can be found at Fictions.

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Jul 252017
 

  

And I saw, and behold, a pale horse, and its rider’s name was Death, and Hades followed him; and they were given power over a fourth of the earth, to kill with sword and with famine and with pestilence and by wild beasts of the earth.

Revelation 6:8

Franz Marc’s The Large Blue Horses—another work of art that has been with me almost my entire life, a print of which also has hung on a wall for some fifteen years, and I can’t remember when or where I first saw it. My best guess is in the library of elementary school, high up in childhood memory, among other paintings on the walls surrounding the low shelves that held books within reach of our hands and hearts and minds, appropriate for the course our lives were supposed to follow.

The blueness of the horses did not strike me as strange but rather was a given supported by the mass of their collective surge and the energy of the overall composition, their motion made significant by their self-possession, the color itself part of some larger motion I did not question and wouldn’t have grasped if explained. But what I took from it then, I think, is that there could be power in reflection and composure.

And the painting has survived the process of school, its ideas of itself, its upward gradations; and the rising flood of images that followed on screens and in popular print; and, when I studied art in college, the outline taught that put art on an ascending conveyor belt of movements. There is no such thing as progress in art or any permanence in our ideas and distractions.

Events from the last years and changes in my life and recent reading, however, have unsettled the painting and made me question its place now over my hearth.

Marc painted The Large Blue Horses in 1911, for many a time of alienation from and revolt against rapid industrial growth in Germany and the materialist Wilhelmine society it brought, when Nietzsche’s appeals for a return to Dionysian passions flourished, when crisis in the Balkans increased in pitch and European instabilities made global war seem inevitable, a war which many others found attractive, a world whose vast web of motives and intrigues most of us have forgotten, if we ever learned it.

What I’m supposed to say is that Marc was a German Expressionist, who looked not at the facts and impressions of people and nature and society but at subjective realities beneath the surface, at undercurrents of self and culture, and, hopefully, at something beyond and higher. The animals he painted represented human states and a desire to return to uncorrupted nature, nature expressed in ideal landscape. Marc created his own color symbolism, and blue stood for the male principle, serious and spiritual.

All these terms are as intriguing as they are slippery, ultimately meaningless.

Of course the painting is sexual, but that slant obscures as much as it makes clear.

But there is no escaping the sensuous, sinuous, swelling flesh of the horses or the suggestive pull of their movement or the tension of the contrasting colors. The rhythm of their bodies continues into and complements that of the hills and sky, positing larger context. The horses’ blue, a color that optically recedes, is placed in front, while the distant hills are painted the forward red, this atmospheric reversal closing foreground and background and increasing the break from expectations, moving us from the nature we think we know.

Horses themselves give pause—such large animals that are not predators, that possess great strength yet are graceful and reserved. A horse without a rider lifts the burden of possession and use, opening up possibilities and raising questions. With their bowed heads Marc’s blue horses submit to the rhythm and yet push against, parting the distended white trees that divide the canvas.

In 1913, the world closer to war, Marc painted The Tower of Blue Horses, where there are four blue horses now, vertical and rising, open-eyed and agitated, their flesh taking on the angles of Cubism.

A few months later, war still closer, in Fate of the Animals the horses, frenzied and in peril, turn green, blue mixed with yellow, which, Marc tells us, “cannot still the brutality of red,”

in a picture that takes animals and landscape to the point of annihilation by the slashing diagonal lines, red flames, that dominate the canvas and set the fractured composition. An irony here—the painting was actually damaged in a fire and Paul Klee only partially restored the area on the right.

Fate of the Animals recalls Picasso’s Guernica, another painting of wholesale destruction and disruptive composition, his response to Franco’s request to bomb the town, Germany’s tuneup for the next world war. Both have since stood as pictures of the horrors of war in general, of civilization on the brink.

Marc also shows the influence of the dynamism of Futurism, though with inverted intent; Picasso continues his cubist experiments in his synthetic phase, with clearer representation in his angled shapes. These maneuvers are not advances, however, but adjustments to match the subject. But the breakup and rearrangement of parts does not create chaos but rather gives coherence to disorder, and with coherence, the terror of beauty.

Most have taken the bull as the source of the massacre, representing fascist brutality, and the horse stands for the slain innocents, their agony and death. The bull alone is passive, however, with a stilled face that is hard to read, and Picasso used the figure for other representations, including of himself. Guernica is direct in its images and but ambiguous in its meanings, leaving unanswered questions. The bull also leads us to the Minotaur and the labyrinth of mythical meaning. Still, there is the overpowering sense of revulsion at something we have done to ourselves.

But in Fate of the Animals the source of destruction is external, coming from some unseen force above, beyond our agency, entering the canvas in the flames at the upper left and rebounding and continuing their destructive course across the picture plane. It is, in fact, a picture of apocalypse. Frederick Levine, in The Apocalyptic Vision, makes a convincing case, explaining how Marc drew cataclysm from Wagner, from Nordic myth. The long column that slants left against the flames is Yggdrasil, the eternal ash, which shelters the four willowy deer on the right, who alone will survive to start a new race. Apocalypse is not just inevitable, it is desired.

We know that everything can be destroyed if the germination of a spiritual race does not endure the test of the greed and impurity of the masses. We struggle for pure ideas, for a world in which pure ideas can be thought and can be expressed without becoming impure.

Marc saw the war as the coming apocalypse and volunteered early, before conscription. It was something he had to witness and endure. But the imagined glory of the past that others wanted restored was what he wished to see destroyed. Like them, he had no idea what was to follow.

The combat of the infantrymen which I witnessed yesterday was incredibly hideous, more horrifying than anything I have ever seen. I was totally shaken last night. The courage with which they advance, and the indifference, indeed, the enthusiasm for death and for wounds has something mystical about it. Naturally, it is a mood of reconciliation, the clarification of something that was previously uncertain.

Purity is a trap, a dead end, and this is pathology. Marc, who was given to bouts of depression, has surrendered to his mood and in self-immolation projected it into unnamed abstraction. Spiritual shell shock here as well, as the pathology of the self meets the pathology of the world in a landscape of death and shattered mirrors.

And the apocalypse of Fate is what The Large Blue Horses leads up to, what stirs the trio in their lowered gaze above my mantle. Reading Levine forced reexamination of the painting and led me in downward spiral. My living room deadened in its plane and turned into a no man’s land, a grayness spreading to lifeless winter trees outside my windows, to lifeless streets, and lifelessness beyond, endlessly. Everywhere I went I saw entrenched lives and, on faces, in reports from around the world, the signs of dissolution and breakage. I avoided looking at the painting, then started avoiding the room. I long debated taking it down, not finding resolve.

Nietzsche’s descent into madness, legend goes, began with the sight of a beaten horse.

But psychology is sterile reduction. And to reject myth as superstition is to deny its power and persistence. Some notion of apocalypse has been with us a long time. It may be one of our earliest formations. In Dürer’s gorgeous woodcut the four horses unleashed in Revelation take the riders who scourge the land, necessary preparation for a new heaven and new earth. Destruction precedes renewal—or is it merely the underside of our highest, purist aspirations?

It is impossible to recreate the confusion of thought and emotion of Marc’s time and get a fix, but it is just as impossible to gain footing now in a world certain only of itself, not going anywhere at breakneck speed, where wars are fought by others and victims most often are others and apocalypse has become a casual diversion in movies and video games.

Too often when we read biography into art we only read ourselves. What I most became aware of looking at the Blue Horses was myself, a depression that came from within and radiated out. The signs of breakage were still there outside my windows, however. They are still there. They have always been there. If I hadn’t noticed them before it was because I wasn’t looking.

And I don’t know if a glance towards apocalypse isn’t what drew me to the painting over fifty years ago.

Only by risking everything do we know what anything is worth.

Or:

We risk everything because we do not know what else to do.

I have no idea which is true, if either.

I only know the old man will always be with us.

And that if I take the Blue Horses down I will be lost.

Slowly, cautiously, I have returned to their coiling, inward gaze. Color has returned to the room, slowly, cautiously, and leaves have returned to trees, and grasses return to barren fields and softly fill furrows and cover mounds though from which chunks of old concrete still protrude, though a grayish mist lingers over all.

March 4, 1916, near Verdun, Lieutenant Franz Marc rode a chestnut bay out on a reconnaissance mission and did not return. He was killed by shrapnel, French or German, no one knew. Another irony. The world is littered with ironies.

Gary Garvin

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Jul 152017
 

The doorbell rings for the second time today and only the second time since he moved into the condo a month ago. He opens the door to a slender woman in a sleeveless shift of pale color and pattern.

“You got my card,” she says, politely, though with some insistence.

The first time the bell rang was this morning for delivery of a print of Étienne-Louis Boullée’s cenotaph, which he hung in the landing of the stairs he just descended, now hovering above, behind him, a huge dark sphere against a dramatic sky, set on a massive circular base.

It is August and it is hot, pushing a hundred at least. It’s the kind of heat that slows thought and melts reserve and makes you aware only of the present moment, the only apparent truth of which is that it is hot. There is, however, a faint breeze.

“Yes,” he says but doesn’t know what she means though feels he should. Somehow her flat question, like her unexpected appearance, feels related to the heat.

She explains. She is a real estate agent who is looking for sellers so she can find buyers.

Now it makes sense. Actually he has received a dozen cards with the same request but doesn’t tell her. He doesn’t remember hers, however, though her picture must have been on it. He tells her he has just moved in so isn’t interested in selling, but instead of motioning towards parting he rests. He’s not eager to go back upstairs where it is hotter.

She lingers too, listing in the heat with weight on her left foot and head to the other side, creating slight asymmetric angles that show in folds down the looseness of her dress. She is quite young and likely new to real estate, likely indecisive and uncertain, perhaps a bit afraid. Plain, with auburn hair that falls to her shoulders and a long face that does not promote or defend, she has a quiet presence that appeals to him, an unstudied grace.

Actually she’s rather pretty.

But it’s the tattoo that holds him. It runs from her wrist up her right arm, covering it wholly, and disappears into the shoulder of the dress, a complicated design in fresh, bright colors he cannot make out in a single glance. Flowers, at least, but more, and it’s too involved to find attractive. He avoids looking, and it’s the not looking that locks him in its grip. Not that he hasn’t seen tattoos before. They are part of the cultural landscape. But now they are everywhere. This is Portland.

The sky is clear and bright, contradicting the clouds and drizzle he was led to expect. If he was high enough he could see the sharp, snow-streaked peak of Mount Hood starkly rising above flat Oregon. But the sky, like the heat, feels permanent and absolute, as if there never was and never could be any other kind of weather.

A cenotaph is a monument honoring a person whose remains lie elsewhere, in Boullée’s case Sir Isaac Newton.

“Two bedroom?” she asks.

“No, three.”

And he explains the layout of the complex, some twenty independent units, each with six condos, that line one side of a long block, turn at the end, and return down the other side, making a U with an open court and drive in its middle. Two one-bedroom condos on the first floor front the streets, with two two-floor three-bedroom above them. Two two-floor two-bedroom at the back sit above the garages and face each other and the court.

She takes all this in.

The architecture is modern and distinctive, with odd angles and gray and muted orange and blue planes arranged in a varied but subdued design that makes a relaxed yet orderly procession down the street and around the U within. He rather likes it. Landscaping is obviously done on a budget, but it is interesting, with many plants and trees he does not know.

Circling the cenotaph on three levels, cypress trees, symbols of mourning, tightly spaced.

Would she like to see the place?

There can be nothing suspicious in his offer. He has two daughters, older. She must be able to see him for what he is, a man in his early sixties with some refinement, scarcely imposing. He does have a motive, however. He is curious if he got a good deal on his place and wants to know where the neighborhood is headed. Now it occurs to him he wants to help her. She has stiff competition, and he might be able to give her an edge.

Actually he has no idea how he looks. He is sweating down his face and has dark circles in the armpits of his t-shirt. He hasn’t shaved today and must look haggard and maybe something else he cannot see but suspects. Then there is the feeling he does not voice in his thoughts, that the heat has brought out what and who he actually is, which, again, he cannot see.

It is the effect of the heat, that it dissolves illusion and reveals actuality, or seems to.

She would, and she takes off her shoes and he lets her go first and watches her ascend with speed and resolve that surprises him, then follows her up into the rising heat. She stops at the print, pauses and stares without comment, then turns and gives the room the same look, curious, taking in, not judging.

The layout is open, a large room with space for cooking, dining, and living, plus a small recess to the right next to a door that opens onto a small porch. The open plan, he thinks, has become a cliché, whose inspiration has been lost in years of unexamined accommodation. But the space is interesting, with a tall ceiling cut by the visible diagonal ascent of the stairs to the three bedrooms above. He has divided the space with low bookshelves in a loose cubist design. Much is in place, much still has to be resolved. The room should work for the new life he envisions.

But even though the windows are wide open the air is still, and with the blinds drawn the heat has turned dark in the shaded room, making his plan look static and confused. Yet she walks about, studying space, taking mental measurements and reassembling, tentatively but with an easy acceptance that puts him at ease.

The scale of the cenotaph is enormous. The sphere has a diameter of 500 feet and human reference is nearly lost. Broad stairs lead to entry through a round opening, large yet small compared to the sphere, which dwarfs. Then a long tunnel leads to the interior where there is only the vacant sarcophagus, in the center, and vast, empty space.

Holes are cut in the exterior to simulate inside the points of light of stars in the universe, the interior otherwise dark and seemingly without end.

At night a central hanging light illumines.

The cenotaph, however, was never built.

She puts a hand on the closet door beneath the stairs, stops, turns, and gives him a raised-eye look that asks may I, and he replies with a wave that says by all means. She flicks the switch and looks inside, then extends her exploration further, gaining momentum, as she studies the fireplace, the moldings, the windows, the fixtures, the recessed and suspended lights, the appliances, and the many kitchen cabinets, which she tests and opens—most empty. She has an obvious purpose, yet there is a quiet mystery about her look, her movement as she inspects, that is not mysterious.

She reminds him, actually, of Portland. The people are friendly and supportive, and it is easy to talk to strangers. When he steps out on his porch, passersby look up and say hello. If it is morning, they say good morning. They don’t let their guard down because they don’t have one up. Many walk dogs, who also have a friendly face. They accept you for who you are, or don’t make distinctions. There’s a civility, even, in their advertised weirdness. The city itself shows it cares.

He wonders if Portlanders lack drive and sharpness, and feels superior to them, an attitude based on nothing, that he’d better get rid of quickly. Perhaps it is a matter of priorities. Many he’s run into are feeling the pinch, however, especially from housing, which has heated up the last years. Yet they take things in stride and remain upbeat, though he sees hunger when they conduct business, restrained but gently aggressive.

Then there are the tattoos that he sees everywhere, on everyone—skulls, demons, and monsters; crosses and ankhs and stars and circles of yin and yang, and cryptic words and unknown names; mythological figures across time and from around the globe, and gangsters and saints and comic book characters and common faces, also unknown; roses, vines, rocks, trees, waves, and celestial bodies; geometric figures and crude scrawls; chains, barbed wire, and enclosing arabesques; erotic poses and sudden gestures—tattoos that cross the lines of race and gender and class and age, that cover entire bodies, the hidden parts revealed in open blouses, a hiked skirt, a flapping shirt, a pants slip at the waist, a chaotic language spreading like a contagion, or like an efflorescence.

But they wear their tattoos with composure, an apparent not knowing they are there. Do the tattoos reveal a brooding darkness within, the possibility of excess or dissolution, waiting to emerge? Or do Portlanders place those doubts and fears and desires on the surface so they can get on with their lives, maybe even enjoy them?

And there’s still more, catalogs’ worth, more signs and images and patterns that push context and recognition, as if Portland is trying to expand common language and go beyond—or exhaust it?

Is this madness or transcendence?

Or both?

Or neither?

Do tattoos have to mean anything?

Does anything have to mean anything?

But what does he know. He’s only been here three months.

He gives her arm a few quick looks as she circles the room. Eyes among the bright colors, animal he thinks.

She completes her tour and comes to the kitchen counter where he stands. He wipes his brow with a handkerchief. She follows with a hand. Bottled water is offered and accepted. She takes a long draw, and his throat feels the water go down hers.

Again a pause. He doesn’t want to see her go and she isn’t in a rush to leave.

This is not the time or place for life stories. She’s young and he doesn’t want to pry. Nor does he want her be anything other than what she appears to be, a woman finding her way, on her way up. His daughters, one in New York, one in Boulder, both are having problems, two different sets, and there’s nothing he can do. Likely she has just seen all she needs to know about him and can tell by what is missing, that he is an aging man on his own, nice enough, with some interests she may or may not find boring.

As it is there’s not much he wants to say about himself, or can. He is—or was—an architect for a large firm with a reputation in San Jose that has had several scores with the tech industry. He entered work with goals and with passion, but those dissipated over the years in the long hours, the manic schedules, the endless compromises, the suspicions, the not talking among his superiors and colleagues beneath the veneer of the firm’s professed creative community. He wasn’t especially proud of anything he did nor felt he made any dent in the architecture there, construction that looked forward without looking at anything, buildings without identity or architectural distinction. Above, beyond, or somewhere, the invisible spirit of Silicon Valley, its ceaseless wonder.

His marriage followed a similar course, more or less.

Now he doesn’t give either much thought. There is too much that is too tangled, too indistinct, and little that might carry over. Resurrecting those years would only get him lost again. No thought of starting over again in either. He’s too old and doesn’t want to go through the process again.

Boullée was the son of an architect, a brilliant student who went on to teach and become a first-class member of Royal Academy of Architecture in Paris, who had clients among royalty and the wealthy. It is late eighteenth century. Neoclassicism is in full bloom and ideas of the Enlightenment are in the air.

Names have not been exchanged. That moment has passed. He still has questions to ask, however, before she leaves.

What would his condo go for now?

She smiles and gives a number in the ballpark of what he paid.

Does she think that price will hold?

She hesitates, but says it should go up.

What does she think about St. Johns?

She loves it.

St. Johns is a neighborhood north of and out a bit from downtown Portland, once working class but now, as real estate agents say, up-and-coming. When his agent showed him the place he jumped on it, padding his bid.

After the divorce he rented a townhouse in Sunnyvale that he hated. Last September his landlord gave notice so he could sell, plunging him into a housing market that had once again exploded. Rent for comparable space was twice what he was paying or, if on the market, houses like his were going for well over a million. Nothing was in range, nothing looked good, everything was bad fifty miles out. It made no financial sense to stay there. He had no close ties. He might as well leave and retire.

He had no idea where to go.

He didn’t want to return back east, a forty-year-old memory almost lost. Most of his family were gone or had scattered, and he didn’t want to brave the winters again. Some urban areas were depressed, most were difficult and hopelessly out of reach. Small towns lost appeal when he looked closer. Retirement communities depressed him. He spent weeks studying online real estate listings and making virtual tours with satellite maps and street views, and what he most saw was what he already had in the Bay Area but had put out of mind, the sprawl of suburbs, everywhere, further out than he realized and still spreading, all of it the same. There wasn’t a good place to live in this country.

Portland is a great town, his friends said. Go to Portland. Late one night, after a week online wandering its streets, he committed without even flying up. It looked affordable and interesting, with much going on. At least, with its oddness, he wouldn’t feel out of place. Most, he saw no other options. He knew no one there.

The route that took him to Boullée was even less direct. Two weeks ago another online search, whose object he has forgotten, took a wandering path, impossible to trace now, and landed on the image. He recalled seeing it in a history of architecture class, back in school, decades ago, struck then by its boldness, its simplicity. Memories and desires surfaced and filled the huge sphere. It signaled a fresh start and possibilities, a future. He found a print online and ordered on the spot.

St. Johns looks iffy, he says. Many of the shops and bars and cafes are struggling.

They have been here for years.

These prices can’t last, can they? Why isn’t this market another bubble?

Another downturn and he’s lost money and is stuck for years with a place that will not move.

She doesn’t respond.

Real estate in Portland was a trauma from which he is still recovering. When he arrived April inventory was at a historic low. Places he saw last September were going for fifty thousand more and got snapped up in a few days. He had fifteen minutes to look, then had to make a bid the next day against other buyers. He felt he had fallen through a crack.

Where are all these people coming from?

He knows the answer in part—California.

She shifts her weight to her right foot and turns her head to the left, again sending angles down her shift.

None of the options were right, and he looked everywhere, downtown, at all the neighborhoods surrounding. Skinny infill houses, condos too basic, dubious construction in both, studios impossibly small. Locations too rough or too remote or both. The better condos and the Craftsman homes that give Portland its character were too risky for his reserves. Still he considered each, thinking about a possible life and trying to make it fit, but saw it shrink or tear apart as he imagined the sacrifices and compromises. After two months of running up hotel bills he thought he’d have to bail out. Then what?

How are people making it?

The numbers don’t add up. Income is not that high here. Something has to give.

Is Portland going under?

What most got to him were the homeless, and they were everywhere. Their tattoos, the unhealing sores, the embedded dirt, the streaks of vomit on the sidewalk, the bottles, the hidden needles. Their withdrawal, their hermetic possession, their unconscious states—yet they seemed to own the streets. If he caught their eye they returned a black recognition he could not deflect and still cannot shake. Homeless were better hidden in San Jose.

She shifts to the left foot and realigns, her long face twisting with an anxious thought.

He has gotten carried away and sees he is troubling her. His agent couldn’t answer his questions either.

“Portland is a great town,” he says.

She smiles again and straightens. She has a sweet smile that doesn’t melt his heart but glides through it.

“Where is—” she asks.

“Upstairs. Through the front bedroom.” Better upstairs for privacy.

“Feel free to look around.” He thinks his bed is made and clothes are off the floor, but can’t remember.

He watches her rise, seemingly weightless, her bare feet soundless on the carpet, her shift ascending like a spirit.

O Newton! With the range of your intelligence and the sublime nature of your Genius, you have defined the shape of the earth; I have conceived the idea of enveloping you with your discovery. That is as it were to envelop you in your own self.

Boullée says about his cenotaph in a treatise.

Newtonian physics still works and explains most of our lives day to day. But the cenotaph was never built because the monument was, practically, unfeasible. Boullée was a visionary.

Actually the front bedroom is his office. He has already begun work—quick sketches on the walls of a school, a housing complex, a museum, a community center. On a table, assembled blocks of wood and cardboard scraps and wads of crumpled paper, just to give him a rough sense of texture and form. He wonders what she makes of it.

His projects, of course, will never be built either. He is out of the profession now and lacks the means and clout. Still, they might provide him with a virtual world to replace the one he has left, restoring, creating what it missed, a place where he might feel at home.

The cenotaph didn’t look right the moment he put it up, however, and his impressions, along with his mood, have been pulling away from it all day, and they return now and start to take form—profoundly mysterious, deeply absurd, or downright silly—but these shift to other thoughts and moods that do not settle either but take him to a single thought:

It his hot.

He stares at the room, at the open pattern of the bookshelves, and watches his plan fall apart.

The toilet flushes.

The animals on her arm, he realizes, are dragons.

In Boullée’s time there was a belief in reason and basic truths and the truth of basic forms, in orderly fitting together of parts, the power of architecture to reform.

The French Revolution was around the corner.

Has Boullée taken Neoclassicism to its logical culmination? Or is he trying to look past? Or has he, unknowingly, trapped in its assumptions and contradictions, pushed those into tumescence? Postmodernists took a liking, for a while.

His world is a mess. Beneath all the exuberance the signs on all fronts are bad. In architecture everything built now is glass and steel and grassy planes and white walls, pure abstractions making the same blind projection, covering the the same confusion.

There are other things he sees now, coming into focus.

He has no idea where he has been or where the world is headed. If he hasn’t recognized it before it’s because he has only been busy and distracted the last forty years.

Most of the crumpled papers on the table in his office are rejects. His projects will never get built because he doesn’t know what to do.

What he most realizes is that he is tired. He has been fighting the heat all day and now it has caught up. But not just today’s, but the fatigue that has been building the last year, especially the last three months, but has been displaced by the urgency of of his search, the strain of dislocation, the surge of doubts, his single, anxious desire to finally settle down, the displacement only making the fatigue deeper, longer when it finally springs, only postponing what he knows is coming.

Portland is a mistake. He won’t be rejected but he won’t fit in. Beneath its friendly surface there is only torpor, into which he will eventually sink.

His blood sugar is up and he has occasional chest pains his doctor said were only nerves though he still advised adjustments.

More can crop up that he sees now, once again.

The real estate agent has not returned.

What is she doing? Casing the joint? Going through his things? Secretly defiling them? None of those suspicions can be possible, but he can’t think of anything likely that might dismiss them, and his mind races for other possibilities without stopping. The dragons’ wide eyes widen further, their open mouths show teeth, their coiling bodies prepare to strike from depths unknown.

He waits until he can wait no longer and starts to head upstairs. At the landing he pauses to look at the Boullée, knowing and thinking about but not voicing what lies inside on the floor, at the center.

“Get lost?” he asks loudly up the well to warn her he is coming, then starts his climb. Ascending the stairs is like descending into a pool, where the greater heat, like the denser water, slows motion and sound.

He stops at the top to catch a breath, then turns right.

Not in the office, the bathroom is silent and vacant.

He looks up the hall and sees and hears nothing, then looks down and sees her shift lying limp and loose on the carpet, pointing like an arrow to the back bedroom, his, and he follows.

Then he sees her lying on his bed.

Then he is beside her, then he sees the tattoo close now, sees that it stops past her shoulder, that the coiling dragons in the design lead to a softer pattern of faint hair, swirling, rising with her breasts, twin basic shapes too subtle for geometry, each subtly different, and descending down the valley of her stomach to a darker pattern.

She cups his neck, pulls him close, and kisses hard while grasping him firmly with her other hand.

And then it isn’t hot.

.

.

He does not feel the post sadness of legend. It is the first time he can remember not feeling complications or having questions return.

“How was—”

“Don’t be ridiculous,” she says. “It was however you want it to be.”

She pauses a moment, thinking.

“Don’t tell my boyfriend.”

And pauses a moment more.

“I’ll tell him.”

He does not give a reply because he doesn’t have one. Instead he lies there, next to her, both on top of the sheets, both fully extended, not quite touching, the sweat not quite cooling, both lightly breathing in the shaded light, both quiet, still, and mortal. Not much else, a bed, a nightstand, a light and clock—he still hasn’t figured out what to do with the room. The lines of the walls and floor and ceiling define a simple box that contains them, their lying bodies. But they reach in diminishing perspective to the grid of Portland streets and extend beyond, forever. Or, instead, the lines converge on them, their breath and sweat. It is as easy to imagine cities rising within these lines as falling.

Below them, downstairs, on a wall, a picture of a dark sphere.

The dragons are Asian, he is sure. They have a stylized complexity in their exotic curves that goes beyond their western counterparts’ singleminded malice. There are meanings. He does not know if the dragons are Japanese or Chinese, however, or the meanings of either, or if the meaning of the dragons before him has moved away from those meanings into some other. The curves, their black outlines, cannot be separated from the curves of her arm, nor can foreground be separated from back, or from her flesh, rather all pulse together almost imperceptibly with her each breath. The dragons coil tightly at her wrist and disappear behind her forearm then return and begin to unwind, unevenly, among a dense pattern of flowers, yellow and orange and blue, and of foliage, the leaves the same green as the scales of the dragons, with shapes of exotic plants he doesn’t know either, the dragons part of the pattern of the plants and the pattern part of them, yet they continue their ascent past her elbow and up her arm and separate themselves, still among the pattern, as much preserving as disengaging, and at her shoulder they do not look at each other but outward and up, fierce intelligence in their eyes and passion in the flames of their bright, red tongues.

The tattoo speaks terror, and hope, and he sees both but does not feel one or the other. Instead he continues to rest next to her, a long time, not knowing how long. Time has stopped, the moment can go on forever. An illusion he knows, but what else do we have. But not an illusion, because he isn’t thinking about either, appearances or time.

Gary Garvin

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.

Gary Garvin, recently expelled from California, now lives in Portland, Oregon, where he writes and reflects on a thirty-year career teaching English. His short stories and essays have appeared in TriQuarterly, Web ConjunctionsFourth Genre, Numéro Cinq, the 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 a novel. His architectural models can be found at Under Construction. A catalog of his writing can be found at Fictions.

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Jun 212017
 

Dizziness is a psychophysiological state tied to confusion and the mental processes of understanding, with a possible ontological component, if it makes sense to talk about ontology. There are many variations. You have just come to grasp a basic principle, a unity that breaks down barriers between the disparate things before you, and can see it, in the totality of its relevance, racing endlessly to comprehend them. Or you see the unity, but it careens off the walls of all the things it does not comprehend and scatters everywhere beyond them, while the things it does pervade dissolve into endless nothing. Or you only see the principle but sense no walls at all, only the outlines of what you think is there, the boundless extension of their empty possibilities. Or see the mesh of possibilities in things, but not the principle that might align them, only the chance of a principle, ever endless in its evasion. Or see neither the principle nor possible connections, only endless endlessness.

In each there is the same feeling, similar to that of physical dizziness, like an irritation in the ears, a tickling of equilibrium, and it is difficult to tell whether the sensation is one of rising or falling. In each also come feelings of doubt and confidence, of anxiety and elation, but it is not clear that the dread doesn’t belong to the confidence, the transport to the doubt. With these feelings, another emotion impossible to name, diffuse yet more intense, and with its movement, a stillness, a white mist spreading in a blinding sun—

From my essay “Autumn Rhythm” Conjunctions Online, 2015

See also “Perspective”

Gary Garvin

Mar 312017
 

Architecture, we forget at our peril, is inherently violent. It invariably subtracts from the range of available possibilities, especially the perennially attractive option of building nothing at all. In this sense, construction sites are crime scenes. Memories, landscapes, slices of sky, beloved vistas and old neighborhoods are violated even when buildings of distinction take their place. Perhaps the most architecture can do is convert aggression into desire, its primitive twin.

Herbert Muschamp, NY Times

… the past is not merely a quarry of forms to which we are welcome; it is the vast repository of collective memory that ought to illuminate our borrowings. And architecture is not the carefree manipulation of form; it cannot be practiced without consequences.

Spiro Kostof, A History of Architecture

Trumpitecture does not know timing. It does not know its own era but clings to easy symbols of might. Perhaps they had a time, but that time has long passed. In contrast to the best known early victor in the tallest building race, the Empire State Building, Trumpitecture leaves little as a treasure for posterity, a monument to its own era, or an icon for a city. Trumpitecture leaves a legacy for one thing: Trump.

Doug Staker, Dezeen

“Just for the record, I had nothing to do with this sign.”

The architect of another Trump tower, on its front sign, from Staker again.

Gary Garvin

Mar 272017
 

melfulluse

We…advocate that melancholia be positioned as a distinct, identifiable and specifically treatable affective syndrome in the DSM-5 classification.

Melancholic patients respond better to broad-action tricyclic anti­depressants than to narrow-action antidepressants (e.g., serotonin uptake inhibitors). They respond well to ECT. In comparison to those with nonmelancholic mood disorders, melancholic patients rarely respond to placebos, psychotherapies, or social interventions.

from “Issues for DSM-5: Whither Melancholia?”
The American Journal of Psychiatry

Dürer’s engraving Melencolia I draws from the theory of humors that goes back to classical times, where states of body and mind were determined by four essential fluids. It once was the basis of medical practice and found widespread cultural representation. Balance of the four brought health, but that was an ideal that we could not always maintain, or that not all of us could not find, or, in Christian times, a perfection none of us could reach at all since and because of the Fall of Man. A predominance of one in excess led to pathology, but in lesser amounts set phases we all went through or determined different personality types among us. I regret loss of this system, as it gave us variety and cut us some slack. Moody was something we could be. Today our vast catalog of mental aberration depends solely upon the empty term “normal” that is defined only by what it is not, that denotes a state that is a balance of nothing. Yet we stray from it at our peril.

Black bile was the fluid of melancholy, which brought lethargy and stinginess. The melancholic was the most dreaded of the four personality types, as surfeit could lead to insanity and even death. Its representations, a grim miser clenching his purse, an indolent woman asleep at her spinning wheel, were sedative expressions that suppressed that fear. And intrigue—madness and death have always had that pull on us. Dürer’s figure, however, is not a common person but a winged angel, intensely alert and deep in thought, surrounded by the elements and tools of creation. Dürer has given us a picture of the artist, and in her face we see the power of her potential. But the tools lie scattered at her feet, untouched. She is grounded, locked in thought, does not fly, does not create, while in the background a comet flares and a bat cries terror. The dread has been released in a scene of darkness and disorder. I’ve had a print on a wall for decades, and every now and then I look at her for inspiration. She does not look back. This is as it should be.

Perhaps her block and the disarray show the broil and fruitless mulling that precede creation. But according to Erwin Panofsky, in The Life and Art of Albrecht Dürer, from which I take my material, that work will never come:

Hers is the inertia of a being which renounces what it could reach because it cannot reach for what it longs.

The artist is limited to the visible, what can be shown, what can be represented, and is removed from higher thought that might transcend, from the light of divine understanding, always beyond us.

But Dürer’s stalled angel also gives us one of the most compelling images of the artist we have. A picture that shows failure to create is a complete creation itself, consummate and marvelous in its workmanship, its expression. The midnight figure is bright in contrasts, the whites of her eyes against her somber face, the luminous folds of her robe against a darkened space. A scene of inactivity is charged with dynamic, in the energy of her arched wings, the push from the outlines of the many shapes, in the spiraling line of composition that runs from the eyes of the bat through the eyes of the putto, of the angel, of the sullen dog.

There is no contradiction in any of this, as there are no contradictions in art. Nor is there irony, as we see exactly what we should expect. We are shaped by our conflicts and contradictions, our reaches, our misses, and our doubts: these give us life. And the failure to represent the divine visibly points all the more to its invisible presence. It is our balanced, symmetrical representations and our clear resolutions into action that are ironic because they always fall short of our desires, of our projections, and they touch a different kind of madness.

The engraving is built on a correspondence of symbols based on theology, philosophy, and common understanding that connected the universe from the material to the celestial, that ran deep in Dürer’s culture. The four humors “were supposed to be coessential with the four elements, the four winds (or directions of space), the four seasons, the four times of day, and the four phases of life.” His angel, holding a compass, beneath instruments of measurement, echoes a prior woodcut “Typus Geometriae,” a woman representing geometry, the study that in the Renaissance was the foundation for creating art and understanding the structure of the world. Saturn, the original creator, inspired geometry as well as fueled imagination with furor melancholicus. The dog and bat were his. I won’t develop all the sources and connections, however, because I’d only repeat what Panofsky has so thoroughly and beautifully written. Also we know today none of the assumptions and correspondences are true.

But what we know is false now wasn’t true then, yet still we have Melencolia I, who still holds us captive. There’s a paradox here that needs to be sounded. If we reject the divine, and we have, we need to replace it with something else. Our lives, like our art, depend upon how much we can draw from within and reach without.

melmath

I will leave the magic square and the devices for measuring weight, time, and space hanging on the wall and ignore them. Mathematics, like our logic, we now know talks only to itself. They will also serve as reminders to deflect a world that cannot tolerate imprecision or imperfection, or indulges them too much.

meltools

I will keep the tools on the floor because I still have dreams of constructing and peopling homes and cities and worlds. But I will add a jackhammer and wrecking ball to test their strength, or demolish the facile abstractions that now surround us or any I might create.

melbat

The bat stays where he is, soaring above a leaden sea, who will scream my every waking minute to help me maintain vigilance, see terror overlooked, or induce it when I fall complacent.

meldog

I will get a dog, lean, clenched, and perpetually morose, and have him lie at my feet to anchor my flights.

melangelputto

And I will ponder my next project, moved by what is not there, what might be, what always never will be. Or let my amanuensis putto scribble away idly while I brood in dark brilliance and do nothing.

Gary Garvin

Mar 162017
 

SJBtopsection

And Thee, across the harbor, silver-paced
As though the sun took step of thee, yet left
Some motion ever unspent in thy stride,—
Implicitly thy freedom staying thee!

from Hart Crane, “To Brooklyn Bridge”

A routine is a repetition that both breaks the day and places us in it, giving our lives the appearance of structure, of order. A bridge is a repetition of structural elements that orders a way beyond our routines, to thoughts of other things, or that appearance.

I have a routine where after the morning’s work I walk to the St. Johns Bridge and down to the Willamette River. If I miss a day my life feels incomplete. I live across the street from the playground of an elementary school and leave late morning to avoid the shouts and shrieks of the kids at recess, an inseparable mix of joy and chaos, though sometimes I take their noise with me. By that time I’m fatigued anyway, and bogged down in some unresolved disorder. I leave thinking the walk will provide inspiration, that I will return with fresh insight and rejuvenated resolve.

From the east entrance

SJBentry

I descend a side street

SJBSnowSide

down to Cathedral Park, beneath the bridge, where north Portlanders run their dogs, fly drones, and get married.

SJBbelowpark

Then, after following a long viaduct of approach,

SJBapproach

I reach a small floating pier, beneath the span, and walk to its end, my terminus,

SJBPierSnow

where I take a break—I have a bit of a climb back.

And I stand and look out on the river, and free my mind, and wait to see what comes, from without, from within.

SJBpierview2

Designed by David Steinman, an engineer of considerable reputation, the bridge was the result of local initiative and remains a source of civic pride and identity. Boosters staged vaudeville acts throughout Multnomah County to promote funding; images have since multiplied across St. Johns, on the banner of the neighborhood newspaper, on storefronts, on posted bills and t-shirts. Construction started a month before the Crash of ’29.

Yet while it set several records when built, the St. Johns Bridge is not well known and pales before more recent structures that move us to greater awe. Really, there was no compelling need to build it and it serves no large purpose now. The plan then was to connect the small industrial communities of Linnton and St. Johns, some five miles north of downtown Portland. Today it joins no major freeways on either side. But that is what I like about it, a modesty that encourages intimacy, that it is not especially useful, that it is largely there for itself, that it is distant from the noise of our wonder.

The east anchorage expresses its mass in a squat concrete structure, the energy of its function in steeply curved posts and buttresses, this function formalized in a compressed stance embellished with abstract emblems and stabilized and capped with cornice work,

AnchorDrawingjpg

the energy released in the ascent of the cables to the towers, the cables carrying a tension hard to imagine,

SJBAncho

the tension easing into the sweeping curves of the cables that hold the deck. The suspense of anchorage discharges in the process of suspension. The bridge entire, in the arcade of concrete piers, the latticework of trusses supporting the road deck, the network of thin cables holding the deck from above, scarcely visible, in the division of bracing within the towers—is a complex orchestration of compression and tension brought together into a whole that is graceful, effortless, seemingly weightless, almost ethereal. To me, with my limited knowledge of engineering, such a feat isn’t possible and the bridge is simply marvelous. My spirits lift every time I see it.

SJB4

The bridge was built at a time when the ruling esthetic demanded an honesty of structure, a welding of form to function, and Steinman spoke to the integrity of his design. But another desire, another wish, competed with utility, the American technological sublime, which complemented then supplanted the natural sublime once found in the American landscape. John Roebling’s Brooklyn Bridge carried the spirit, and Steinman, like Hart Crane, grew up in proximity and professed his close attachment, its influence.

Then there is the other spirit. The gothic arch, once used to elevate belief and bring in light, provides the motif played throughout, in the concrete piers and components of the towers, arches of varying width, height, and pitch. According to Steinman the pointed arch added contrapuntal tension to the rhythm of the suspending cables, but the structure he called “a prayer in steel” also brought past associations and higher thoughts. Today, maybe only nostalgia, and fading questions.

SJBviewPort

I’ve had a touch of vertigo the times I have walked across, however. That used not to bother me. Yet it’s two hundred feet down, and when I look out from the deck I feel the downward temptation. There is this about bridges as well, that they move us to the edge, to another launching point. In the movie Pay It Forward a woman climbs on its railing to make the leap but is saved by a recovering drug addict who walks by and talks her down.

SJB5

Still, the bridge is always there, a point of continuity and stability, an anchor of connection and communication with, yet also of structural separation from, with, from nature that surrounds, its variations through the seasons, with, from the ambiguous, overcast moods of Portland weather that call for some kind of brightness, with my shifting thoughts, from the fog of my moods.

SJBfogbelow

But only this is certain one day to the next: our structures are just structures, our function is undefined.

SJBPierFog

I wait at the end of the pier until I realize I am waiting. Nothing ever comes, in fact I put my work aside and let it drift. But I always get this release, this revelation: I am free and I am alive, and I don’t have answers to anything.

Gary Garvin

Feb 272017
 

Working Title/Artist: Autumn Rhythm (Number 30)Department: Modern and Contemporary ArtCulture/Period/Location: HB/TOA Date Code: 11Working Date: 1950 Digital Photo File Name: DT1407.tif Online Publications Edited By Steven Paneccasio for TOAH 2/13/14 Image blurry especially along left edge

What is needed is a chart, a plan, a set of rules. Or at least a dance chart to tell us where to put one foot after the other…

Plot:

plot

We all want to believe that a light shines on us individually and makes us each protagonists in life’s contests. Plot restores our faith in action and makes our lives seem real. It is a way to order events and give them direction in the stories we tell about ourselves, to take us from beginnings to endings, to chart our paths in the world. A mistake, a flaw, a motive separates us from the baseline of the world, causing tension that rises over time and propels the plot and increases our distance from the world until a point is reached beyond which the strain can go no further, the climax, which is followed by an unwinding that returns us to the world, a falling into one kind of resolution or another.

Plot depends not just on our understanding of who we are and what makes us tick, but also on the way the world works, or the way we think it works, and what moves it. But more than that. Plot can also be built on an idea, an understanding, a projection of who we can be, should be, what matters, how our lives should begin and end, what is beyond us. Plot implies perspective.

Perspective:

pespective

A horizon is set towards which lines that define space converge, theoretically at infinity. A central point on the horizon, the eye point, marks the spot and determines the overall cast. It’s a device for creating the appearance of depth in two-dimensional pictures that look like something, a way of establishing relationships, consistent and proportional, between up and down, here and there, anywhere in the frame.

But more than an appearance, a metaphor. There’s a figure in the figure. Not just a way of relating parts, of ordering space consistently and proportionally, but also a vehicle for notions of consistency and proportion. Not just an orderly picture, but a picture of order. Not just deep space, but a schema for the concept of depth. Since the eye point lies at an infinite distance, we are given a container for all the world. And since we can see that point and all it determines, we have the means to comprehend it. Perspective implies perspective, a framework that holds the world we see, a world where we see each other and are seen, where we have a place, where everything fits, a world governed by whatever it is that exists between and beyond us and holds all things together.

schoolofathens

In his fresco The School of Athens, Raphael set the Greek philosophers in a volume of Renaissance architecture. At the center stand Plato and Aristotle, representatives of ideal forms beyond and their particular manifestations here on earth, these two surrounded by the others in animated talk and gestures, their disputation contained by and aligned within the receding vaults determined by lines of perspective, those lines leading in the distance to soft clouds and open blue sky, their focal point placed behind the two commanding figures.

the-last-supper-1495

In Leonardo’s The Last Supper, the vanishing point, God’s eye, is directly behind Christ’s head, which sets the perspective that frames the chamber and aligns what he lays before his agitated disciples. In the distance, mysterious blue hills and the fading light.

In both a box is constructed that proposes, contains, and opens up, each holding and balancing turmoil and reason, spirit and the body, each setting a trajectory that tells a story about disorder and resolution, fall and redemption, each plotting a course for our life on earth and a life everlasting.

Supply and demand:

supplyanddemand

A graph that tells a story and paints a picture, where desire and assertion find happy intersection in the world.

Perspective, concerns:

lastjudg

The place we have in the order of things may not be the place we want. Perspective space was also used to sound the depths of hell. Or, in the works of Piranesi, set ruins of antiquity in deserted landscapes or create vast, dark prisons, intricate and seemingly endless.

piranesi

It is hard to stare down the throat of infinity very long.

There are no absolutes.

Corot, Cézanne, cubism, etc.

Supply and demand, concerns:

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Jack Levine, The Feast of Pure Reason.

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Plot:

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From my essay “Autumn Rhythm,” Conjunctions. Income graph via Mother Jones.

Gary Garvin

Feb 242017
 

. . . beginning in 1984, many of the men there were recruited by a California flower-grower who needed workers for his farm, in Somis, an hour north of Los Angeles. The Zapotecs were taken by train to Tijuana and smuggled to Somis, and there they were enslaved: held in a compound in perpetual debt, frightened into submission by warnings about the Border Patrol, and forced to work sixteen hours a day. Some of the men eventually sought help. In 1990, a federal grand jury in Los Angeles indicted the grower on charges of slavery.

William Langewiesche, speaking of Zapotecs from the mountain village of Santa Ana Yareni, Mexico, in “Invisible Men,” The New Yorker, February 23, 1998. More on the story and trial here. Some of the workers fled to a ravine in San Diego County where they became squatters, illegally, out of sight, hence the title.

I taught the essay to my comp classes in Silicon Valley over the years, telling students how it reminded me of and added insight to Diego Rivera’s painting The Flower Carrier, 1935, above. We saw afresh the burden. Recent events bring further illumination, more colors and contrasts.

Really, it is gorgeous what is being envisioned now in this country, simple and direct in its formal symmetry, bright in its assumptions, beautiful and impossibly light in its composition, in its solution to the tensions it proposes to ease.

There are all kinds of walls and all kinds of invisible men. We’ll want to follow not only what the proposed wall to the south will keep out, but also what it will contain and allow to blossom. So much that has been hidden behind walls will be revealed; other invisible men will come to light.

Gary Garvin

Feb 222017
 


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So I go to the Warhol show at the Portland Art Museum. Memories pop—the term is apt—pop through the layers, fresh and flat. It’s the ’60s. Marilyn, Mao, JFK, Jackie, 20 kinds of that soup, including, of course, tomato:

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Liza, Ali, Mick, Birmingham, the hammer and the sickle, a pointed gun, and the chair:

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Seeing all the Warhols on the walls is like looking, way back when, at the layout room, early stages, of a magazine that will never go to press, never go to press because there isn’t one, a press. Which I guess is kind of the point, if there is a point. Maybe.

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Richard Avedon made a portrait of the Warhol Factory, which was shown at a retrospective at the University Art Museum, Berkeley, fairly large and a going concern at the time. This is a huge photograph, life-size or more. Click to enlarge. I worked at the museum while a grad student and did a good bit of the lighting for the show, including this one. I spent hours on a rolling scaffold, hanging, adjusting the floods and spots, making sure the faces and bodies came out, evening the white space and removing pools. Avedon and crew were there, advising, helping out.

A Berkeley regular, Abe Lincoln we called him—he had the beard, defiled the portrait by spraying iodine on Warhol’s face, taking moral offense or something. Who knows. I lived with four others two houses down from where Patricia Hearst was kidnapped, though I never saw the bullet holes. A year before I worked at The Daily Cal and was there the night the Jonestown mass suicide story broke, in Guyana. Reports came in over the AP wire machine in fragments that made no sense, the body count kept rising as the night wore on. The summer before that, my first in Berkeley, a scene for a made-for-tv movie of the Hearst abduction was being shot in Ho Chi Minh Park, a few blocks away from our house. Extras stood around in designer t-shirts. This one won’t be put to bed, either. It’s the late ’70s.

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I think the working title for the movie was Get Patty but it changed when the movie aired, which quickly fell into oblivion.

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I took one of my housemates, E—, an undergrad, to opening night of the show. I had to. She was weaned on Vogue and grew up looking at Avedon’s fashion shots. Berkeley via LA via New York, quite sharp, quite sharp looking, not a princess, not easy to pin down and I won’t try. Not my age, not my league, I wasn’t her speed, but I liked her and we got along. She was our entry to the music, Talking Heads, Elvis Costello, Blondie, The Cars, the Sex Pistols, the Ramones, the others—more memories but these don’t pop but sizzle, but fall into stupor—we are Devo, we’ve been on tenterhooks ending in dirty looks, fade away and radiate, I can’t sleep ’cause my bed’s on fire, I wanna be sedated, get pissed, destroy. We were waiting for the end of the world.

Half of San Francisco was there, dressed to impress in all the different ways San Francisco knew how. The museum was packed, literally packed. All the galleries were mobbed and we couldn’t move. The heat from the lights, from each other, melted our edges, our anticipation. E— and I got stalled before Avedon’s pensive Marilyn it seemed forever.

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Avedon, really a gracious, humble man, threw the staff a dinner. Once more I took E—. While we ate he went around with a Polaroid, taking candid shots. But he kept missing our table, so I flagged him and asked if he would get E— and he immediately complied. E— froze, then broke into an exotic pose, hands and elbows thrown into the air.

When Avedon returned with the developed picture, she took it, stood, touched his arm—this memory breaks through the layers now, through the noise—and kisses him on the mouth.

Gary Garvin

Jan 202017
 

1984-image

Michelle Kuo in “The Shining,” Artforum, cites Siegfried Kracauer who tells us that the artist’s “tasks multiply in proportion to the world’s loss of reality.” Our sense of reality has been stretched to the limit this past year:

The power of the visual has ascended to ever-greater heights, even in a world of invisible networks of control, of flexible and tentacular streams of surveillance, biopower, and microregulation. But at the same time, the top-down dissemination of information via mass culture in the twentieth century has been hyperdiversified, splintered. Today, we confront the spectral atomization of disinformation throughout the dark reaches of the internet, the most esoteric voices flowing like microscopic particles into the lifeblood of the media apparatus. Technological networks can amplify these bits and flows—exponentially, monstrously, radically. And the most effective vehicle for these streams is the image: the appearance of truth, or of might.

Kuo accordingly offers this solution:

Just as other disciplines have, art must think the unthinkable. Art must counter image with image—constructing pictures but also precipitating their undoing, their disruption, their unmooring. Just as Trump’s image seems to usher forth a world of risk, a state of chaotic volatility, art has long fomented the contingent, the unprecedented. Like spectacle, art seduces, frightens, incites, deranges; it glows.

Her proposal needs debate. The essay, however, is a must read for anyone who wants to look ahead. The full text can be found here.

The image above, via rogerebert.com, is a still from the movie version of 1984, with Richard Burton in the role of O’Brien.

War is peace.

Freedom is slavery.

Ignorance is strength.

Orwell’s simple contradictions have been surpassed, his ironies shattered.

Gary Garvin

Jan 152017
 

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After all, that was only a savage sight while I seemed at one bound to have been transported into some lightless region of subtle horrors, where pure, uncomplicated savagery was a positive relief, being something that had a right to exist—obviously—in the sunshine.

In Heart of Darkness, Marlow, captain of a slight and halting steamer, after many weeks navigating the treacherous Congo has reached his destination deep inside Africa, the inner station of the trading company where chief agent Kurtz presides, Kurtz the emissary of profit and reform, a model of the hopes of Europe, the leader of the native tribes, a genius at acquiring ivory. The subtle horrors are as much the fruit of Kurtz’s efforts as of what lies within the jungle, but also are Marlow’s own black projections on its darkness, not returned. The pure savagery brought to light is Kurtz’s symbolic gesture, heads of native rebels he had cut off and put on stakes, lined before the station house. The heads, however, do not face outward to warn tribesmen from transgression but inward towards the house, where Kurtz can contemplate their gaze.

I kind of picked up the thumbs-up from the kids in Al Hillah. Whenever I get into a photo, I never know what to do with my hands, so I probably have a thumbs-up because it’s just something that automatically happens. Like when you get into a photo you want to smile.

We contemplated her gaze and that gesture, at least for a while, as she faced us, the smiling Army Specialist Sabrina Harman, who aided in the gathering of intelligence at her station, Abu Ghraib, the prison deep inside occupied Iraq. Or rather we saw her in pictures brought to light after years of subtle horrors in a war we thought was going well and whose mission we were sure of, the pictures bringing a clarification, an obviousness, a relief, their own kind of rightness. She does not look at what she smiles over or what she thumbs up but we see them, the pile of grotesquely hooded, naked men, the blackened corpse.

Was it over a decade ago or a century? It is hard to keep track of time in a world that recreates itself afresh every day. Somehow the Abu Ghraib pictures have been washed aside in the stream of things, of other disturbing images that continue to flow past. The distance between our purpose then and our behavior, between our professed ideals and the horror, however, has not been closed and the pictures still haunt me. I have not found a way to explain or discharge them, or come to terms with other lingering subtleties in a world where I do not know where I stand. I have no idea where we’re headed, though the world tells me we are moving forward. I do not know what to with my hands either.

Against all the sharp narratives that have played out the last years, in battlefields imagined on screens and in the world actual, it is to the muddy story about a captain who just goes up a river and back I most often return, a journey that resembles my own. I have only observed the horrors of history, of the present, from a distance, yet they still belong to my world and I have felt their currents, as well as sensed all that lies beneath them, unseen, unknown. Like Marlow, I work for a trading company of sorts—we all do—and my station is modest and my task simple. Like Marlow I have been on a long trek and kept my shoulder to the wheel. I think I am good person, or good enough, and have provided some service, though I know not to make anything of either or rest easy. Like Marlow I keep my distance, like Marlow I do not have any answers, like Marlow I do not forget easily. I have yet to meet face to face, however, anyone with the revelatory power of a Kurtz.

Kurtz’s virtue is that he can front the terrors that lie without and he holds within, face their contradictions, and feel their full effect. This is what redeems Kurtz in Marlow’s eyes against all others in the company who stumble through their corruption without pause. And Kurtz has a voice, though we hear few of his words, most significantly the two that refer to his black vision. Marlow stays detached—he has to—and observes the horror through Kurtz, one step removed, just as Conrad has us observe Marlow, when he does not speak, through the narrator, adding one more frame to the layering of frames. There was a morbid fascination, but Sabrina Harman’s reaction was one of mute disjunction, not approval, a frozen reaction to the horror she witnessed but could not contain. No one framed her, though she was following orders.

I would like at last to be able to look into the heart of things, within, without, and come to an understanding, though I have got no closer over the years and have yet to find a frame. I do not know what I project on the world, nor can separate that from what it returns. And I would like to find a solid voice I can live with, that sustains me and helps me reach out, though still it wavers. Like Marlow I need to keep distance without losing sight so I can find perspective and maintain it. There are times, however, I see myself as Harman, transfixed, stunned and speechless, though without a smile.

The thumbs up—it is our universal gesture now for everything, that graces all we have seen and done, that we sign above where we’ve been and where we are headed, whatever we happen to be doing at the present moment, which, along with an open face and guileless smile, the captured gaze we show the world and that defines us, has replaced the two-fingered sign of benediction, pointing to a another kind of transcendence..

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As we know, there are known knowns; there are things we know we know. We also know there are known unknowns; that is to say we know there are some things we do not know. But there are also unknown unknowns—the ones we don’t know we don’t know.

Donald Rumsfeld. His remark received the status of pop wisdom and circulated widely.

Any life is a mission and every mission has a life, each a journey into the unknown, each a story whose plot charts the trajectory of beliefs and desires against the ground of reality over the course of time. It is the tension between the first and the latter that propels the action and moves us through the telling, leading us to climax, the locus of dreams and nightmares.

Marlow as a boy was fascinated by the mystery of Africa, as was Conrad, who made a similar journey upon which his novel is based, inner Africa then a white, undifferentiated patch on the map, a blank slate that stirred his curiosity. Rumsfeld, our Secretary of Defense, talked about what we know and what we do not know in a press conference to justify the invasion of Iraq based not on the possibility of the presence of weapons of mass destruction but upon the possibility of possibilities unknown, the blank space where he plotted his course and let his imagination sail.

There were no weapons of mass destruction.

What do we know we know?

We live in a culture that believes in itself and in us, in the value of our individual existence and our collective endeavors. We also recognize the necessity of managing material needs for survival and growth, which can lead to compromise and sacrifice. It is difficult to put our ideals and the physical world together. War, when deemed necessary, brings its own realities that unsettle any equation. The temptation is to consider ideals airy and insubstantial, thus suspect, and practical decisions defensible because they are grounded in reality, to favor realists over idealists, though ideals can have concrete manifestation and reality does not make sense without some kind of basis. Nor can concrete action be promoted without abstract justification or even be coherent. Then there are our desires, which do not fit easily with either reality or ideals, but flit fretfully between them.

Conrad’s Belgium, like Europe, was a champion of progress and enlightenment that it wanted to pass on to the peoples of the rest of the world to free them from misery and confusion, though not raise them to its level and give them power over their own lives. It also had a stake in claiming territory in Africa the other European countries were carving up in their dreams of conquest. And Africa had ivory, a symbol of purity, the mystical white growth of the tusks of huge beasts, a substance that is hard but suggestive to the touch and can be carved with delicacy and precision into curved and intricate shapes that endure, that was used to make billiard balls and piano keys and inlays and jewelry and knife handles and figures of saints, which at the time returned enormous profit.

We inherited the ideals of the Enlightenment, which we wish to pass on by example. We also debate our relationship with imperialism, where we struggle with distinctions. Of course there is our need for oil to warm and transport us and create our synthetic products, where we all are more involved than any of us might like to concede. Then there was the attack in New York and the fallen towers, the necessity to protect ourselves from invaders as well as appease whatever vestiges remain of tribal revenge, which shouldn’t be taken lightly. Bin Laden and Afghanistan, however, were soon abandoned, and plans had been made for decades to destabilize the Middle East and gain control of world oil supplies. Rumsfeld made Iraq a priority well before the towers fell, which event provided pretext for the invasion.

Past and present, our world has depended on the transmutation of pliable substances and unsettled values, and it is difficult to find stable ground.

Justification was provided, however, to allow action and keep our ideals intact, based on essential difference. Africans were seen as savages, thus fell outside standards reserved for civilized people. Kurtz himself wrote an eloquent tract for the International Society for the Prevention of Savage Customs. The difference was supported by concrete observation and physical proof, the contrast between skin white and black. For us the difference was that between free people and terrorists who oppress, which the Bush administration used to freely suspend the guidelines of the Geneva Conventions and allow brutal interrogation at Abu Ghraib, this supported by concrete evidence of the violence turned against us by the people of occupied Iraq, though we found no links between Saddam’s regime and Al Qaeda. Instead we brought them in.

Both differences, however, are based not on known knowns, or even known unknowns, but unknown unknowns. Marlow never penetrates the jungle to observe the people and their customs. He does not know the language, nor does Conrad give the natives a voice, except a handful of words they speak in broken English, the last to inform us of Kurtz’s death. Our government listened to no one except Chalabi, the Iraqi exile they wanted to put in power, and knew almost nothing about the Arab people’s beliefs and desires and customs, only just enough to humiliate them. Intelligence gathering had to come later, at Abu Ghraib. In Marlow’s story all we see are shots fired blindly into the jungle and dilapidated outposts at the fringes; in ours we largely saw our mechanized race through the desert, our guided missiles flying through the air, whose cameras showed us their blind destruction, and our command post at Saddam’s Palace, surrounded by tall concrete blast walls that separated it from the rest of Baghdad, from which civilian leaders of the occupation only timorously ventured.

And we saw what we now know we know but still strains belief. In Conrad’s novel Africans are taken from their villages, some set against the others, most forced into labor and chained, starved, beaten, and left to die. In real life Congo Free State, women, men, and children were freely mutilated. Failure to meet production quotas at the rubber plantations was punishable by death, and King Leopold ordered the hands of the guilty be cut off and sent back to Belgium as proof of execution. Natives also saw their children slaughtered, their villages burned. In the some two decades of Leopold’s occupation, the population decreased by an estimated ten million, this caused by murder, abuse, neglect, disease, and drastically fallen birth rates.

During the decade of the war in Iraq and since, civilian deaths from violence runs almost two hundred thousand, most caused by the sectarian violence we unleashed in a country we occupied but could not control, the total still rising. At Abu Ghraib, where thousands were detained, most civilians who posed no threat, prisoners were deprived of food and sleep and warmth; burned, beaten, flooded, and attacked by dogs; hooded with sandbags or forced to wear women’s panties on their heads; made to stand naked separately or huddled into piles; and raped or forced to commit sexual acts with each other or sodomized by a broom handle and a chemical light stick. The pictures we finally saw were part of the process, taken to double their exposure and multiply the humiliation. Specialist Harmon took one of the pictures of the hooded man standing on a box in a shower, loose wires attached to his fingers to make him fear he might be electrocuted if he stepped off, his arms raised high by his sides like wings or like those of another well-known figure, providing us perhaps with the most clarifying image from the war. The corpse she thumbed up had been beaten to death and put in a body bag and packed with ice, waiting to be taken out secretly to cover up his murder. Then there were the Abu Ghraib pictures we did not see because they were not released, along with the unseen torture at Guantanamo Bay and rendition at unknown places.

It is the excess of reality, known knowns, that taxes belief, not any buried secret or flight of ideals. Not seen, not known, not even known they were unknown and stretching belief further, were the horribly obvious ironies that sent our values soaring, that white civilized people savagely brutalized blacks they labeled savage, that our torture was carried out in the very prison Saddam Hussein had created to terrorize his own people, whose freedom and well being had become the final justification for our invasion.

Or that when we entered the heart of darkness we were looking at ourselves..

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America stands against and will not tolerate torture.

President Bush to the United Nations, well after the fact.

Exterminate all the brutes.

The note Kurtz scrawled with a shaking hand at the end of the pamphlet he wrote for the International Society for the Prevention of Savage Customs.

Marlow returns to Europe with nothing to sustain him other than the memory of Kurtz, who helped him see more clearly what he didn’t see well before. He is more distant from the world, or rather more aware of his distance. One’s journey to find oneself in the world begins and ends at home, perhaps to realize one has never left it, or that one has no home to return to. But the novel ends without conclusion, without resolution of plot, and Marlow himself reaches no larger understanding.

My challenge, then, is to see if I can pick up where Marlow leaves off. But I feel naive yet at the same time presumptuous for looking at what is so obvious and attempting to explain what should be self-evident, as well as perverse for looking at it again, the obviousness made no less obvious by its magnitude, or no more. And it is difficult to take on the obvious, what offends in its absurd and utter simplicity, with a straight, with any kind of face, and not lapse into sarcasm or ridicule. But there I run the risk of trivializing my opposition without effect, who simply can dismiss me, and alienating anyone else who might listen. Already I’m beginning to lose myself. But there remains the perplexing problem, perhaps not obvious, of why the obvious isn’t obvious.

So I persist and look at the severed head that rests on a pole and stares back at me, and ask the obvious question: Why wasn’t demolishing Abu Ghraib a first priority? Given how efficiently the Bush administration managed our perception of the war with its manipulation of the media, why weren’t we immediately shown the razing of its walls? The images could then have been coupled with those of pulling down Saddam’s statues, which we did see many times. The act would have brought cause and effect together and provided a conclusion that would have at least given the appearance of validity to their justification for the war—saving the Iraqi people from oppression—which might have satisfied the rest of the world and us, at least for a while. Doing so, however, might not have served their real purpose. It is also possible they did not understand the terms of this argument. Another possibility is that we weren’t especially interested in seeing that footage.

Bush did offer to tear down the prison, but Ghazi al-Yawar, the interim Iraqi president, refused because he couldn’t justify the cost. Given Yawar’s tenuous command and our administration’s overwhelming influence, it is impossible to believe he could not have been persuaded otherwise. Also the Abu Ghraib pictures had already been aired, so Bush was only trying to control damage, and his proposal was to build a modern prison in its place, which would have better suited his plan.

I can go no further, if I hold any human value, without stepping back, separating myself, and standing opposed, which is what I did at the time, a decade of total disaffection with our government, of skepticism about government itself. But to stand apart I need a justification to support my foray into interpretation and keep myself intact, and the justification will require creating my own essential difference: I am moral and they were not.

Our leaders were ruthless and corrupt, and acted without conscience, looking only to their own interests—both Bush and Cheney’s roots ran deep in oil—and those of the wealthy few who shared them and stood to profit from the war. Their only motive was to protect those interests and extend their power. There was the risk, however, that by ignoring the ideals of democracy they might undermine their standing in the world and the basis that kept them in power during elections. The only way they could justify their action was to create the difference between free people like themselves, like all of us, against terrorists, not like any of us, but they had no interest in freeing anyone. They needed a prison, and stuck with Abu Ghraib because it was convenient, so they could maintain control and gather necessary intelligence as well as intimidate the people of Iraq through fear. They had to maintain distance from the torture by keeping the details unknown so they would not be implicated or caught in contradiction as long as they could. By the time their hypocrisy was exposed, if that ever happened, it wouldn’t have mattered because by then they would have had control, what was done was done and could not have been reversed, and there was no other power at home or, with the fall of the Soviets, in the rest of the world strong enough to oppose them.

That interpretation to some may smack of glibness and political bias, and often leads to such accusations. It has always been hard to make it stick. Yet there is so much to support it and little that contradicts. Still, it doesn’t account for their behavior. Understandably they rushed to war and did not want to build a broader coalition. Time lost and shared participation might have weakened our support and their grip. What it does not explain is their haste. They likely did not have to worry about losing our support, not after 9/11. The Vietnam syndrome had run its course, and the war in Afghanistan was well received. If they did have to worry, they had created the fear of more attacks on us that would have bolstered our support if it flagged. So they ripped through Iraq, facing little resistance because Saddam had little resistance to offer, destroyed the regime, and planned a quick withdrawal, yet had no strategy for occupation, which makes no sense at all because they ran the risk of losing what brought them to Iraq in the first place, control of its people and their oil. And still left out is the excess of violence at Abu Ghraib, where, by so many counts, most of the intelligence gathered was of little use and often false. Tortured men will tell you whatever you want to hear.

Unless they were worried they might lose resolve themselves, that their justification, their distinction, might lose momentum. There may be a categorical mistake in assuming anyone can act without conscience, however perverse the outward signs. Also a political interpretation rests on the assumption their behavior was rational and they knew what they were doing. There is another way to understand their actions that takes us further into darker places, and I need to make another distinction to go there: I am sane and they are not.

Erich Fromm, in The Heart of Man, explains how our natural aggressive urges, our love of ourselves, and our affection for others, unchecked, can run rampant and grow malignant into necrophilous, narcissistic, and incestuous formations. In the powerful, the three can merge and lead to a syndrome of decay, where destruction becomes an end in itself and source of delight, as we saw in Europe the last century. Leaders need the support of their followers, of us, to build power, and do so by building our attachments to sterile things and hollow abstractions that flatter and melt reserve but do not strain us with difficulty, investing both with meanings they cannot hold, meanings that avoid meanings and deflect troubling questions. Stronger incentive is still needed, however, along with concrete proof, so leaders appeal to our sense of rightness by setting us against those who are not right, less human, or not human at all, and to make the argument conclusive, set us against those who can be readily identified and who are weaker and can be easily disposed of.

The only way the process can work is to remove the difference from reality and keep the unknown unknown so we do not see into hearts of those we oppose even as we attack, or see who we really are and what we are really doing. Otherwise the edifice of destruction loses its foundation and collapses. No wonder the statue of Saddam had to come down first. But it is difficult to maintain the illusion and keep the unknown unknown, yet the only way to support it is to push it further and step up the attack. Perhaps a guilty conscience did come into play, which only would have increased the strain, and with the strain, the necessity to put that voice aside and return more viciously to their argument. Proving superiority not only leads to paranoia and sadism, it depends on them.

And Rumsfeld’s logic of unknown unknowns was a spiraling ascent into paranoia. By controlling all intelligence, bypassing standard channels and having all intelligence run through him, accepting what fit and rejecting what did not yet at the same time removing himself from other intelligence, he was left to his own devices and worst fears. Perhaps he was merely being calculating when he thought he could pass off on us the reports of yellowcake uranium from Niger or the purchase of aluminum tubes made in China—both which might have been used by Saddam to develop nuclear weapons, both reports quickly rejected by the intelligence community worldwide—but his plan depended on weapons of mass destruction, so he bracketed them in unknown unknowns yet acted as if they did exist. He needed Saddam to have active ties with the terrorists, though Saddam had no use whatsoever—they only would have weakened his position—so Rumsfeld left known knowns, Bin Laden and Al Qaeda, behind to chase the phantoms. Saddam’s paranoia has to be factored in, along with his smoke and mirrors, but the only way Rumsfeld’s scheme works is to take them at face value and not try to see past them, assuming he could make that distinction. Meanwhile pending, what might have been the greatest deterrent to the mission and helps explain his haste, was Saddam’s offer, once he saw our forces mass, to bring inspectors in—he was begging—and show he had gotten rid of the weapons of mass destruction for the obvious and convincing reason that he did not want to give the U.S. cause to invade and lose his power.

The racial difference of Conrad’s day had one advantage: positing savagery into color provided obvious identification to clarify the European mission and even open the possibility, however immense the task, of a total solution. Terrorism gave no such advantage, as the only way to identify terrorists from non-terrorists was by their behavior, or, in the absence of such behavior, signs to suspect possible terrorist behavior, and if those could not be found terrorists had to be created. Perhaps there was a racial element involved as well, but then the search spread here at home with the endless surveillance. By keeping the details of Abu Ghraib unknown and propping up the terrorist distinction, the Bush administration allowed the violence to go unchecked, and without definite limits there was no way to complete the mission and close the circle as it was impossible to know when to stop. There is no telling how far the torture might have spread had the pictures not turned up.

One way to interpret their plan for a quick retreat is that, unconsciously, they wanted to escape the terrifying strain of what they envisioned. Or perhaps they wanted to pass the violence off on someone else but instead got stuck. Either way, the evidence points to wholesale destruction as the end result, consciously planned or not.

Somehow, in this context, I have to find high ground to better see and chart a clear course. But if I divest myself of my government I remove myself from power, without even a thought of representation or possible action unless I discover or create a space outside it. To consider myself moral leaves me with a burden that is difficult to bear alone, where it is too easy to stumble, the burden made enormous by the enormity of the abuse I try to face. I will always have to walk stiffly erect on a narrow path. To consider myself sane in the face of monstrous insanity removes me from my own internal debates and narrows the path further, the path already twisted by pursuit of the monsters it created for me, ever present.

But our leaders were somewhat genial men, not charismatic tyrants, who at least feigned humility, and they genuinely wanted our support. And their appeal, however conflicted, was for freedom, not conquest, which might have been sincere. Also they knew they needed us, as we could could topple them in the next election if they fell out of our favor. We love our freedom and want to feel good about ourselves, about our attachments to our reflexive devices and to each other. The fall of the towers might most have upset us when we realized what they did not support and how much they did not support it. Or what upset us was what we didn’t know but lay hidden in our own unknown unknowns, which vexed us even as we fled them. We, so many of us, believe the purpose of government is to turn us loose and set us free. We want to protect our self-interest and the interests of those who freely gather wealth. The market collapse at the end of Bush’s second term did not take us to Wall Street but elsewhere to find causes. And what distinctions do we make? Savagery is not rejected but openly embraced, an appetite fed endlessly on our screens in an unending crescendo of climaxes. A case could be made that we weren’t misled by tyrants, but rather with open hearts shaped the men we elected to represent us, then gave them a free hand.

Irony requires a context, and if none of us, our leaders or the free people of the U.S., saw the irony of Abu Ghraib, it may have been because we did not have one. Either we didn’t want to see the irony or we simply did not understand it.

I need to step back further and make another distinction, but I am running out of room.

I have gone too far, I haven’t gone far enough. Reality is more complicated. Reality is always more complicated, though complexity might have been pursued in order to avoid it. The Iraq invasion rested on decades of pressing concerns along with questionable and ambiguous involvement with allies and enemies alike, themselves questionable and ambiguous, including American covert support of Iraq in its war against Iran where Saddam did use gas, that support not stopped when he used it against Iraqi Kurds. Or perhaps our leaders just got lost in the vast complexity of what they were trying to do. Factoring in incompetence offers some relief. To deny psychological or moral interpretations, however, is to concede values have no influence and that our minds do not come into play. That the Bush administration really believed, that we believed, with all our hearts, that by toppling Saddam’s regime and pulling out we would build allies in the Middle East and restore world order, that the Iraqi people would welcome us with open arms and, left alone, follow our example and build a democracy of free people, that oil would freely flow once more—does not contradict the moral and psychological interpretations, or, if it does, sends us all into chaos, which might be where we are.

.

Marlow falls silent without finishing his last thought, leaving it in ellipsis, then sits apart from the other men on the deck of the cruising yawl on the Thames where he has told his story, returning to a cross-legged position, his back straight, arms down, and palms out, like a Buddha. Behind him, the brooding gloom of London. Before him, passage to the open sea.

But Marlow ultimately is a practical man, more occupied with managing his life than understanding it. Managing, in fact, is his answer, as, in a version of Freudian sublimation, he believes one should find oneself in one’s work, though he distances himself from the value of the work he performs. Efficiency is the key, and his main criticism of Kurtz is that he lacked restraint, that he couldn’t control the primitive forces inside him, inside all of us, and in nature itself, both forces coming together in Kurtz, corrupting and destroying him.

Freud in his later work, trying to account for the destructive course the world had taken, speculates that guilt from the conflict between our collective conscience and our dark, inner urges caused the malaise, the force of our desires unconsciously working on the guilt and taking a malicious turn.

What has held us back the last century, what have we not openly, freely tried? What does anyone feel guilty about now?

He also debates a death instinct, somehow somewhere inside us, maybe throwing up his hands.

Fromm prefers inside us a lighter, more creative force, which, when corrected by objective knowledge gained from science, might lead us from self-absorption and self-destruction.

What has our creative force brought to light, or our science? What hasn’t been explored by science in the mind, in nature? What hasn’t been diminished in both by the search?

All three, Marlow, Freud, and Fromm, posit some unconscious force, making a thing of the question they are trying to answer and thus avoiding it, leaving it in unknown unknowns that continue to haunt. And they miss what escapes them in their pursuit, what frightens us yet moves us and gives us the terror of hope—

There is nothing in the heart of darkness, except, perhaps, the heart.

I reread Heart of Darkness not looking for answers but a place to linger, and it is the novel where I most feel at home. The meaning of the story, as the narrator tells us, lies not in the core of the plot but outside it, this meaning enveloping it with an indistinct yet present glow, like a halo. It is the glow that draws me and keeps my doubts alive as I wander through a world only dimly perceived and try to navigate the jungle of Conrad’s thoughts, and of ours.

I am human and that matters. It is always the starting point and the point to which all journeys should return.

But I wonder if my best course now is not to sit apart, like Marlow, away from all fears and desires, and rest with the understanding that does not try to understand, the voice that does not speak.

There are moments, however, I am moved by bright visions and red passions, and I hear fresh voices from a distance speaking a strange language, and they come, and they gather, massing, and I join them, and they join me, and I lead them to light, and words come, and I hear a beating in dark places that matches the beating of my heart, faster, faster…

— Gary Garvin

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Notes and Selected Readings

It is difficult to know what can be taken for common knowledge when so much still remains disputed and denied, but all factual claims in this essay made have been extensively researched and supported elsewhere. Another irony of the war is that it has taken careful, responsible writers years of painstaking research to discover what happened so quickly and was hidden so long.

Seymour Hersh, in Chain of Command, provides details on the abuse at Abu Ghraib and traces the chain of command involved, as well as reviews other matters touched on, such as the questionable evidence for Saddam’s ties with Al Qaeda and the existence of weapons of mass destruction. He cites a 2003 poll that showed 72% of the American people believed Saddam was personally involved in 9/11. To what extent the poll reflects the effectiveness of the Bush spin on the war or our own desire to make the connection would make an interesting study, though it’s unlikely the two factors could be sorted out.

At least one operative knew Conrad. Hersh describes the clandestine special-access program (SAP) that was created to track down terrorists. Few were aware of it. According to one former intelligence official, “We’re not going to read more people than necessary into our heart of darkness. The rules are ‘Grab whom you must. Do what you want.’”

George Packer, in The Assassin’s Gate, also reviews the events and influences leading up to the war and our subsequent occupation, our isolation and detachment during that time. He cites an early draft of the Defense Planning Guidance, written in in 1992, commissioned by Dick Cheney, then Secretary of Defense, and overseen by Paul Wolfowitz, then undersecretary for policy, which states: “Our first objective is to prevent the re-emergence of a new rival.”

So many of us quickly leap to accept conspiracy theories while others too quickly reject them out of hand. Peter Dale Scott, in The Road to 9/11, carefully and convincingly reviews decades of U.S. covert operations around the world, the questionable ties with allies and enemies alike, including terrorists; the administration’s ties to business; the secret policy decisions; and the hidden efforts to centralize power that led up to and influenced the invasion. The full details are dizzyingly complex and extend across the globe.

Only one example. He reviews U.S. covert policies under CIA Director William Casey and Vice President Bush at the time of the Soviet occupation of Afghanistan, in the 1980s, policies that continued and had effects later:

(1) to favor Islamist fundamentalists over native Sufi nationalists, (2) to sponsor an “Arab Afghan” foreign legion that from the outset hated the United States almost as much as the USSR, (3) to help them to exploit narcotics as a means to weaken the Soviet army, (4) to help expand the resistance campaign into an international jihadi movement, to attack the Soviet Union itself, and (5) to continue supplying the Islamists after the Soviet withdrawal, allowing them to make war on Afghan moderates.

Note also the view of business:

In 1997 the Wall Street Journal declared: “The Taliban are the players most capable of achieving peace. Moreover, they are crucial to secure the country as a prime transshipment route for the export of Central Asia’s vast oil, gas and other natural resources.”

That Rumsfeld’s behavior approached paranoia has been commonly discussed. I sketch my own interpretation for comparison. Scott develops the idea further in his theory of deep state politics.

The Report of the Constitution Project’s Task Force on Detainee Treatment has only recently been released and can be downloaded at http://detaineetaskforce.org/report/

Our support of Iraq in its war with Iran, in spite of its use of gas, is discussed in two New York Times articles:

http://www.nytimes.com/2002/08/18/world/officers-say-us-aided-iraq-in-war-despite-use-of-gas.html

http://www.nytimes.com/1988/09/15/world/us-says-it-monitored-iraqi-messages-on-gas.html

America stands against and will not tolerate torture. Bush’s full statement on United Nations International Day in Support of Victims of Torture, 2004, can be found at http://www.presidency.ucsb.edu/ws/?pid=72674

The Yale Genocide Studies Program reviews the abuses and genocide in the Congo Free State at http://www.cis.yale.edu/gsp/colonial/belgian_congo/

The death toll in Iraq has been tallied and analyzed at Iraq Body Count at http://www.iraqbodycount.org

That the intelligence gathered at Abu Ghraib and other detention centers was unreliable is reviewed extensively, with links to many sources, at http://thinkprogress.org/report/why-enhanced-interrogation-failed/

This Wikipedia page reviews fully, with many sources, why Saddam’s ties with Al-Qaeda were insubstantial: http://en.wikipedia.org/wiki/Saddam_Hussein_and_al-Qaeda_link_allegations

Philip Gourevitch and Errol Morris wrote a long piece on Sabrina Harman, “Exposure,” reviewing her behavior and reactions, in The New Yorker (March 24 2008), the source of the opening quotation.

Edited picture of Rumsfeld from The Huffington Post.

Picture of Sabrina Harman via The New York Times.

Man on a box picture via Wikipedia.

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Gary Garvin, recently expelled from California, now lives in Portland, Oregon, where he writes and reflects on a thirty-year career teaching English. His short stories and essays have appeared in TriQuarterly, Web ConjunctionsFourth Genre, Numéro Cinq, the 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 a novel. His architectural models can be found at Under Construction. A catalog of his writing can be found at Fictions.

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Dec 182016
 

coca-cola-selfie-bottle-designboom-02

Then in a flowry valley set him down
On a green bank, and set before him spred
A table of Celestial Food, Divine,
Ambrosial, Fruits fetcht from the tree of life,
And from the fount of life Ambrosial drink,
That soon refresh’d him wearied, and repair’d
What hunger, if aught hunger had impair’d,
Or thirst, and as he fed, Angelic Quires
Sung Heavenly Anthems of his victory
Over temptation and the Tempter proud. 

Image by the Gefen Team, via designboom:

Tel Aviv-based creative agency gefen team has come up with a series of limited-edition bottles that can snap a picture of you while you sip your soft drink … gefen team’s vision for the coca-cola selfie bottle brings the brand closer to a generation of younger buyers, who would undoubtedly enjoy selfie-taking while they sip. users were able to seamlessly upload the pictures to their phone or computer for easy social media sharing across their own, and the company’s platforms.

Text for Paradise Regained from The John Milton Reading Room, Dartmouth College.

See also: Paradise Lost

Gary Garvin

Nov 242016
 

boulee-centopath-low-res

The scale of Étienne-Louis Boullée’s cenotaph for Sir Isaac Newton is enormous. The sphere alone has a diameter of 500 feet. Cypress trees, symbols of mourning, circle the monument on three levels, tightly spaced. A cenotaph is a monument honoring a person whose remains lie elsewhere.

Boullée was the son of an architect, a brilliant student who went on to teach and become a first-class member of Royal Academy of Architecture in Paris. It is late eighteenth century. Neoclassicism was in full bloom and ideas of the Enlightenment were in the air.

Holes are cut in the exterior to simulate inside the points of light of stars in the universe, the interior otherwise black:

new-interior-copy-low-res

At night a central hanging light illumines:

centpath-interior-700

O Newton! With the range of your intelligence and the sublime nature of your Genius, you have defined the shape of the earth; I have conceived the idea of enveloping you with your discovery. That is as it were to envelop you in your own self.

Boullée says about his monument in a treatise.

The cenotaph rests on a solid foundation, a belief in reason and basic truths and the truth of basic forms, in an orderly fitting together of parts, the power of architecture to reform. It was never built, however, because practically it was unfeasible. Boullée was a visionary.

The French Revolution was around the corner.

Postmodernists took a liking, for a while.

centopath-exterior

Almost no one was there the day we went, so we had it to ourselves. We climbed the broad stairs and entered through a round opening, large yet still dwarfed by the sphere. Then we walked through a long tunnel that took us to the interior, to the center, where rested the empty sarcophagus. We glanced at the sarcophagus, then looked up at the stars.

Newtonian physics still works well enough for us, day to day. Of course the universe is expanding, of course it is made of stuff we only somewhat understand, but we were content to see it fixed on the ceiling and we spent the rest of the day enveloping ourselves in ourselves and each other, reaching out into a space that seemed endless.

Night, when the light went on, we were blinded.

Gary Garvin

Nov 172016
 

eve

Haste hither Eve, and worth thy sight behold
Eastward among those Trees, what glorious shape
Comes this way moving

adamcloseup

Ah, why should all mankind
For one mans fault thus guiltless be condemn’d,
If guiltless?

adam

But from mee what can proceed,
But all corrupt, both Mind and Will deprav’d,
Not to do onely, but to will the same
With me?

satanintro2

Either to disinthrone the King of Heav’n
We warr, if Warr be best, or to regain
Our own right lost: him to unthrone we then
May hope when everlasting Fate shall yeild
To fickle Chance, and Chaos judge the strife

satans-hotrod

High in the midst exalted as a God
Th’ Apostate in his Sun-bright Chariot sate
Idol of Majesty Divine, enclos’d
With Flaming Cherubim, and golden Shields

battle-1

So under fierie Cope together rush’d
Both Battels maine, with ruinous assault
And inextinguishable rage; all Heav’n
Resounded, and had Earth bin then, all Earth
Had to her Center shook.

battle-2

The rest in imitation to like Armes
Betook them, and the neighbouring Hills uptore;
So Hills amid the Air encounterd Hills
Hurl’d to and fro with jaculation dire,
That under ground, they fought in dismal shade;
Infernal noise; Warr seem’d a civil Game
To this uproar; horrid confusion heapt
Upon confusion rose: and now all Heav’n
Had gone to wrack, with ruin overspred

angelchariotuse

Go then thou Mightiest in thy Fathers might,
Ascend my Chariot, guide the rapid Wheeles
That shake Heav’ns basis, bring forth all my Warr,
My Bow and Thunder, my Almightie Arms
Gird on, and Sword upon thy puissant Thigh;
Pursue these sons of Darkness, drive them out
From all Heav’ns bounds into the utter Deep:
There let them learn, as likes them, to despise
God and Messiah his anointed King.

bendedkneeuse

. . . a noble stroke he lifted high,
Which hung not, but so swift with tempest fell
On the proud Crest of Satan, that no sight,
Nor motion of swift thought, less could his Shield
Such ruin intercept: ten paces huge
He back recoild; the tenth on bended knee

end

Hence then, and evil go with thee along
Thy ofspring, to the place of evil, Hell,
Thou and thy wicked crew; there mingle broiles,
Ere this avenging Sword begin thy doome,
Or som more sudden vengeance wing’d from God
Precipitate thee with augmented paine.

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(Paradise Lost text via The John Milton Reading Room, Dartmouth College. All pictures by the author from the 6th Annual Pattie’s Cruise In, a car show and street festival in the St. Johns neighborhood of Portland, Oregon. Special thanks to the guys at NWA Blue Collar Wrestling.)

(— Gary Garvin)

Nov 132016
 

Working Title/Artist: The Champion Single Sculls (Max Schmitt in a Single Scull)Department: Am. Paintings / SculptureCulture/Period/Location: HB/TOA Date Code: Working Date: 1871 Digital Photo File Name: DT86.tif Online Publications Edited By Steven Paneccasio for TOAH 06/08/15

Max Schmitt and his reflection have been with me some sixty years, almost my entire life. I first saw him as a child, browsing through the only art book we had on the shelves, Modern American Painting, by Peyton Boswell, Jr., published in 1939. My mother’s influence, but perhaps my father’s. Schmitt gazed towards but not directly at me, with a look that wasn’t recognition or identification yet which made contact and left an opening I haven’t yet closed. With the opening, a proposition that I couldn’t understand then but may have felt, or maybe just a simple statement I still don’t wish to refute. I bought a print some fifteen years ago and he has been on a wall as I’ve moved around the last years, a protracted season of dislocation.

2-max_schmitt_in_a_single_scull-large

The painting is Thomas Eakins’s The Champion Single Sculls, also known as Max Schmitt in a Single Scull, completed in 1871. Click the image above for full enlargement. Schmitt, a friend of the painter, was Philadelphia’s single-scull champion several years. Rowing was popular then, and he was a well-known and well-loved figure in amateur sports across the nation, forgotten now. But I did not know that until much later, nor does Eakins show crowds teeming on the shores cheering him on at the height of victory as he crosses the finish line. He doesn’t even show him demonstrating his strength and skill executing a hard pull on the oars in tense, charged exertion. Rather he presents him dressed in casual gear during a practice session on a crisp autumn day, by himself, in a nearly deserted scene made luminous by a clarifying late-afternoon sun. Schmitt has just made a turn on the Schuylkill River and now relaxes, the wakes from his scull and oars leaving broad trailing curves that take us into the painting and set its composition, giving it its energy. To me, for so many years, he was only a man named Schmitt and he was just there, resting above the still water, looking out, balancing the oars in one hand, which more and more I realize is a marvelous feat.

Working Title/Artist: The Champion Single Sculls (Max Schmitt in a Single Scull)Department: Am. Paintings / SculptureCulture/Period/Location: HB/TOA Date Code: Working Date: 1871 Digital Photo File Name: DT86.tif Online Publications Edited By Steven Paneccasio for TOAH 06/08/15

The bridges are rendered in sharp, accurate perspective—Eakins was a master of the technique—but other painters had already begun to flatten space and dismantle it, taking art in rapid acceleration on an unknown path. And we see on the horizon the developing technology of the time, the train about to cross one bridge, a steam boat to pass under, this when our technology was taking off, with it, our mounting wonder.

4-monet-use

Nor does Eakins show influence of the Impressionists, who had already begun exploring the transience of light and stating the primacy of paint, of colors. Above, Claude Monet’s Bathers at La Grenouillère, painted in 1869.

5-gerome-use

There is no evidence Eakins even visited the Salon des Refusés, and he had his chance. He was in Paris at the time, studying under Jean-Léon Gérôme, an academic painter who enjoyed considerable popular and critical success, for example with his Ave Caesar! Morituri te salutant (Hail Caesar! We Who Are about to Die Salute You).

Eakins has done nothing to alter the esthetic course of art or change our perceptions. He presents the world as solid, and academic rigor anchors his work. Yet the painting is alive, in the shimmering blur of brush along the shore, the erratic reach of the trees, the brisk scrape of clouds above. It succeeds at what makes any work endure, working within a form and giving it life and expression. I have never tired of looking. Each time it is fresh and vital.

He does make a break, however, and it comes from his subject matter, which was rejected by the official salons of Paris and shocked established Philadelphia. He has given us a common man not posing but relaxing in informal clothes, performing an everyday behavior without ceremony, without appropriation of past claims and pretense, in an ordinary place without hierarchy of space or institution. We have begun to look at ourselves and it is liberating.

6-ms-portrait

Perhaps Schmitt is looking at someone on the shore, perhaps he is taken in a thought, or perhaps he is deflecting one. There’s a severity in his face and he seems to scowl, but he’s only frowning in the glare of the sun. His look did not put me off as a boy and must have instilled this note back then, that whoever, wherever we are, whatever we hope to be, we need to maintain vigilance, skepticism, and a measure of reserve.

Really, Eakins doesn’t give us much to identify him as an individual, but his portrait is made in the whole landscape, of which he is a part but where he keeps his separation. There is light. And there is transcendence, but where it takes us is back to exactly what we see, the clouds, the trees, the brush, the trailing curves in the river, and Max Schmitt resting above still water, looking out, balancing oars in one hand.

I have looked at the painting several times this past week, for confirmation, or reassurance, or to restore a definition, and I realize how the painting has always stood for me, that it shows me what it means to be American, vigorous and assertive yet relaxed and open, and free of historical encumbrance; self-assured but not self-possessed and not afraid.

Failing that, it is a picture of what it means to be alive, to be oneself by oneself, and not be alone.

There’s a kind of idealism in realism, or can be, a belief that the simple fact of our existence is worth stating and preserving.

Gary Garvin

Nov 032016
 

isaura

Kublai Khan does not necessarily believe everything Marco Polo says when he describes the cities visited on his expeditions, but the emperor of the Tartars does continue listening to the young Venetian with greater attention and curiosity than he shows any other messenger or explorer of his. 

The cities in Italo Calvino’s novel are metaphors for cities. And for our experiences, alone and together, within the walls we construct around ourselves, walls being metaphors themselves. And are metaphors for other metaphors. And for much else our walls cannot contain, what escapes our most rigorous designs, what exists within, beneath, and above the surface of our intentions. As Marco Polo tells us,

“Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.”

Karina Puente, an architect and urbanist based in Lima, Peru, who has worked on plans for the Lima of the future, has also begun illustrating each of Calvino’s 55 cities. The drawings capture much from the text, but they also have a magic of their own. Her progress can be found at her site here, and you can learn more about Karina and the project in this interview at Kindle.

Above, Isaura, the city of a thousand wells, whose borders are determined by a subterranean lake beneath, its design by all that is needed to extract the water.

Consequently two forms of religion exist in Isaura. The city’s gods, according to some people, live in the depths, in the black lake that feeds the underground streams. According to others, the gods live in the buckets that rise, suspended from a cable, as they appear over the edge of the wells,

And live in all the other apparatus and construction that brings the water to the top. It is a city “that moves entirely upward.”

tamara

Tamara is a city of signs:

You penetrate it along streets thick with signboards jutting from the walls. The eye does not see things but images of things that mean other things: pincers point out the tooth-drawer’s house; a tankard, the tavern; halberds, the barracks; scales, the grocer’s. Statues and shields depict lions, dolphins, towers, stars: a sign that something—who knows what?—has as its sign a lion or a dolphin or a tower or a star.

The city explains itself in these signs. Yet:

However the city may really be, beneath this thick coating of signs, whatever it may contain or conceal, you leave Tamara without having discovered it.

anastasia

Anastasia has concentric canals and much in it streets that captures our senses and feeds our desires.

The city appears to you as a whole where no desire is lost and of which you are a part, and since it enjoys everything you do not enjoy, you can do nothing but inhabit this desire and be content.

However for those who work to give shape to these desires

your labor which gives form to desire takes from desire its form

And we end being Anastasia’s slaves.

As for Kublai Khan, as for all of us, the narrator tells us,

In the lives of emperors there is a moment which follows pride in the boundless extension of the territories we have conquered, and the melancholy and relief of knowing we shall soon give up any thought of knowing and understanding them.

Gary Garvin

Oct 302016
 

princevaliant

Davidson College is a small school in Davidson, North Carolina, part of suburban Charlotte now but years ago a crossroads town that quickly trailed off into the country. You could see a French professor get his hair cut next to a farmer. All the barbers in town were black, and by convention for many years they served blacks only after hours. But they had a thriving business, which they wanted to protect. One or two years of ROTC was mandatory back then, not an uncommon practice. Also there was a war going on, so even after the requirement was dropped many students still enrolled in ROTC. They all had to get haircuts, and a haircut, like much else then, was simple. Keep it short and straight. It was students who protested the policy and finally got the barbers to change, though not without a fight.

When I attended, however, the Vietnam War was winding down. We let our hair grow. Our basketball team wasn’t very good, but they probably had the longest hair in the NCAA. At least they beat Harvard. The barbers were having a hard time and could be seen standing idly in empty shops.

One day, impossibly maned, I paused at one and debated. Christmas break was coming up and I would soon be going home. I started to turn away when a black hand grabbed me.

“Where you going?” the barber asked.

“I guess I’m going to get a haircut,” I said.

And I did.

I didn’t know what I wanted or what to tell him and he didn’t know what to do with me, but something was managed. He was a good guy, who had kids.

“You are the all-American boy,” he said when he finished and spun me around to look at myself in the mirror.

My philosophy professor said I looked like Prince Valiant, the one in the comics.

Gary Garvin

Oct 272016
 

czech

Milan Kundera begins The Book of Laughter and Forgetting by telling the story of the pictures above:

In February 1948, Communist leader Klement Gottwald stepped out on the balcony of a Baroque palace in Prague to address the hundreds of thousands of his fellow citizens packed into Old Town Square. It was a crucial moment in Czech history—a fateful moment of the kind that occurs once or twice in a millennium.

Gottwald was flanked by his comrades, with Clementis standing next to him. There were snow flurries, it was cold, and Gottwald was bareheaded. The solicitous Clementis took off his own fur cap and set it on Gottwald’s head.

The Party propaganda section put out hundreds of thousands of copies of a photograph of that balcony with Gottwald, a fur cap on his head and comrades at his side, speaking to the nation. On that balcony the history of Communist Czechoslovakia was born. Every child knew the photograph from posters, schoolbooks, and museums.

Four years later Clementis was charged with treason and hanged. The propaganda section immediately airbrushed him out of history and, obviously, out of all the photographs as well. Ever since, Gottwald has stood on that balcony alone. Where Clementis once stood, there is only bare palace wall. All that remains of Clementis is the cap on Gottwald’s head.

I had a Czech student decades ago who told me the story of how her mother, a schoolgirl at the time, again in Prague, I think, performed this act of historical revision. Her teacher instructed the class to open their books, pull out their pencils, and erase one of the men. Except by mistake she told them to erase Gottwald, not Clementis. So they had to go back and erase Clementis as well. Then no one was on the podium. There wasn’t even a hat.

My student was bright and beautiful, as her mother must have been.

Gary Garvin

Oct 172016
 

ulysses

Fiction is a construction that arranges space and has a structure that defines spatial relationships. As such it is a kind of architecture, but its structure, especially in our more challenging, more exploratory fictions cannot be pictured as the simple pyramid Freytag gave us years ago. Matteo Pericoli, architect, author, and illustrator, has students explore these relationships and make them visible in models they build in his Laboratory of Literary Architecture, a workshop he has taught around the world. As he says:

In any real architectural project, there are ideas that need to be designed and conveyed, a supporting structure, sequences of spaces, surprises and suspensions, hierarchies of space and function, and so on. In creative writing, many of the challenges seem to be similar. For example, how should different strands of narrative be intertwined? How can chronology be rearranged in a plot sequence? How is tension expressed? What do certain narrative sequences and omissions convey or mean? How do characters connect?

And he cites Alice Munro, from her Selected Stories:

A story is not like a road to follow … it’s more like a house. You go inside and stay there for a while, wandering back and forth and settling where you like and discovering how the room and corridors relate to each other, how the world outside is altered by being viewed from these windows. And you, the visitor, the reader, are altered as well by being in this enclosed space, whether it is ample and easy or full of crooked turns, or sparsely or opulently furnished. You can go back again and again, and the house, the story, always contains more than you saw the last time. It also has a sturdy sense of itself of being built out of its own necessity, not just to shelter or beguile you.

Above, Katherine Treppendahl’s model of Joyce’s Ulysses.

This model represents my interpretation of the structural relationships within James Joyce’s Ulysses. While the novel occurs over the course of just one day, the text is lengthy, rich and exhaustive. The central story is that of salesman wandering Dublin. But revolving around and within that story are thousands of others—both internal stories developed within the novel and allusions to stories external to the text. The primary external text is, of course, Homer’s Odyssey, and the chapters and characters in Joyce’s novel reflect scenes and characters from Homer’s story. I developed an architectural language for translating multiple aspects of the structure of the novel. This language takes into account the progression from realism to abstraction in the text, the shifting roles of and intersections between key characters, the passage of time, the interior stylistic parallels, and the reader’s journey through the text.

Her full analysis of the model is extensive and can be found at her site here.

rings-of-saturn

W.G. Sebald’s The Rings of Saturn, by Joss Lake in collaboration with Stephanie Jones.

The structure is a tall and narrow space, reflecting both the vast scope of the book as well as the intimacy of the reading experience. An uneven path is suspended along metal supports, and gradually rises and falls across the entire length of the structure. The path’s shape is dictated by the fragmented and surprising nature of the narrative, in which the novel leaps from subject to subject through unconventional avenues, such as the documentary playing in the narrator’s hotel room … The darkness of the tall and narrow space is broken by clusters of light bulbs. The constellations of lights are not comforting; they too are disconcerting … These light bulbs are the core of the novel, the details that Sebald, and his narrator, use to recover the past.

hempel

Amy Hempel’s essentially plotless story “The Harvest” derives its motion and containment elsewhere. Ytav Bouhsira, Barbara Clinton, Silvia Jost, Eithne Reynolds created this solution.

The different planes of understanding cause discomfort for the reader. So compelling was the story that reading it was likened to being on a fast train and unable to get off.

We developed models to better reflect our understanding of what the structure of the story would look like and to give the story its spatial form. What emerged were models with airy layers, corners and angles. Through discussion, we realized that we were more comfortable with a form that shows that the author tries by different planes to adjust the story again and again.

While our structure is layered, these layers to not overlap. Rather than giving the reader more information, they show a different attempt of place-making. They have connection and are built one upon the other. There are no pillars or stairs that hold the building together. The space and the structure are the same.

What makes our building inhabitable is that the ground and roof are speaking the same material language. They create a system that allows the narrative to work. The different layers connect with the roof at just one single point–which reflects the moment in the narration where the author talks to us directly in the text and disrupts the narration.

The models are interesting in their own right and take on a life of their own. They could serve as starting points for other fictions.

All text from his site, all pictures © Matteo Pericoli, with his generous permission. More pictures of these models and other models can be found there. Matteo also, along with Giuseppe Franco, has begun a series of Literary Architecture projects in The Paris Review Daily that can be found here.

I had to try my own, Joseph Conrad’s Heart of Darkness.

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The first thought is to make a winding corridor into density and darkness. But really the stalled trip up the river only provides an intensification of what we see in glimpses at the beginning. The plot does not develop anything we haven’t seen before and resolves nothing. It is not a novel of action, but of Marlow’s discovery and perception.

My model, like the novel, rests on water. Marlow tells his story while on the Thames waiting for the tide, makes his trip on a river, and the novel ends with the narrator’s gaze on “the tranquil waterway leading to the uttermost ends of the earth.” Instead of a plot line my model takes its structure from a rational grid of streets the color of blood. Rising from the grid a crystalline city, or a section of one. The novel shows us almost nothing of Africa or its people. What we most see instead, and what I show, is the western imposition and exploitation. As Marlow tells us, “All Europe contributed to the making of Kurtz,” and it was the International Society for the Suppression of Savage Customs who commissioned him to write the report on which he later scrawled “Exterminate all the brutes!”

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“The meaning of an episode,” the narrator tells us of Marlow’s story, “was not inside like a kernel but outside, enveloping the tale which brought it out only as a glow brings out a haze.” Marlow’s encounter with Kurtz throws “a kind of light on everything about me—and into my thoughts.” My model captures this glow in reflected lights, but instead of the sought transcendence we have transparency of motive. There is no green in the model. I rejected Conrad’s notion that darkness was inherent in nature. We largely see nature in the novel as an obstruction or source for plunder. The darkness in the heart of Africa comes from ourselves, our contradictions, our corrupt projections.

Gary Garvin

Oct 102016
 

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It is Minoru Yamasaki’s misfortune that the two works he is best known for, the World Trade Center and the Pruitt-Igoe public housing complex, are best known for their collapse. The World Trade Center, or its site, has attained the status of a shrine, so reflection upon its design and influence will have to be postponed for another time. Postmodern apologist Charles Jencks hailed the demolition of Pruitt-Igoe as the death—prematurely—of Modernism, and critical smoke from that debate still lingers. In both cases, however, the major factors that led to their destruction came from structural tensions outside the buildings, not within, from design flaws in the larger world. And many of the same forces that shaped Pruitt-Igoe, social and economic, direct the design of homes for most of us today and determine where we live and how well.

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Pruitt-Igoe

Most of us know its story, or at least most of us have seen the pictures that left afterimages in our imagination of disaster. At least Pruitt-Igoe brought issues of public housing to the fore. Originally planned as a segregated complex in downtown St. Louis, Pruitt Homes for blacks and Igoe Apartments for whites, the project comprised 33 11-story buildings holding some 2800 apartments on a 57 acre site. It was cause for hope when tenants started moving in, 1954, this at the time of the optimism of the post-World War II boom. The design, with interior pillars supporting an exterior skin of brick and windows, a facade free of ornament and reference, followed principles of Modernism and initially received critical acclaim. To encourage community and give the residents open space Yamasaki placed corridors on the floors, a nod to Le Corbusier’s “interior streets” in his Unité d’Habitation in Marseille. On a larger scale Pruitt-Igoe echoed Le Corbusier’s utopian desires, as outlined in his book The City of To-morrow and Its Planning and demonstrated in his various designs for an ideal city, where his essential solution to urban crowding was density—high-rise offices and apartments set in a rational grid to allow light, space, natural landscaping, and, supposedly, freedom.

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Yamasaki’s design is derivative, perhaps, but there has been far worse for public housing, and private for that matter. The major criticism of Pruitt-Igoe and similar projects has been density. Studies have been made examining the deleterious psychological effects of crowding people in small spaces, especially the higher up a building goes. But as in Le Corbusier’s post-World War I Europe, the need for low-income housing in St. Louis was large and pressing, as it is now in urban areas around the world, and solutions have to be large scale and entail simplification and sacrifice. In many urban areas today, given steep real estate costs and increasing population, the only alternative is to go up. As it was, Yamasaki intended a less dense complex with a mix of high- and low-rise buildings, but rigid federal standards mandated the taller buildings, and other cost-cutting compromises were made that reduced space within the apartments and without. Building contractors inflated their bids, straining the budget further. Still, it did have playgrounds and open space, and facilities for communal needs. The buildings were solid and had heating and plumbing, often lacking in the slums. In so many ways Pruitt-Igoe was superior to the housing tenants had before.

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Occupancy began high but plummeted. Attempts to integrate Igoe, after a Supreme Court desegregation ruling, failed. Whites left. The buildings suffered rapid deterioration and became a focal point of gangs, drugs, and vandalism, of neglect, assault, and fear. The corridors turned into a no-man’s-land, avoided and defiled. Hope turned to a pathology so broad and impacted that the only solution authorities could see was to destroy them. Their answer to violence was more violence. Demolition started in 1972 and continued until 1976, when razing of the entire complex was complete.

A quick review of the causes of its demise will not do them justice. They are complex and interrelated, pervasive and ugly. Nor will numbers tell the story persuasively. Rather the conditions have to be experienced, suffered and endured, to understand their magnitude and insidious effects. Still, Chad Freidrichs’s recent film The Pruitt-Igoe Myth, now on DVD, built on extensive research from city planners, urban historians, and sociologists, provides a depth of understanding lacking when the project was first conceived.

Start at ground level, before construction began, with attitude and motive. Government funded construction for public housing has never been strongly supported in this country, as was the case in St. Louis in the ’50s. Business interests, however, prevailed, but their desire was to clean up the eyesore of the downtown slums to make commercial and residential developments attractive for the thriving St. Louis metropolis they anticipated, which they wanted to give a modern face. There were other motives, not publicly voiced, that emerged later.

Many facilities were not adequate in the first place, their problems exacerbated by lack of funding for maintenance. Elevators broke down, incinerators overloaded and trash gathered, water pipes broke in winter. Security and other services also got cut. The buildings declined in rapid, downward spiral. Many residents were poor blacks who fled the agricultural South in hope of better opportunities. The assumption that tenants could pay for maintenance was not realistic. It became completely untenable when their incomes fell because the urban boom, the modern, new St. Louis, did not come. Instead the city’s population shrank with the flight of tax-paying residents to the surrounding suburbs, taking with them the commercial and industrial base and jobs from the city’s core.

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Pruitt-Igoe did have mixed income at the start. Soon, however, the residents were overwhelmingly poor, many paying as much as three-fourths of their income on rent, and they were densely packed together. Tenants of high-rises on Fifth Avenue in Manhattan, however, manage well enough. Density most affects low-income families. Their circumstances wear at their resolve and they lack the means to change them. Concentration increases pressure on the fault lines. The family is the first circle of the structure of community and the first line of defense in crisis. Welfare laws undermined families by mandating fathers of recipients not be in the home. By 1965 two-thirds of the residents were minors, most in single-parent homes, attenuating the social fabric even further. Residents were constantly surveilled, and other restrictions made them feel isolated from the world and neglected.

The overwhelming factor was race, bound to poverty in intractable and destructive concentration. Segregationist sentiment remained strong, publicly and privately, and blacks, by various tactics and covenants, were barred from the suburbs and the jobs there, and from the jobs that remained near where they lived in urban St. Louis. For so many blacks a project like Pruitt-Igoe was the only option, or the option the welfare authorities pushed on the poor. Public housing became the instrument not to solve social and economic problems but to isolate and contain them, and allow them to fester and erupt. Really, Pruitt-Igoe was a monument to its society’s prejudices, blindness, and failures, and their combined results are what the pictures of demolition we all know so well most represent.

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Now, 40 years later

How much has changed? Paul Jargowsky, in “Architecture of Segregation,” reports that concentration of poverty in barrios and slums has returned and again is linked to race, again is the result of policies and attitudes similar to those of the ’50s. It is almost twice what it was in 2000 and falls heaviest on minorities, black and Hispanic poor. We have seen its effects in the police shootings and subsequent rioting in Ferguson, just outside St. Louis, and Baltimore, as well in reprisals—police slayings in Baton Rouge and Dallas. What we don’t see is what lies beneath the surface of those isolated events, yet all indications are disturbing. Mood is difficult to detect, but we’ve gone from a world that in the ’60s found the need to proclaim Black Is Beautiful to one that tells us Black Lives Matter.

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Next up the economic scale, most of the rest of us. What the chart on the left shows is that income for 80% of us has flatlined while it has soared for the top 1%. More of us are now living with compromises, stagnant pay and diminished benefits in low-level jobs with limited chances for advancement or in contract work that pays even less and is less secure. Or we work longer hours in jobs that do not match our talents, and even hold down two. Or we try to make it on our own with small businesses in an economy that is stretched.

Money is power, and what the chart on right represents is our influence, our ability to make changes for ourselves and in the world at large. It also determines the construction we see in our world as well as gives voice to how we are supposed to see it. Architectural commissions, like money, like land, are limited resources, and the top 1% hold the greatest sway as they hire top architects to build their luxury townhouses or suburban spreads and the most prominent buildings in our urban environment, offices for the corporations they control and institutions where they have influence. These are the buildings that get the most attention in architectural reviews.

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Meanwhile housing, our major living expense, continues to rise steeply. Public-built homes for those of us at the bottom is a moot point as low-income housing is handled through subsidies to private concerns by a ratio of four t0 one, its quality and character determined by lowest common denominator design, its price by whatever the market can make its residents bear. For those of us steps above, an increasing number cannot afford to buy a home but have to rent, and the cost of rentals has kept pace. In its recent report “Out of Reach” the National Low Income Housing Coalition calculates that there isn’t a single state in the nation where workers paid minimum federal wage can afford a two-bedroom apartment at 30% of their income. On average they need two and a half times that pay. The burden is much, much worse in many areas. The report breaks the numbers down, state by state.

Even as you climb the income ladder, many of us are making still more compromises with homes well below the standards we once had cause to expect. We are moving further away from the cities, from our jobs, and from each other in exurban sprawl, or into infill housing or shared housing or smaller, crowded apartments in the city, homes whose quality and style run from dismal to variations of bland.

What can’t be graphed is the decline in the quality of our lives or the effects the disparity may have years from now, or soon. In the tension of the current environment it is difficult to know whether one is being realistic or alarmist, but it’s hard not to wonder if the Pruitt-Igoe pictures aren’t prophetic in another way.

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Geometry

“[A] town is pure geometry,” Le Corbusier tells us in City of To-morrow. “When man is free, his tendency is towards pure geometry. It is then that he achieves what we call order.” He takes our breath with the clarity, consistency, and comprehensiveness of his vision. And chokes us. Jane Jacobs, who lived in the city and studied its people, found that his open spaces led to isolation and bred crime. It is hard not to believe that the simplicity of his design didn’t mask some psychological drive, hidden. Despite genuine sympathy and the best intentions of planners from Fourier’s Phalanstère in the early 19th century, a response to the crowding and squalor brought by the Industrial Revolution and an influence on Le Corbusier, on into designs of the 20th, so many architectural solutions for mass housing have been marked by isolation, containment, and coherence through abstract regularity in a hierarchy of some sort. And by grimness. They want to clean things up and put them in order, not give them life. The working poor were seen en masse as an abstract problem to solve, not individuals looking for variety and fulfillment. Later reactions to Le Corbusier’s monolithic plan were just that—reactions motivated by reverse sentimentality and abstract theory out of touch. Recent urban designers have shown more knowledge and sensitivity, but one has to wonder how much time planners, past and present, spent learning about the people they were trying to help.

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Le Corbusier should not be singled out for criticism, however, and in many ways he responded to the spirit of his times. The world had become abstract itself, absorbed in process, notably industrialization and technology, which architects embraced, and distant from the beliefs and customs that once gave our lives texture and character. The major abstraction the world has to contend with now is the move to the free market, which is anything but free. Whole systems of values have been replaced with fascination in whatever we can be induced to buy, a theme we play out in endless variation. Government managed economy and public welfare policies of the last century have lost substantial ground. Government designed by political thinkers is dead. The greatest irony of “free enterprise” is that it has led to consolidation and growth of large corporations now worldwide, shrinking our influence and status in this process. Business leaders created monoliths on their own, without the help of architects.

Free enterprise does have efficiencies and provides incentive, but as a system of belief and behavior it offers, by definition, nothing substantial, yet its adherents invest it with a veneration that approaches religious fervor. They have also given it a wild ride. Housing was once the bedrock of the economy and a means of individual stability and expression. In the first decade of this century we had a spree, when mortgages lost their moorings and became instead a source for massive, exotic speculation. Complicated financial instruments were created on top of a huge pool of subprime—dubious—loans that no one understood, not even those who bartered them, resulting in a crash that took the economy with it. It was all exhilarating, really, if you can step back a moment and take it in, a non-euclidean triumph. Perhaps a stretch, but the temptation is to say that our more exotic, risky, even perilous architectural designs of the last decades match this spirit, this abandon.

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Frank Gehry’s Cleveland Clinic for Brain Health in Las Vegas.

So much other architecture now, clean and white, open and transparent, appeals to us with its purity and abstraction. Some of it is classically well-proportioned, some is fanciful, some is funky, some technologically marvelous. But so much of it works within theoretical inbreeding and a narrow set of esthetic assumptions it does not question, assumptions and ideas that give us an ever-diminishing sense of self. Some propels us forward towards a fantastic, abstract future that shows no recognition of the past and has little bearing on our present lives. How well these buildings will stand up to the test of time, how well they will weather the abuse of climate and social and environmental erosion, whether they can maintain their pristine appearance and if so at what cost—all these questions remain open.

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Billy Towns

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The most moving and convincing statements in The Pruitt-Igoe Myth come from interviews with a handful of former residents themselves, who were strongly attached to their lives at the complex. At the beginning they experienced joys and a community there that have been overlooked. They speak with clarity and conviction, and reveal the depth of their humanity. They also are not blind, as they understand the motions within and without that strained their lives and led to conflict. One watched his brother die of wounds from a fight as his mother tried to put him back together. But they have endured and come out whole. They represent possibilities missed and lay the groundwork for future construction.

Of special interest is a bonus feature on the DVD, More Than One Thing. It’s a 16mm black-and-white film made by Steve Carver while a graduate student at Washington University that juxtaposes scenes in the life of Billy Towns, a high school student whose father died early and who grew up at Pruitt-Igoe, ever present as backdrop. The ghettoes, he calls it, exposing the stigma attached to such housing, though he goes on to say the projects aren’t that bad. He always tries to make the best of what he has.

Billy is ambitious and wants to make it in life. Most he wants to be somebody and gain respect. The way to do that, he says, is be good at more than one thing, thus the title. He plays two sports, basketball and football, and has dreams, unrealistic, of playing pro. Apparently he can hold his own in the pool room and also plays trombone. At the beginning we hear, in ironic statement, his faltering yet spirited rendition of “My Country ’Tis of Thee.” But he is observant and thinks. He is realistic about himself, his world, and his chances.“I don’t think I look that good,” he tells us, “and I don’t think I look that bad.” He knows he will need ability and have to make opportunities himself. He respects the value of education and wants to go to college.

He also understands the ways of the world, and the film shows how they have molded him, unconsciously, imperfectly, and potentially tragically. Against his ambition and efforts, boredom, which he fights. He says there’s nothing to do in the projects, a recurring theme, so he goes uptown, where he sees white stares. If he has to be good at more than one thing, it’s because he knows he will have limited opportunities because he is black. He also knows what is most needed in our world: “Without money what else can you do?”

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His greatest tension and temptation is violence, to which he may have succumbed. Gang pressure is implied and likely is overwhelming. Fighting is stupid, he says, and he sees the insanity and desperation of blacks killing blacks. But violence of some sort simmers beneath the surface of the whole environment. It is the counterpart to frustration. Like the residents in Myth, Billy feels the urge to lash out somewhere, anywhere, at someone, at something, even if it’s just to break a bulb or smash a windshield. The only other alternative is to be passive and just let things go. Billy’s solution is to stay away from connections. Friends get you in trouble, he says, and he has few. It’s not good to trust too many people because he believes closeness can hurt you, as it probably has. He also mistrusts romantic attachment, more than might be expected at his age. His resolve comes at a price—isolation.

Yet he remains upbeat and keeps looking for options and keeps moving on. At the end of the film, hat in hand and thrust forward, he joins a few friends in a loose, bluesy dance on the sidewalk, utterly engaging, all of them in sync.

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Not only should we build housing for people like Billy Towns and the Myth tenants, construction that knows and respects them and gives them space to be themselves and grow, we can also learn from them. In spite of everything, we see Billy’s irrepressible spirit, his desire to reach and move forward and not be defeated. We can learn what it means to be alive and how to stay alive, a lesson that might sustain us all.

And we should construct housing like this film. More Than One Thing is a tremendously successful piece of architecture. It builds for Billy what Pruitt-Igoe couldn’t, a container that gives him recognition and life. Carver finds spirit and complexity where others only see abstract problems, people as abstract types, and pathology. His style is original yet universally compelling, not lapsing into rigid symmetries, sentimentality, or the constraints of esthetic theory and political ideas. Every shot is well composed, with texture, contrast of shadow and light, and compelling spatial variety.

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The film understands context, the world it which it stands, and transforms its facts, its currents, into vital expression.

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Carver can also find the poetry of flight in the barest place.

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Most, the film has rhythm, in the pacing of its shots and a jazz score that links it frame to frame, that lifts the spirits and keeps it, Billy, and all of us moving. Just as important, it is built on a solid base, humanity, empathy, and broad social understanding.

Firmatis, utilitas, and venustas, durability, utility, and beauty, the principles of architecture Vitruvius outlined centuries ago—More Than One Thing succeeds on all counts. It is well made and solid, and should last a long time. It is useful in the ultimate utility, the means to have a life. There are many types of beauty, and many theories of beauty, but all derive from the same source, the human spirit. Carver has found his own that transcends the trendy or merely pretty. It is a gorgeous film. Relevant to the subject, he accomplished all this on a low budget, with limited technical means.

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Non-manifesto

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Manifestos serve a purpose. They make quick, abrupt statement, clear the air, and get attention. Seldom do their authors test their assumptions, however, or even examine them, but there is some value here as they don’t get diluted in qualification. This manifesto is no different, except it has nothing theoretical to state nor anything specific to propose. It only has one maxim: there are no good ideas. Its only corollary, which necessarily follows, is that there are no good designs.

That does not mean there aren’t bad ideas or designs. There have been too many that were too gross or malignant, and we have suffered too much from their effects. Nor that we shouldn’t come up with new theories and test them or try new designs. On the contrary, we must. “Practical men who believe themselves to be quite exempt from any intellectual influence, are usually the slaves of some defunct economist” Keynes warned us at the time of the Great Depression, and we see the result in our free market chaos now. The same applies to politicians and architects. “Madmen in authority, who hear voices in the air, are distilling their frenzy from some academic scribbler of a few years back,” he added, anticipating the totalitarian horrors to come.

Explaining why the manifesto is true, and how many different ways it is true, however, would take volumes, and that is the point. To do it would require thorough study of all the partial successes and wholesale failures from the past, of all the theories upon which they were built almost all of which had short half-lives. But those are all we have to work on. The view that we have discovered something new and final, or are going in that direction, that we can make a break and leave the past behind, that we have changed in some fundamental way, that we are moving towards some future progress—is an illusion and a trap we have fallen into too many times. The thought that we can build the perfect society or perfect building is already an act of crippling surgery. Any idea, any design, necessarily, inevitably, will come up short. There is too much much to comprehend, too much beyond our control, too much we can’t predict. Forcing a concept and projecting it globally compounds the deficiencies by accelerating orders of magnitude.

Really, the non-manifesto is liberating. It allows openness and flexibility and provides a check to our impulse to contain, control, and extend. We will always end up with compromises, and understanding that will help us come up with plans that are workable and satisfying. It also encourages us to be tentative and keep close to the world around us and to what most matters.

We have known all along what we most need to know about ourselves. We will always have to observe and explain and try out new ideas, and we will always have to make adjustments. But the things that most define us are the things that most resist definition. At our core, the irreducible fact of our existence. We stray from it at our peril.

“Architecture is the will of the age conceived in spatial terms. Living. Changing. Now.” Mies van der Rohe, “Working Theses,” a century ago. The industrial and technological momentum he found attractive and wanted to transform now strains us and drains our will. Anything we build now will have to be durable and protect us. It better be ready to take some hits. But hopefully we will come up with something that is resilient and gives us life.

— Gary Garvin

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Notes and Credits

More Than One Thing has recently been restored as part of a National Film Preservation Grant. It is at the Film and Media Archive at Washington University in St. Louis and will be aired this November at the St. Louis International Film Festival.

Special thanks to Steve Carver for his permission to reproduce the stills from his film.

Permission for the photograph of slum housing in St. Louis, near the Pruitt-Igoe site, from The State Historical Society of Missouri.

Photograph of Le Corbusier’s proposal for a city from ArchDaily.

Pictures of the aerial shot of Pruitt-Igoe, implosion sequence, vandalized corridor, and Phalanstère from Wikipedia Commons.

Income graphs from “It’s the Inequality, Stupid,” Mother Jones.

Housing graph from J. P. Parsons Real Estate Charts. Note the recovery from the last housing bubble and his prediction of another.

Photo of Frank Gehry’s Cleveland Clinic for Brain Health from “Gehry in Vegas,” BoomerReviews.Com.

The Obama administration has just released the Housing Development Toolkit to tackle issues of housing inequality. Introduction:

Over the past three decades, local barriers to housing development have intensified, particularly in the high-growth metropolitan areas increasingly fueling the national economy. The accumulation of such barriers–including zoning, other land use regulations, and lengthy development approval processes–has reduced the ability of many housing markets to respond to growing demand. The growing severity of undersupplied housing markets is jeopardizing housing affordability for working families, increasing income inequality by reducing less-skilled workers’ access to high-wage labor markets, and stifling GDP growth by driving labor migration away from the most productive regions. By modernizing their approaches to housing development regulation, states and localities can restrain unchecked housing cost growth, protect homeowners, and strengthen their economies.

This graph from the Toolkit is telling:

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Richard Florida breaks down public housing expenditures in “The U.S. Spends Far More on Homeowner Subsidies Than It Does on Affordable Housing,” The Atlantic Citylab. Excerpt:

The U.S. shells out roughly $46 billion a year on affordable housing—$40 billion on means-tested programs and another $6 billion in tax expenditures through the Low Income Housing Tax Credit (LIHTC) program, which supports affordable housing investments for low-income Americans. Compare that to $195 billion in subsidies that flow largely to wealthy and middle class homeowners via tax deductions for mortgage interest.

The subprime mortgage crisis has recently been covered in the film The Big Short, which takes much of its information from Michael Lewis’s book of the same title. I have given it my best shot, using largely the same source, in “Under the rainbow: capitalism/the subprime mortgage crash,” adding my own speculation.
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Gary Garvin, recently expelled from California, now lives in Portland, Oregon, where he writes and reflects on a thirty-year career teaching English. His short stories and essays have appeared in TriQuarterly, Web ConjunctionsFourth Genre, Numéro Cinq, the 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 a novel. His architectural models can be found at Under Construction. A catalog of his writing can be found at Fictions.

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Sep 222016
 

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I recently relocated to the St. Johns neighborhood in Portland, Oregon, and have been trying to get my bearings. “Gritty” St. Johns, as Portlanders say, or “up-and-coming” St. Johns, as Realtors tell us, was once an independent city built on its port and a few industries. It was incorporated into Portland a century ago. The other day I walked by a display, pictured above, in the windows of a store that had just closed. Free verse, public art—Sharon Helgerson tells her story and St. Johns’. Age 79, she is third generation St. Johns and a former Longshoreman, once a member of ILWU Local 8.

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Nolan Calisch and Nina Montenegro joined to put her words up, part of People’s Homes, a collaborative art project. The store is across the street from James John Grade School, where Sharon began attendance in 1942.

The other morning I searched online to see what I else I could find about Sharon and ran across this casual picture she took in 1968:

bobby-kennedy-st-johnsVia the St. Johns Heritage Association.

Bobby Kennedy, campaigning in Portland, made an appearance in St. Johns after their May parade, just a block away from the school, the store with the sign, and the place where I now live. Ethel and John Glenn were there as well. Two weeks later Bobby was shot.

The coming elections are in mind, and I’ve been thinking about ways to repair the break in time and the rent in our social fabric, as well as imagine what words I might put in a public window some day, without success.

Gary Garvin

Sep 212016
 

This has been a long time coming. No drumroll, just the satisfaction of a circle closing, a sense of rightness. Gary Garvin has been part of the magazine’s history since the February, 2010, issue. He helped design the site. He went away for a while, his wandering in the wilderness years, then came back and has been working prodigiously on his essays and fiction for us ever since. Now he has agreed to come out publicly as a Numéro Cinq co-religionist and join the masthead as a special correspondent. You can check out his many contributions if you click on his name below. But there will be more.

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Gary Garvin lives in Portland, Oregon, where he writes and reflects on a thirty-year career teaching English. His short stories and essays have appeared in TriQuarterly, Web ConjunctionsFourth Genre, Numéro Cinq, the 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 a novel. His architectural models can be found at Under Construction. A catalog of his writing can be found at Fictions.

May 052016
 

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I FIRST SAW the drawings of Mies van der Rohe’s Brick Country House over forty years ago while in college, in H. H. Arnason’s History of Modern Art, a standard text on the subject at the time, the pictures illumined with only a few sentences of explication. First the three-dimensional drawing of a home spare yet engaged, complex yet composed, low lying yet forward looking—a lean, solid wedge opening out into the world and negotiating the earth and sky:

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Below it the sketch of the ground floor plan, a grid of right angles that do not intersect, difficult to read as a living space, that extends, in seeming contradiction to the first drawing, out into space without clear containment, yet still a scheme coherent and compelling:

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And a chord was struck within, or a tone cluster, that gathered and realigned. Part of the attraction came from the material, brick, whose deep color and rough surface textured my life growing up in North Carolina, providing hue and permanence and friction to all I once found attractive, all I resisted. All the homes where I lived and all the schools I attended drew their substance from the red clay beneath the state’s soil. But resonance came from Mies’s form, the structure, what it analyzed and took apart, what it put aside. Because I was looking for alternatives to the architecture I knew—the colonial attenuations, the classical appropriations, their rigid symmetries—for a way of life that transcended the manners and mannerisms those styles housed and encouraged. I wanted a plan that directed me away from the state’s muddied past and out of its funneling course. I wanted to build a life that sounded the vitality of the present moment and looked to the future, that left options open in a changing dynamic. I wanted to be modern.

Architecture is the will of the age conceived in spatial terms
Living. Changing. New.

Mies van der Rohe/“Working Theses”/1923

Such was the spirit and ambition when Mies’s drawings were first exhibited in avant-garde exhibitions in Germany in 1924, when architects looked for ways to escape the entrapments that led to the broil of the first war. They helped establish his reputation and set the course for his later work, anticipating the Barcelona Pavilion.

It’s the sketch of the floor plan that most captured attention. It reflected aesthetic interests of the time—Cubist ideas about space—and acted as a visual manifesto. And it has sustained interest ever since. It appears on the cover of the recent third edition of William Curtis’s Modern Architecture Since 1900, serving as gateway to the subject:

Curtis cover NC

The sketch is a work of art in its own right, reminiscent of De Stijl paintings, in fact has been compared to one. The figure has the power of a sign, an ideogram that captures a principle, concise and complex, that represents an essential understanding of the world, or the way we might want to see it. Or it could be taken as a symbol for the creative act, or a model for prose. Or a picture of thought itself, of both a theory and method combined, interrelated.

Architecture has given us the most visible face of modernism and provides one strain of its mood. Definitions of movements, however, always run into problems. General definitions lack the power of distinction; strict ones ignore variation and individual talent, as well as run the risk of reducing design to simple rules that lose the sense of art. Often they are shaded by agendas, depending upon what critics want to defend or attack.

There are, however, useful tendencies. Modernist architects were inspired by industrial and technological innovations in material and construction, and wanted to capture their energy and potential in buildings that gave the look of lightness, transparency, freshness, and purity. They built to reveal structural function, not disguise it, though function was ambiguously defined and that motive led to some deception. If reference was made to a region and its past, it was heavily abstracted. But most rejected the past architectural languages of support as unnecessary, of ornament as dishonest, of ceremony and monument as out of step with the times. Instead they wanted buildings that crossed national borders and cut ties with the past as the world approached new social order, belief in which for some approached the spiritual. Unlike many modernists in the other arts they were optimistic.

The style spread to ubiquity, from our cities to our suburbs, throughout the world, giving the places where we all worked and lived a common stamp. It has been with us some hundred years, depending upon when one wants to set the date of its beginnings. Here there is paradox. What was once fresh now appears stale, what was once startling in its innovation now looks passé. By attaching itself to the present modernism fell into the stream of what it tried to step out of, becoming in effect a historical movement without clear sense where it might go next. In the hands of the less inspired, the majority, the architecture became formulaic and monotonous. In the universities, where the leading architects settled, it became refined, rarefied, and inbred, yet theirs were the designs selected by corporations and institutions not for cultural regeneration but for brand recognition and status. Lost in both cases was any sense of common purpose and social cause. Some grand schemes were proposed to remake the world, some of these were in part completed and proved disastrous. The trailing off, the diversions, and the failures provided grounds for the scourge of postmodernist gibes and attacks, whose architecture itself provided the face of that movement and one sense of its tilt.

Yet Mies’s design still strikes imagination today, maybe something else, and still escapes the pitfalls of critical debates and the drag of time. Records for the project, however, are sketchy. It is not clear when the drawings were made and there is little supporting discussion. The two drawings themselves don’t align, having inconsistencies that needed to be worked out in final construction. But the Brick Country House was never built, and there is debate whether he intended to have that done. All that remain are photographs of the two drawings, most of poor quality.

And I put the house aside, leaving its traces to the tangled war of memory and forgetting. For I left for California, the land of promise and casual fantasy, to start a new life, where I endured its flights, distractions, and scourges, going off course, getting lost on distant shores, home itself, any home, a fading thought.

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Home

 

To chart a place on earth—that is the supreme effort of the built environment in antiquity. Shelter, of course, always takes precedence. But its issue transcends self-preservation and comfort. Shelter engages human alliances and rank, and so it becomes the task of residential architecture to advance the pattern of collective existence. From family to empire, the stages of social and political gradation affect the scope and intricacy of this extendable pattern. But in the end organization only tidies up; it cannot satisfy darker anxieties of being afloat in a mysterious design which is not of our own making. To mediate between cosmos and polity, to give shape to fear and exorcize it, to effect a reconciliation of knowledge and the unknowable—that was the charge of ancient architecture.

It is a charge that is no longer pressing, that no longer has meaning. Geomancy had no place in the laying out of New York or Teheran; Buckingham Palace was not planned to be the pivot of the cosmic universe. At some point we chose to keep our own counsel, to search for self close at home.

Spiro Kostof/A History of Architecture

Kostof’s rich prose itself provides a place to dwell. Everything begins at home, whether we care to recognize that fact or not.

Eumaios crossed the court and went straight forward
into the megaron among the suitors

Megaron is the term Homer uses to indicate a large hall around which palaces were once built, in this case Odysseus’s, where his loyal swineherd now appears. It refers to a common floor plan found in Asia Minor, including the site identified as the city of Troy, that dates back to the third millennium BC and later appeared in Mycenaean Greece, likely an import.

Mycenean_Megaron Wik

Columns support a front porch, which protects the palace from the elements and provides formal entry. In the center of the room, an open hearth, which gives warmth and sets the locus for libation and animal sacrifice to the gods. It is a place of residence for chieftains and a center for cultural and political events, marking the consolidation of social order and the rise of aristocratic power in the early days of Greek civilization.

The plan is the basis for later Greek temples, where columns extend around the perimeter and the hearth is replaced with a statue of a deity.

PartFloor use

A temple is a house for the gods that we can enter, giving us a home in the world as well as a means of defining our relationship with it and with each other. For example the Parthenon, where bright-eyed Athena, Athen’s guarantor and protector, the virgin goddess of wisdom, inspiration, strength, and justice, stands in the center of the main chamber, the cella, and receives the citizens of the city. The chieftain has moved out, the people, democratically, let in; unseen powers above have been brought down to earth and given form. Beliefs have visible expression in the face and stance of the goddess, before whom, in more direct and communal participation, citizens can show their respect, make appeasement, and bargain with forces beyond their control, often unpredictable and violent.

That the world is violent the Greeks recognized and embraced. As Kostof explains strength comes from recognition of the power of opposition, a way to gauge one’s own. Above the columns, around the temple, the violence is depicted in friezes of warring factions captured in the pitch of battle—Lapiths and Centaurs, Greeks and Amazons, Greek and Trojans, giants and gods—the outcomes unresolved. Warring opposites complement each other, not contradict, showing an essential part of the Classical spirit that keeps distance, “a sense of timeless idealism,” but maintains engagement in the strain of conflict.

NC centaur

For in the final analysis, the sole purpose of religion is to prevent the recurrence of reciprocal violence.

René Girard/Violence and the Sacred

Or opposition gives us a means to project the hidden conflicts and desires within on the world without and keep us intact, the transfer vouched by displacement into a sacred scheme. A temple offers a container for the violence in our collective hearts.

Mies’s Barcelona Pavilion is a home and also a temple of sorts as well, and like the Parthenon is a projection of a people’s desires to define their values and offer a way of life. The Weimar Republic commissioned him to build it for that city’s international exposition in 1929, wanting to put a new face on Germany that looked past the war and the country’s militaristic past towards new purpose and peaceful order.

NC BarcelonaExpositionPanorama.1929.ws

Against the pomp, imposition, and inflation of past architectural styles from the other nations, Mies’s subdued design, calm, level, and collected:

NC BP wiki

Like the Parthenon, it is set on a raised base that requires slight ascent and, once entered, procession to discover its design and intent. And like the Parthenon, it has a statue that offers figurative expression, Georg Kolbe’s Dawn, standing in a pool in the back corner.

OLYMPUS DIGITAL CAMERA

But the pavilion has a decidedly domestic cast, in fact suburban, bringing aspiration closer to the ground in low-ceilinged rooms that encourage us not to look up but at each other. Nor does it try to impress with mass and means of support. The load is carried by eight slender chrome piers. The walls are free standing and seem to float in space. There is a similar effect in the Brick Country House, where the floor-to-ceiling windows open up the sense of structure and pass support to the isolated sections of brick walls.

Mies admired Greek architecture and studied its influence under Peter Behrens, Behrens himself influenced by neoclassicist Schinkel. His work reflects classical proportion and composition, these brought back to human scale. We also see the energy of involvement in the play of tensions implied in the offset planes and angles.

Indeed we should strive to bring Nature, houses, and people together into a higher harmony.

Mies

The Brick Country House is a temple for private rites and follows in essence another long tradition, that of a home placed in spacious setting away from the polis, as described in the writings of Pliny, that extends through Palladio into the last centuries. They were homes for the patrician order, and as such reinforced their remove and power. But they carried with them a proposition about our relationship with what might lie outside and beyond us, what appears in the world that is not of our design and making, what has been referred to over the millennia with a term of shifting and escaping associations and assumptions, what we still call nature.

NC BP floor plan Wik

In both we see Mies’s break with tradition. Axial planning and symmetry have been replaced with asymmetric designs that have no explicit center. The walls are incomplete, thus the rooms are left open, and their relationship to each other and to the overall design, the relationship of the buildings to the external world, in general the relationship of interior to exterior, are all part of a dialogue that has no final resting point. Instead of a plan of orderly containment and progression to guide the life inside, options for a program are left to the residents to decide freely, without any being decisive. Nor is there explicit reference to past architectural orders and the meanings they might carry, or, aside from Dawn, who in her twisting, rising stretch into consciousness echoes the asymmetric design of the pavilion, any figurative expression. The languages of decoration have been refined to abstraction, or put aside.

Still there is careful placement and unifying composition, and still a sense of centering. However, while there is great energy in the tension of the play of planes, gone is the strain that once charged Greek temples. Both the pavilion and house exhibit control, certainty, confidence, and composure, though we do not know yet what awakening Dawn or wakers in the house might have or where that might lead.

In the shadowy hall a low sound rose—of suitors
murmuring to one another.

Classical orders, however, came back with a vengeance in Germany and elsewhere not long after.

NC nazi arch

Nostalgia fused with symmetry can be a powerful conduit for single-mindedness.

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The Elements of Fiction

 

Greek thinking is at once typal and specific. It takes on an idea (or a form, which is nothing other than a congealed idea), nourishes and perfects it through a series of conscious changes, and in this way informs it with a kind of universal validity that seems irrefutable. The process is in fact ideal, that is, based on “the perfection of kind.” It presupposes orderly development and the practicability of consummation.

Kostof again

I loved building with construction sets when I was a kid and could spend hours sitting on the floor of my bedroom, absorbed in physical act of putting one piece on top of another, of setting concrete objects into empty space, watching them gather, the building rise, in a process that at first seemed endless, a great part of the joy. But I’d yield to the demands of the materials, the various pieces in my set, and to the design in my head—just a thought, just a sketch—and give myself to those, anticipating but not yet knowing, often not knowing until the end, the shape and success of the final product. Once I adjusted to the small scale, space became huge, extending to the reaches of the world and its peoples, invisible spirits making appearance, my excitement from entering the world and commanding its space mounting with the rising building, that thrill, however, mixing with the equally strong fear of disturbance that always comes from the violation of the creative act. And always, when done, when I stepped back and looked at my creation, my efforts spent, the pieces in my set exhausted, I felt the sadness of completion.

Recently I took up building again, using pieces from the Lego architecture series, constructing models of well-known buildings as well as attempting some of my own design. I spend much more time in preparation, studying and revising floor plans. I still pass hours on end with the same absorption, the same anticipation and dread, but now I am moved to parallel contemplation of other things, of higher things, of all that might be thought, one path my life has taken. And still, the building completed, I feel the depression at the end when all that I excluded in the design flies back at me or escapes into fleeing nothing.

What I often think about is writing. Architecture, like writing, is a ritual of construction, a repetition of acts to fulfill desire and serve some purpose, and since a series of actions that moves towards an end, it has a story. Architecture is one kind of fiction, the building of one desire and sacrifice of another, whose life comes from the implied opposition. Philosophy, religion, politics—everything is fiction. Our different thoughts and different beliefs and different actions take different forms and we experience them in different ways, but the elements are the same and the task is to find ways to make them work together.

Setting is site, the land, its contours, its life, its exposure to the elements, as well the life of the people who live there, their history, their beliefs, their customs, their habits, these expressed in other buildings near which the new construction is placed, to which it might make reference.

Character is the inhabitant, who will be determined in large part by his or her setting. But also there is the character the architect hopes to create through experience of the building. Differences between the two might lead to conflict, which, the architect hopes, finds resolution in character transformation.

Plot is the floor plan, a building’s structure, and the program it offers characters. Time has been frozen in the plan, but it comes alive as characters move through the structure. The plan determines how they rise, how they descend, how they gather and interact, where they might disperse, these subplots combining to form the ascent of the narrative trail and conditioning the move to resolution.

Point of view, the perspective by which we experience a work, is omniscient third person, effaced. The architect knows the intent of the overall design, but we have to discover it by experience and implication. That takes us, of course, to the problem of nailing down and knowing the Author, a matter of fractured debate the last decades. If I am the designer of my own buildings, I am thrown back on myself, on all the conflicts and uncertainties there. The problem splits in other ways when I model buildings by well-known architects and try get inside their heads.

Voice is the accumulation of small touches to create the mood that colors how we receive the building, which comes in architecture from the posture of accents, the directness or slant of references, or their pointed absence, from the suggestions that arise from shapes. When building I can stare in perplexity at a single wall, just a simple rectangle, which with the addition of a single layer of bricks can move from bathos to the sublime.

Theme comes from placement and variation of recurring motifs—the angles, the shapes, the openings and enclosures, the play of light and shadow—and how these join to form a coherent whole. Theme takes us to the matter of meaning, if we can go that way, to the larger world and the world of ideas, and to voice, which determines our emotional attachment or distance, a large part of meaning.

NC floor diag

I started the model of the Brick Country House because I thought it would be a quick and easy project, well suited to the Lego parts I had. But once underway my earlier fascination, dormant all those years, resurfaced, and I gave myself to hours of reflection that moved me farther out, in all directions. I also ran into problems I wasn’t sure how to solve. It is not a simple house at all.

As for setting, the drawings indicate a large house, low, wide, and spreading, situated on a considerable tract of open land, reinforcing the tradition of the country house and its occupants, the implications there, at least in the abstract. Mies also uses the traditional material of brick, perhaps a nod to local soil and customs. The son of a marble carver and proprietor of a small concern, he didn’t have formal training but did have experience early on in the building trade, and late in life he expressed his admiration for the craft and care of the masons, another influence. The two tall columns above the roofs suggest chimneys and bring their associations, though hearths are not marked in the floor plan. He built other homes with brick for well-off clients at that time, but also a monument to fallen Communists in the Sparacist revolt, during the November Revolution, suggesting his cultural sensitivity wasn’t fixed in one direction. Also implied is the setting of the new world he saw coming and its life, though still in the abstract. Neither drawing, however, offers specifics of site to fix the setting in any actual place and time.

Mies may have only intended the project to be a position piece for exhibition, in which case the specifics would have been left out to highlight the concept. Wolf Tegethoff, however, in Mies van der Rohe: The Villas and Country Houses, has made careful study of available evidence to conclude he planned to build the house for himself and had a particular site in mind in a suburban area outside Berlin, in fact had two sites in mind, and the three-dimensional drawing was made for one, the floor plan sketch for the other, thus accounting for the discrepancies in their alignment. So they might also have been preliminary designs for actual construction, which would have to be adjusted in the later final planning and construction.

As for plot, the house’s program, the small rooms on the right might be utility rooms for food preparation and other functions, or, if privilege is involved, living quarters for servants. Or they might provide working space for the owner, removed from the rest of the house to allow concentration. The narrow middle section could be a library or casual den. The rooms on the left, larger, could be used for more formal social functions, dining and gatherings. The second floor, since separate and private, might have held bedrooms and other rooms for repose and intimacy. I’m just guessing, however. The only indications Mies wrote on the floor plan are the general designations “living space” on the left and “service space” on the right. But to fix the plan with a definite program is to miss the point.

In the ground plan of this house, I have abandoned the usual concept of enclosed rooms and striven for a series of spatial effects rather than a row of individual rooms. The wall loses its enclosing character and serves only to articulate the house organism.

Mies

Plot, theme, character, and voice can subsumed in the term organism, an intriguing and elusive concept. The rooms, like those in the Barcelona Pavilion, flow into each other without full delineation of their boundaries or definitive separation from the exterior. The influence of Frank Lloyd Wright is obvious and was acknowledged. The walls and the areas they suggest give a sense of internal involvement, denser, more enclosed and defined in the smaller, compact rooms on the right, that opens through the narrow middle section and out to the rest of the house—and beyond. Little is in line with anything, and there is an energy in the overall plan that never settles.

With corners removed, the design encourages an open way of living, away from the compartmentalization and hierarchy of the past, in a fluid, flexible space that offers full visibility and the chance for common interaction and individual retreat. Plot is not a matter of a set path of actions or final ends but an evolving process; setting becomes the immediacy of the present moment, an ever-changing now. Theme comes from the related ideas of freedom and flux and vision, expressed in a mood that is open and light. But the plan is not chaotic. Rather, it shows a precise, complex, asymmetric logic where control is never lost. We do have the option of the possibilities of containment in rectangular enclosures, however. As Tegethoff observes, the incomplete walls imply, through a gestalt of perception, extension into corners, giving mental closure. There is also the motif throughout of implied squares, separate and overlapping.

The house gains extension in its structural interrelationship with site, which takes us to the world of nature and whatever might lie beyond. It is the outside walls, which do not intersect at a common point, that give the house its greater energy yet at the same time, with their figure of an incomplete but implied cross, off-center, stability. While we might not see the overall plan or the outside walls completely, Tegethoff notes we will be aware of them inside and can fill in gaps. And moving through the house engages us in the outward motion. The many full-length windows lighten the sense of load and encourage openness and exterior vision. We will see the outside world in many parts, from many angles, and can put it together it through the experience of living and moving throughout the house. Seen from the outside, the house promotes a similar effect in a play of solid brick planes and separate, multiple reflections of the world in the glass windows, always changing, and in an interaction of light and shadow. Inferred is the idea that knowing the world, like living in it, is an active process of multiple points of view and assemblage.

Still, the overall structure raises questions. It is not clear what is front or back or where the main entrance is, if there is one, or how the house might communicate with the rest of the world, as these distinctions have been put aside in the larger scheme. Such distinctions might not matter or even make sense, however, in a home in the country, and perhaps Mies wanted a house that maintained the openness of the setting and its lack of orientation while avoiding the conventional formalities of entry and exit. There is no overt pretension in the main facade, if we can find it.

The outside walls are vital, yet the most problematic. They mean three separate yards, though for what distinct purposes I can’t imagine. They provide division, but not functional definition. The only way to move through the three areas they create is through the house. Also they exert complete domination of the estate, with all that might imply.

If the house were built on actual site, however, likely we are seeing a front view in the three-dimensional drawing. Tegethoff argues the closed face of the foremost rooms and the spreading yard before them provide separation from the street and remove the traffic of the world, allowing for private life. Entry is likely from the back, and the walls hide the other areas from public view, perhaps one being a garden for personal cultivation. The walls, however, would have to stop somewhere, presumably the boundaries of the property, which, standing isolated, would look awkward. Also they would have to be shortened considerably in symbolic representation, losing the sense of their extension. Other adjustments are needed, but they would disrupt the overall plan and effect. And once placed in a neighborhood of other homes, the Brick Country House would be enclosed, losing the effect of openness into space.

But even if the project is a conceptual proposition there seems to be no place for trees or other landscaping, which would be disruptive to the horizontal character of the house and its openness. Nature has been rendered as flat, empty space, a bare idea. The effect is orderly, serene, even breathtaking—and solitary and chilling.

NC side view

Either way, actual or theoretical, the drawings raise the question as to what forms our lives might take separately and together, even if provisionally, even if momentarily, with what common understanding, or whether we will become Dawns perpetually rousing but not gaining full consciousness, an awakening.

For Mies, architecture was neither a technical problem nor applied sociology but rather, as he wrote in 1928, using words that are as ambiguous as they are emphatic, “the spatial implementation of intellectual decisions.”

Christoph Asendorf

Intellectual may be the term with the most resonance and ambiguity, depending on how one sees the life of the mind. The outside walls suggest extension that, theoretically, since their lines run to the edges of the drawing and look to go further, is endless. The plan gives a picture of a mind asserting itself, opening up to and grasping all space and time. It recalls the Cartesian grid—Tegethoff again—with the implied cross suggesting the presence of x crossing y, giving us the coordinates to map the universe and comprehend it. But Mies’s grid, with the axes offset, the shapes incomplete yet suggesting closure, their interrelationship complex, gives us a picture of a universe that is active, not static, not divided evenly down a middle. Yet it is only a theoretical proposition, a rationalism that cannot be filled with empirical data, the stuff of our lives. The plan reminds me of the precise, brilliant propositions of Wittgenstein and of all the philosopher bracketed and left in suspension—ethics, esthetics, and even the matter of our existence itself—which could not be contained in his logic.

NC Witt 1

Wittgenstein. There were moments, while building, I felt I was lifted to that plane.

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Completing the Brick Country House

 

NC Witt2

There is no plan for the second floor or any view of the rest of the house. But really there isn’t much left to do. The floor plan provides openings and walls for entire first floor, while the three-dimensional drawing gives views of two sides. All that has to be done is locate the rooms on the second floor and fill out the back walls. The smallest problems, however, are often the hardest.

The three-dimensional drawing has a wide perspective with a low horizon and vanishing points well off the visible picture plane, I assume to give the building the horizontal cast Mies wanted. Such a perspective is also necessary to include the outside walls, or a good portion of them, important to the design. But it is an extreme perspective drawn with lines at slight angles, difficult to capture—I tried with ruler and pencil—and I’m not sure it is consistent. Neither my model nor the models and CAD renderings I found online can account for the distance between the second-floor room, with the windows, and the smaller chimney on the right, and I couldn’t recreate it.

NC w arrows

That room is especially hard to read. Its front wall appears to begin next to and behind the large chimney. That would make for a narrow room, however, given the way it appears to align with the first floor. Some of the models I saw move the room forward and extend its width all the way to the edge of the first floor, adding a brick section before the glass. But that distorts the relationship of its windows to those on the first floor. Also there should be a corner line in the chimney to indicate where the room begins, which does not appear in the drawing. I kept it behind the chimney but moved its rear wall back and its side wall in to maintain apparent relationships. The band at the bottom indicates terracing, the only suggestion of site contour. Perhaps Mies wanted the house, like the Barcelona Pavilion, slightly elevated. The house and the rest of the land look to be on the same level.

But those are only structural details. I could not fill in the manner and temper of time and place, which moved me towards a theoretical model, my preference anyway. Nor could I share the surprise—or shock—of Mies’s innovations. I am well familiar with nearly a century of modernist abstraction, and open floor plans have become a standard convention, unquestioned. I also had to fight my own esthetic interests. I must confess that, like bourgeois Germans then, I do not like flat roofs. Most essential and least supported by facts, the spirit of the design and the mind of its creator, which I would have to discover in the process of building.

I still had to fight habits that called for a practical program and put aside the demands of small uses—closets, bathrooms—simple, slight needs that present great challenge to any overall design. Thinking about the house in conventional terms ran me into all kinds of problems and felt like unwanted intrusion. So instead I followed guidelines of design and structure, not use, suggested by the two drawings, referring to the floor plan to set the rooms and openings for the first floor, and the three-dimensional drawing to guide overall appearance:

Structurally, the brick walls provide support points for a reinforced slab that forms the base for the second floor, though I’m not sure my design is structurally sound—and questions were raised about his.

The second floor should be contained within the first and not extend beyond.

Like the first, it should be composed of free-standing walls and windows floor to ceiling. Its floor plan should maintain the pattern of open corners and implied squares, and continue the energy of the first.

The back of the second floor should provide several windows for light and view, of varying widths for variety and complexity.

Again, almost nothing is aligned in the first floor, except the brick exterior wall at the top with the second floor wall beyond the large patio. This reinforces the influence the extending walls have on the overall energy of the design and adds a measure of control. In my design for the second floor, I made the back wall of the back room on the second floor, which I added, to align with the bottom exterior wall, for that reason.

I also added that room to give the floor some width to fill out and integrate the whole building rather than have a narrow, isolated floor atop the first.

I decided it did not make sense, formally or practically, to have windows at the back of the floor overlooking the greater span of the roof, although I see alternatives to my placement.

The enclosure should suggest and complement the first floor but not repeat its forms and have some complexity. My second floor, as is apparent from the roof pictures below, provides a complex shape that echoes its length and provides offsetting variety. That it’s set at a right angle to the first reflects the cross shape of the exterior walls, reinforcing their influence and adding another degree of tension.

I decided there should be continuous walking space on the roof around the exterior of the floor, with the exception of the large platform by the large chimney, and assumed a door or doors. The access enhances the physical experience of openness and relationship with the land, though I don’t know that is desirable or needed. There should be continuity of the plane of the first floor roof, however, visible from within.

NC roof 1

NC roof 2

Aerial views matter. Even if we don’t see the top, we construct it in our minds, and it will be seen in the minds of those who will look at illustrations and flyover shots later, a pattern among patterns, part of an overall pattern of the surrounding landscape. The roofs overhang the floors slightly for guttering, which I couldn’t reproduce in my model, so I made sides of the roofs flush, except where there are extending platforms. I assumed there are patios beneath the platforms, shown in the floor plan, which I modeled in gray. The floor plan does not differentiate between windows and doors, nor are doors explicitly shown in the three-dimensional drawing, so I made all openings planes of glass without distinguishing detail.

Exterior views, rotating counterclockwise from the first:

NC aa

The two chimneys, if they are chimneys, with the line of progression implied from the smaller to the larger, unify the house and reinforce the outward and now upward direction of the scheme. The three-dimensional drawing presents a view seen near ground level, from considerable distance. Our experience of the house will change as we move closer and walk around, although the exterior walls will limit and determine our views in the three separate areas they create. The unity within the horizontality is maintained in some views. In others it breaks down and we are more aware of the separate components. It is what I discovered in making the model, the many different aspects of the house.

NC a

I added a corner window to the back room of the second floor to complement the one on the first. For the rooms on the right, the floor plan calls for an overhang, and I tried three options, one over the first floor, as shown, two parallel platforms over both, which looked repetitive and static, and an overhang only on the top, which removed the walking space and added a vertical element I didn’t think called for, as well as dissipated the variety and energy of the overall design of the top roof.

The narrow window on the second floor, far right, may be a mistake, but it offers the only view from the second floor of a large part of the backyard and the land beyond. I didn’t want to repeat the size of the first floor opening or create a checkerboard of regular squares. Another option would have been a wider window above it, but that would have meant one floor-to-ceiling window atop another, without clear structural separation, at odds with the rest of the design.

It was in this corner, near the end of construction, that I most began to question what I had done.

NC b

A window or door is not marked on the floor plan for the opening near the middle, next to the exterior wall, so I left that space open, providing an internal penetration to the house and allowing protected entry. This side, which I took for the back, most presents the mass and solidity of the building and emphasizes the materiality of brick.

Possible second floor plan:

NC 2nd floor plan

As in my first floor plan model, windows have not been placed. The large area in the middle would be a common area with entries to the smaller rooms around it. The black tiles represent where the stairs enter the second floor.

The most important determinant of the design is the active, outward expansion into space. Should the second floor continue the expansion or would the design reverse course and we ascend instead into another area of concentration? The floor plan only provides two dimensions. How would the third dimension, height, be added, and with what effect? Entry to the second floor is only provided by the narrow stairway, which would cause intense concentration. That could be avoided by making the the entire area of the largest room, which looks to be a foyer or maybe a living or dining room, an open space that extends the full two stories. But I’m not sure such a solution would be structurally sound or fit Mies’s intentions. The whole first floor looks to be covered by the slab, upon which the second rests. Also such a solution would limit usable space on the second. And any view from this large space on either floor would be interrupted by the large platform in the middle, which would be intrusive and disrupting.

But I only list general esthetic concerns without relationship to a specific controlling principle. The open mesh of lines in the floor plan, the suggested squares, the implied vertices, might be guided by some central idea, an essence. Careful study could be made of these, of their proportions and relationships, to find a pattern that, once understood, might provide a key for the second floor and the hidden walls.

NC diagram

The design speaks but doesn’t give answers. A host of options presented themselves and none settled. I only made a brief effort, without result. My attempt to recreate the sun with a spotlight and study patterns of shadows created by its diurnal course got no further.

Throughout the process, at every shape, at every turn, at every opening, I was struck by the originality of the design, the order of its scheme. But I have no confidence in anything I have done. What I knew from the outset only became more apparent as I approached completion, that I would never be able to maintain Mies’s precise shapes and careful proportions, much less assemble them into a unified whole. I only moved further, with each piece, with each attempt to comprehend the space, to indecision and uncertainty. Instead of finding a home, I worked my way out of one, its spirit vanishing with its creator.

NC top floor plan

NC witt 3

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Bricks

 

NC brick kiln

Architecture begins when you carefully put two bricks together. There it begins.

Mies’s comment, like his other remarks, like the man, is concrete, concise—and enigmatic.

A brick is an obdurate object of ambiguity that hovers between idea and matter, between life and death. Its texture can be smoothed to glide our touch or left rough and abrade. It can be molded into even shapes for consistent construction or made uneven, presenting individual challenges each time one is laid in a course. The hues can be made consistent, offering an even appearance, or they can vary from one brick to another, presenting more individual challenges. But while it can come close to an ideal oblong shape, it never attains perfection, and it can as much be said that it approaches perfection as it resists it. A brick has the right heft for throwing through a window in revolt. It can also be stacked to encase one solidly. Its color takes on that of blood and the earth from which it is made, or both inseparably combined. Whether it preserves blood or shows it spilled, whether it reveals decay or stalls it—these questions cannot be answered. In spite of its ambiguity, however, we are always aware, in mind and in hand, of its touch, of its mass and weight, of its presence.

Just after college, still in North Carolina, I took on a string of junk jobs to make some extra bucks while I was trying to decide what to do with myself. In one I was a brick palletizer for a brick company, a complicated title for a simple task. At the beginning of each day four of us, two to a team, would enter one of a half dozen large dome kilns by a small opening, climb the pile, and lift, lower, and stack bricks on wood pallets so a forklift could come and take them someplace else.

Time at the kiln was measured in bricks: twenty to fifty bricks a pallet, depending on their size, two or three pallets an hour, sixteen to twenty-four pallets a day. Cramped between a mound of bricks and the curved wall of a kiln, we moved time, lifting, lowering, stacking, and thus diminishing it, only to return to a kiln full of bricks the next day. It was a time of endless subtraction.

Once inside the kiln, you couldn’t see who you worked with and after a while didn’t care. All I can remember is bricks. They were sharp-edged, heavy, and rough; we had to use thick rubber gloves to hold them that we’d wear out in a week. Stacked close to the ceiling, smallest on top, largest at the bottom, bricks blocked out, seemed to absorb what little light came in. You couldn’t even hear yourself think or cuss, because outside the opening fans the size of airplane propellers roared to cool us, the bricks off. As we worked, we bumped, dragged, and scraped the bricks against each other and ourselves, raising a dust the fans returned that burned our eyes and, mixed with our sweat, seeped into cuts and scratches. Our hands cramped, sometimes locked. The bricks, still warm from the firing, got hotter the closer we worked to the center of the pile, as if in some inferno. Even on the cold mornings—it was winter—we stripped to our waists ten or fifteen minutes into the day.

One day I teamed up with an old black man, easily in his sixties, and now I see him in a kiln, crawling crablike over a pallet of bricks, his face covered with soupy, reddish paste, as if he secreted it, as if he were made of it, not flesh. He moved slowly and deliberately, but with economy of effort, and I had trouble keeping up. I had the position on top, the old man, below. I was always stopping to straighten my back and catch my breath, and my halting labor broke the cadence of his. That irritated him, I could tell, but he never said anything about it. He never spoke about anything, or swore, or shrank, or groaned. The only interchange we had was the passing of hot, heavy bricks. Nor did he look up: he saw no further than arm’s length, than the bricks that came down in irregular rhythm.

A kiln is also a kind of temple built for communion within a system that has its own beliefs and practices, that attempts to attain its own sense of perfection. For me it was a place of contemplation, where I saw things precise and clear. While my body got stiff from the bending, the lifting, the lowering, my head grew sharp. Holding the bricks, I felt the weight of ideas, in the repetition of the labor, sensed an outline of new order. From the fatigue, the burning, the ill use of our bodies, I extrapolated the possibilities of meanings. And in the darkness of a kiln, I could see the afterimage of invisible cities, radiant, harmonious, and light.

The old man, one of the guys told me during a break, had been there twenty years. I only lasted a week. Twenty to fifty bricks a pallet times two or three pallets an hour times eight hours a day times two hundred and fifty days a year times over twenty years would build how many houses?

With what effect on the body and spirit?

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Suitors

 

Now by Athena’s side in the quiet hall
studying the ground for slaughter, Lord Odysseus
turned to Telemakhos.

We are all modern now, by default and by desire, and modernism has returned by leaps and bounds.

Our world has become increasingly abstract, simplifying itself by its own process. The cost of labor to procure materials and build with them—one effect of a loose move towards democratization—has led to reductions, while mass production and mass media and mass marketing most determine the appearance of what we see in our day-to-day lives. It’s hard to find a language of embellishment in our current culture that might stick. The once dominant influence in Western architecture of classical forms and detail, and the culture that created them, can only be referred to now sentimentally or ironically. We are distant from other influences as well, and they can’t be tapped without a sense of intrusion or appropriation. Whatever geographical moorings we once had have been diluted by our movement away from centers and dissolved by the abstract ways we define our lives together. Our gaze is now outward, international, beyond nation, this in a world that is still trying to define its themes, whose plot fractures in local skirmishes or climbs precipitously to virtual apocalyptic visions, on our screens.

Our conversion to scientific revelation—and scientific-looking revelation—has given us certainty and confidence but removed the base for awe. Transcendence itself has been dismissed as an illusion, a vague desire. We have no fixed set of beliefs upon which to build anything, no cause to look up, and no compelling reason to design one way or another. We do not know what to be afraid of, have even put the thought of fear aside, but somehow have bypassed the suspicion we should be afraid of ourselves.

Still we are moved to wonder, or whatever has taken its place, by our technological devices and constructions, these ever propelling us to the threshold of what we cannot and do not want to name. Because by default and desire we are attached to the present moment, the pulse that feeds our self-awareness, now, and we can’t think of that moment without thinking of its decay, so are propelled to look forward to the next, to the future, in visions whose spirit is fresh, whose surfaces are pure, unhindered by distracting detail.

We can build now almost anything we want and open up our walls to the endless world and endlessly let it in, and do so with little visible external support. At least this much has been transcended, the restrictions once imposed by gravity that necessitated placing beams on posts, that limited openings and kept us close to the ground, that constrained the building of an esthetic.

Our buildings can take any shape we want:

NC Gehry

Or they can rise closer to the heavens:

NC burj

Or give us the means of ascent:

NC Apple 2

And we have embraced nature in our constructions, integrating its color into our pure whites and sheer glass and shining steel.

NC Fields vallco

Or used nature to efface them. This is Rafael Viñoly’s project for The Hills at Vallco, which will become the world’s largest green roof that will cover a mixed-use complex:

NC Vallco below

It is all exhilarating, really, but it all makes me dizzy. I don’t know if that is where my quest to be modern has taken me or whether modernism has left me behind. Or maybe modernism, reaching beyond itself, has left itself behind.

Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.

Elliot offers another view of eternity, different from Wittgenstein’s, and raises other questions.

The new Apple headquarters, a Norman Foster design under construction now, and The Hills, still a proposal, will lie next to each other, part of a plan to revitalize Cupertino, the heart of Silicon Valley, where I have lived some thirty years without ever taking root. I have been buffeted by the turbulence of the tech industry, its busts, but haven’t enjoyed the exuberance of its booms. And a new energy has emerged once more, taking me by surprise, because I am removed from that life and didn’t know about these buildings, just a mile away, until I saw them announced in the media.

Apple Campus 2 itself will be 80 percent landscape, with many functions submerged underground. Steve Jobs said he wanted to bring back the California of his youth, “the fruit bowl of America”; the company, after his passing, represents it as “a serene environment reflecting Apple’s brand values of innovation, ease of use and beauty.” There’s a term for the suppressed iconography, pastoral capitalism, and according to Louise Mozingo, who coined the term and wrote a book with that title, the movement is global. Apple’s profits the last years have been enormous. The Hills, however tells another story. The current Vallco Mall, which it will replace, has been in decline since its inception. All its anchors—Sears, Macy’s, etc.—have left and it is now half tenanted. Covering the stores with grass will somehow resurrect them.

Both pictures are also misleading. The green spaces they create will only provide a small patch of land in crowded streets and compacted homes and stores that stretch out for fifty miles. And they conjure a past that that never was and promote a way of life at odds with the hectic pace and manic schedules needed to thrive here.

Mixed-use is another trend designed to halt the decay of sub- and exurban sprawl. The idea is to combine residence and commerce in a mix of apartments and restaurants and offices and shops in central integration, to bring us closer together. Cupertino, whose previous attempts to establish a city center have failed, is giving it a shot. Main Street Cupertino is another mixed-use complex, nearly completed, in front of Apple 2, and about which developers say:

It’s all happening at Main Street. Everyone in your group—from young professionals to big families—will find what they crave in an inclusive community atmosphere that enhances your time together. Food, wine, friends and fun are celebrated here at Main Street. From enlightened burgers to craft beer, artisan pizza, vegan wraps and more, everyone will find something to love.

Angels have descended to write copy.

I can only stand aside in disbelief. But maybe there is innocence in all of this, maybe even a future. Because I, wingless, am the one who has become corrupted over the years. I am the one who is tortured by irony and wrecked with doubt, whose only mood now is fatigue. Maybe it is time to put those aside, let go, take a leap, and think of another way of life. There is something here that approaches spirit, even a kind of peace and order, and I do not know what life these visions will bring. I try to imagine myself tending the fields above Vallco or dining among the others in casual assurance or gathering with them out in the open field, waiting to see what will appear on the large screen. Who call tell what stories will yet be played there? And those fictions will have a home in the Lucas Museum of Narrative Art, proposed for the shores of Chicago, designed by Ma Yansong of MAD Architects, brought to us by the director who has given us our modern epics and exhorted us to trust the force:

NC Lucas museum

But I will not be there to see them. The tech companies—Apple, Google, the others—with their salaries to lure, along with international buyers, have sent housing prices soaring with no end in sight, and there has been an epidemic of landlords evicting tenants so they can raise rent, as has happened to me. I have a month left on my lease, and my rent, already steep, will likely double if I look elsewhere. It makes no financial sense for me or anyone of like salary—teachers, policemen, social workers, shop owners, much less the mixed-use clerks and waiters—to live here.

So I will take ship and set sail again, for parts unknown. . . .

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—Gary Garvin

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Notes

There is another drawing of the floor plan, made by Werner Blaser under Mies’s supervision late in his life, 1965, that details the placement of each brick—and adds a hearth to the large chimney. As Blaser states,

. . . the ground plan of the brick house is a good example of the manner in which Mies van der Rohe developed the art of the structure from the very beginning. The structure of a brick wall begins already with the smallest divisible unit: the brick.

Cited by Kent Kleinman and Leslie Van Duzer in Mies van der Rohe: The Krefeld Villas. The brick placement, however, has little relationship with the original drawings, and, as the authors point out, such a claim cannot be true. Rather, the drawing served as a manifesto of Mies’s method, well after the fact, without consideration for actual construction. According to them, referencing Dan Hoffman, discussing other brick houses actually built:

Mies has consequently been credited with coaxing a machined precision out of the handiwork of bricklaying to the point where the masonry units and mortar joints merged to form an overall texture of such regularity that it approached the appearance of an industrialized surface. Craft was pushed to a degree of such perfection that it disappeared.

Such precision is not possible with brick, but it does represent a desire, an upward goal. The purpose, the point of such a desire, however, rests elusive. Then again, looking for purpose may miss the point. For all his precision and control, Mies is difficult to locate. He rejects formalism, which leaves open the matter of esthetic grounding. His only reference point is the spirit of the “new era,” or a platonic conception of it, without critical question:

The new era is a fact; it exists entirely independently of whether we say “yes” or “no” to it. But it is neither better nor worse than any other era. It is a pure datum and in itself neural as to value.

From “The New Era,” 1930, found in Programs and manifestoes on 20th-century architecture, ed. Ulrich Conrads. Another paradox: we can see the facts of this new era but not its spirit, yet without this ideal concept his architecture collapses. Ultimately Mies approaches religion, or an abstraction of it. There’s a kind of faith in his neutrality.

Mies, “Working Theses” also found in Programs.

Mies, “Indeed we should strive to bring Nature” from Tegethoff.

Mies, “In the ground plan of this house, I have abandoned” from Mies van der Rohe, Jean-Louis Cohen.

Mies, “Architecture begins when two bricks” from Architecture: The Subject is Matter, ed. Jonathan Hill.

Robert Fitzgerald translation of The Odyssey.

Christoph Asendorf, “Ludwig Mies van der Rohe—Dessau, Berlin, Chicago” from Bauhaus, ed. Jeannine Fiedler and Peter Feierabend.

Wittgenstein quotations from Tractatus Logico-Philosophicus, trans. C. K. Ogden.

Quotations about Apple 2 from “Look Inside Apple’s Spaceship Headquarters,” Wired.

Portions of this essay appeared in the author’s piece at Archinect and his short story “Willy.”

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Picture Credits

Mies van der Rohe drawings from Alex Maymind “5 Projects: Interview 5,” via Archinect.

From Wikipedia Commons: the floor plans of a megaron, the Parthenon, and the Barcelona Pavilion; photographs of Centaur and Lapith, the Barcelona Exposition, the Barcelona Pavilion (or rather its reconstruction), Dawn, Frank Gehry’s Guggenheim Museum Bilbao, and Adrian Smith’s Burj Khalifa.

Albert Speer Zeppelinfeld via drexel.edu.

Apple Campus 2, The Hills at Vallco, Lucas Museum of Narrative Art via designboom.

All photographs of the model by the author.

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Gary Garvin lives with his son in San Jose, California, where he writes and teaches English, though he is in the process now of relocating. His short stories and essays have appeared in TriQuarterly, Web ConjunctionsFourth Genre, Numéro Cinq, the 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 a novel. His architectural models can be found at Under Construction. A catalog of his writing can be found at Fictions.

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Nov 052015
 

1 circus closeup 2

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

2 Circus

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

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

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

3 Scaffold 3

4 street scaffolding

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

5 Les Halles 2

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

6 Les Halles Pit

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

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

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

7 vista 3

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

8 vista 2

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

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

9 vista 1

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

11 Cluny thermes

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

12 buttresses 1

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

13 dark church exterior

its followers

14 Apostles chartre?

its overarching beliefs.

15 churchover door

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

16 church dark windows

or was flickering, wavering.

17 candles church 1

Faith’s monsters, though, still interest us.

18 pair of gargoyles

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

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

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

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

19 tour Italie

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

20 vista from park

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

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

21 boatSeineLight

22 blur

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

There are no answers to these questions.

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

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

23 trains

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

24 quai?

or in idle ways to pass the time

25 boules

or in gray repose

26 park fountain

or in random movement without relationship or interaction.

27 Street scene 2

28 Street scene 1

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

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

29 roofs 1

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

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

30 Backyard

about which I have written:

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

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

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

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

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

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—Gary Garvin

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Notes

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

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

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

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Gary Garvin lives in San Jose, California, where he writes and teaches English. His short stories and essays have appeared in Fourth Genre, Numéro Cinq, the minnesota 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 a novel.

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Mar 092015
 

bag air strike

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February 23, 1991

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You say I am repeating
Something I have said before. I shall say it again.
Shall I say it again? In order to arrive there,
To arrive where you are, to get from where you are not,
You must go by a way wherein there is no ecstasy.

What on earth is Eliot talking about? I should know: I’m an English teacher. But that doesn’t mean anything. I should know that, too.

It is Saturday morning, early, or early for me. I’m sitting by the gar­den, our garden on a hill that overlooks South Bay, reading his Four Quartets. On the bench beside me, coffee, a radio. Every now and then I turn the radio on to catch the news.

I’m reading the Quartets the way I have always read them, in fits, bits and pieces here and there, skipping around. I’ve read the whole work over the years, but have never read it all the way through in one effort, and I only know it as so many frag­ments. Burnt Norton, East Coker, The Dry Salvages, Little Gidding—I can at least put the poems in order, but if there’s any order to that order, it has escaped me. All the shifts in voice, the abstractions, the faint sym­bols, the ghosts of allusions—the thing tries your patience. It’s not a poem I would try to teach, if poetry were what I still taught. I don’t even remember our spending much time on it back in grad school. Still, I come back to it. There’s a meditative lilt to the sounds, to the rhythms that has stayed with me. It’s the closest I get to religion.

Today, however, Eliot irritates me. His words sound like chants of an old man trying to settle the uneasiness from a worried life, of the ache of brittle bones. I woke at six with a rush of purpose, full of resolve, only to real­ize there wasn’t any­thing I particularly had or wanted to do. Too much wine last night. I ended up here by default. It’s not the kind of thing I do, sit by a gar­den. It is not like me to sit still, and after an hour of sitting here, dipping into the Eliot, lis­tening to the news, look­ing at the garden, I feel I have come to the end of something. No ecstasy—do I get points for that?

The news is not news. We have been bombing the shit out of the Iraqis for over a month. The deadline approaches for invasion, 9:00 here, noon in Wash­ington, some other time in the Gulf, soon to pass. Rumors of last min­ute nego­tia­tions. Nothing will come of either. Bush won’t give this war up—he needs it. But he won’t commit troops as long as he can keep up the aerial attacks. And it has been a clean, pretty war for us, the U.S., from what we see on the tube. Vast stretches of desert sands, the floral splendor of night raids over Baghdad—the bombing will continue. We will keep bombing until there isn’t anything left. That way we maintain world order.

Our garden is not pretty; it is a disaster. We were hit by a hard freeze a few months ago, around Christmas, the worst in more years than I have been here. Everything is dead or looks dead. Dead plants on dirt—dead leaves, dead stalks, dead vines, dead buds of what­ever it was that bloomed in winter—a brown mesh of deadness blending into darker shades of brown. Even the few plants Margaret had been holding out hope for it can now be safely said are safely dead. The only green has been the weeds, which she pulls as soon as she sees them.

After a light rain last night, the rich, bitter smell of decay.

Yet it is a beautiful day, shirtsleeves in February, another freak of Cali­for­nia weather. Cloudless, smogless skies, the skies an unqualified blue. Not the transpar­ent blue that threatens ethereal dissipation, but a blue soft and full, with unforced presence. The morning chill has already burned off and the warm air caresses with­out crowding, as if you belonged here, as if the world were a place where you could live without protection.

The bombing, dead plants in a garden—there is seeming correspon­dence. I will not be sucked into pathetic fallacy, however. Nature has its rules, we have our own, such as they are. One has nothing to do with the other. Only the sentimental would make something of the accident that has brought them together. And even if I tried, I can’t imagine what kind of causal link might be established or what could be made of the balm of this morning sun.

But back to the Eliot. I also feel vaguely guilty, or vaguely sense the need to feel guilty. Perhaps the poems will give my life this grace. And the poet has gone through a couple of wars himself. In fact he wrote these some time around the Big One. Maybe he can give me some pointers on how to do this war, or at least on how to sit it out.

In order to arrive there—

He is talking about a kind of humility, a kind of vigilance. His point, I think, is that if we’re ever to get closer to anything larger, anything beyond our­selves, we need to deny the self in some way, get outside the self in order to see the self and whatever might lie past it, presumably a whatever that is worth the trip. He is trying to get us closer to Something Else. The figure of travel is a metaphor for that desire. This is too myste­ri­ous, or too mysterious for a Satur­day morning, too mysterious for a hangover.

Time present and time past—someday I should go through the whole poem, beginning to end, alpha to omega, soup to nuts, because I think there is a progres­sion, an argument that unfolds, at the end, a conclusion to be reached, maybe an understanding, maybe, God forbid, a revelation. I sus­pect if I did, though, I would only be disappointed. One more literary nut shelled and digested. Better to keep the possibilities of ignorance alive. In the cracks of doubt, of the unknown, maybe a chance—

Margaret—

The English teacher’s wife—

Comes out with her coffee, sees me, and winces softly. Winces because though she’s an early riser, she wakes slowly, also because she did not expect to find me here, by the garden. Softly because that is how she would wince. Then packing her surprise, she lingers a second, composing the Margaret face, a face that respects the decorum of a working marriage, that recognizes that I exist, will continue to exist and have a right to con­tinue to exist, that shows that, even though I have existed with her in civil matri­mony for almost twenty-five years, she has not yet lost fondness for this existence nor will she take it for granted—but today a face that also says she does not want to come to me just yet. Fair enough. Instead, she walks over to the garden and stands there surveying the dam­age, arms folded, coffee cup poised above their cross, her cheeks furled before the winds of a dilemma, as if she is trying to decide what to do about it.

Margaret, not Madge, Marge, Margie, Maggie, Mag, or Meg—she made that clear at the outset, her only condition for marriage. A native Californian, there is such a thing, and some of them have some sense. Second wife. My first marriage was to English, while in grad school, which blew up before either of us had fin­ished our dissertations. We both reached a critical mass of literature and frayed egos, of our exhilaration and desperation over criticism no one cares about, or should. Next a period of celibacy that I thought I chose but really just happened. Then Account­ing. Not that Margaret is another convert to the faith of the busi­ness of business; that is just what she teaches. Every day, before meeting the hordes who have chosen her discipline as the light and the way, she dresses in a sober suit, before the mirror flounces her scarf to a calculated carelessness, then puts on the face, a face of businesslike compassion, that hybrid of concern and practicality that seized me when I first saw her standing before her class at State where we both still teach, the face she now wears before the garden, before the thought of me, a face that doesn’t fend off despair and disorder as evil or unnec­essary but takes them as giv­ens, matters not to be questioned but measured and arranged. Accounting is not a subject but a manner, a way of dealing with what­ever life dishes out and finding it a place. Margaret is all manner and manners. I don’t think I could live without her.

Now she steps through the garden in a winding pattern, following some invisi­ble map, still pondering. It is not fair to her that I pick this day to be out by the garden. Except for minor demolition on my part, it is all her work, and her work lies in ruin, ruin brought into relief by this bright, smiling sun. And given my ignorance about plants, she knows I don’t appreci­ate what has been lost.

I don’t understand much about what makes things grow and am perversely proud I do not. I do know, however, that a garden at best is a complicated problem. I know because she gives me quarterly reports, and now it has become an im­probability. After three years of scant winter rain, last sum­mer she shifted to drought resistant plants, but then these cannot stand the cold. And while it sel­dom freezes here, after last December and the deadness now, she now has to factor in that chance. But plants that can take a freeze need lots of water and are averse to too much light, yet it does not rain here in summer and we have little shade, so anything she puts in next has to be able to withstand a full season of sun—and until the drought lets up, another season of ration­ing. I take these contradictions as evidence that we really aren’t supposed to be here in Califor­nia, any of us, though we have all gold-rushed here and over­run the place, straining the water supply, our dreams of a better life. Margaret does not think that way, however, about our intents or fool­ish­ness, or about the vagaries of the weather. She takes things as they come.

But I know she is not thinking about her plants. She has said she will wait until late spring to deal with them, when the rain stops, the weather settles, her classes are over and she has the time, and she always sticks to the Plan. What she is really doing is debating whether or not she wants to deal with me today. She has read my look and sized me up: she has seen that I have the desire to talk. Yet if she is bothered by me, by the garden, she does not show it.

I’m her second go around, too. I don’t know anything about her first. She never talks about him, I never ask. Not that she’s hiding anything. It’s just part of the decorum, I suspect. She won’t say anything about me, either, if we ever split up. I admire that in her.

Just the two of us. The girls have flown the coop.

She slides her foot through the dry waste, making static noise, then nudges a bush with her toe It does not spring back.

I try to get a rise out of her. I pick a passage at random and read aloud:

Do not let me hear
Of the wisdom of old men, but rather of their folly,
Their fear of fear and frenzy, their fear of possession,
Of belonging to another, or to others, or to God.

“What do you think of that?” the English teacher asks.

“Sounds like good advice.” She doesn’t turn, but bends over and tugs at the withered stalk of some unrecognizable plant. She still looks good in jeans.

No rest for the weary is what I think the poet means. I don’t think Mar­garet heard me. I try again.

“The war will start soon.”

No response. She does, however, succeed in pulling up the plant, and, holding it close to her face, examines the shriveled leaves.

“It will be a bloody mess. Body bags on the way.”

She taps the roots gently, shaking off the dirt.

“I’m thinking of enlisting.”

She throws the plant over the fence. My heart goes with it.

“I’m thinking of retiring.”

“Fine,” she says. With that, she mumbles something about breakfast and goes in. She knows I’m in one of those moods, that I want to start some endless conver­sation that will only result in my getting both of us upset. Mar­garet will not indulge me today.

She’s a good woman.

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No word of war. High noon in Washington, the deadline has come and gone. The English teacher has suc­ceeded only in rising to get a stack of papers to grade, which now rest on a bench by his chair, unmarked, unread. Students fear his judg­ment—they don’t know what a sweetheart he is—but he has decided to spare them another day. He is not up to see­ing what they have done to words and still has a headache from his hang­over to boot. So he’s just sitting by himself by a garden on a hill, a hill that overlooks the valley by the bay, the valley that is called Silicon Valley, the bay that is called the Bay. On his lap, a poem by T. S. Eliot; on top of the papers, more coffee, a radio.

Saddam lobbed another Scud missile at Israel a few minutes ago—that much is clear. And the reports that he has been setting oil wells on fire, hun­dreds of them, have been confirmed: smoke can be seen on the hori­zon. But the other reports are confusing. Negotiations have failed, they still continue. Our troops are rehearsing for assault, the invasion has been put on hold. Either Kuwaiti civilians have been rounded up, tortured, and executed—or they have not.

He has a tough job, the newscaster, casting the news, juggling what his report­ers can scrounge up and what little the government lets him know with what he wants to tell me. And he has to find the pitch that prepares me for sud­den drama yet won’t frustrate me with false anticipation if I have to wait—or if nothing happens. He does that very well. A poet, my newscaster. And he needs me, he wants me, he loves me, and does not want to let me down. For this I will never forgive him—

But I leave him on, just in case.

I don’t know how I got hooked on this war except that I watched it on the tube a few times from boredom, and then once I started, could not let it go. First the six o’ clock news, then the late night special reports to see if any­thing had changed. Then the car radio frozen on the news station, then this portable I carry to school, around the house. Much has been said, day to day, and there has been much to see, but all that I have heard and seen over the past months could be summed up in a few sentences. Still, I feel that if I ever stop following, if I step just once out of the flow of current events, I won’t be able to get back in it again. A continuity will be lost, and we’re running out of those. Besides, how are you going to know when the parade passes you by unless you watch it?

This quarter has not gone well. Listless students, flaccid prose, insin­cerity, incoher­ence. More dropouts. Ted, a colleague, thinks it’s the war, that it has depressed them. I doubt that. Their spirits have never been very high and they drop out all the time. It’s the dismal business at home that gets them down. If anything, the war is a good distraction. It gives them the illusion that some­thing is being done somewhere about something. And perhaps it will stir up some jobs in Silicon Valley, now languishing at my feet. What really depresses them, I told him, is our mak­ing them write papers. Nonetheless, the school is sensitive to our stu­dents’ psy­chological states, and the Dean has recom­mended that we talk about the war in class to ease whatever tensions it may have caused. So I have been holding discussions:

Anybody bummed out about this war?

—Not really. Maybe. Are they supposed to be?

Why is Saddam Hussein there?

What are his interests?

Why are we there?

What are ours?

—Oil. The rest is fuzzy. Uneasiness in the class, though. They sense the teacher is trying to wrack their political souls, to exact from them a confes­sion. I assure them I am not. It’s the young guys in the department, the guys with ideo­logical hairs up their butts that have made them suspi­cious. They talk about empower­ment, difference, and liberation. Really, it’s their way of tell­ing students they’re unreformed boobs. I tell students I respect their freedom. I tell them lots of things.

Who is on our side?

Who is not?

Who is Saddam?

Who are we?

Where is Kuwait?

No one seems to know much of anything. More questions from the teacher: they have grown tired of them. I am tired of them myself. There is con­sensus among them, though, that Saddam Hussein is evil and should be taken out. At least here we have moral clarity. Bush has done his job.

Do they realize that if there is a ground war, it might be a long one, that they could be drafted and have to fight?

The guys are not concerned. Yet why should they be? Why would the gov­ern­ment trust them with its complicated, expensive machines when it doesn’t trust them with anything else? Computers in the tanks, computers in the jets, comput­ers in the foxholes—they’d only screw them up.

Why should anyone wrack their brains over this one? Someone will tell us what it all means later.

But then this is how to do it, stage a war. Dazzle us with technology, mini­mize our risk. Bomb, bomb, bomb. This way Bush maintains the symbol without spill­ing the sub­stance of American blood. Because my students know what we all know, that he does not want to lose our hearts, much less our lives, because he wants us, he needs us, he loves us, too. He wants us to have a good night’s sleep. He wants to give our lives Meaning, to give us a word that does not mean Viet­nam. And to show that he loves us, he has to put on a good show. Our generals pride themselves on their precision bombing, but if those bombs are so precise, why do they need so many? And the TV cameras they use with smart bombs aren’t for guid­ance but are part of the production. In the cross hairs, on the screen: city, block, building, roof, air shaft—boom! Boffo! We are amazed, we are ful­filled, we are head over heels in love.

No war today—too much is at stake.

The world is as thick as our skin.

But what to do?

Where’s my wife?

Margaret has not yet returned. She was busy at her desk when I went in to get the papers, or was busy looking busy and did not speak. She will come when she wants to come. There is still the aging poet to keep me company—but I have lost my place. I’ll start again, somewhere else. Which is the one with the garden? Today I’m in a mood to read about gardens.

Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden.

Burnt Norton, first quartet, first page. I have some notes:

1936
Norton: manor house, Gloucestershire. Burned down, 17th. cent., rebuilt. TSE went to 1935 w. Emily Hale (wishes had married instead?)

You can’t read Eliot without notes. He visits a garden at some old house, or remembers visiting it, and takes off from there. Each of the Quartets is linked to a place that has some personal significance, which is what I think he is trying to do, locate himself in space and time. Not a bad idea—I’d like to know how that is done. Not a bad idea for Eliot in ’36, given the noise in Germany. Nothing else on Hale—I don’t know who she is—but at the bot­tom of the page, another note with an arrow pointing to rose, circled:

Rose: symbol sexual love/Divine Reality (Dante)

How can a rose be a symbol of both? I’ll have to get Margaret’s opin­ion on this. She has—had a dozen bushes in our little plot, though I doubt she saw blooms past the aphids and mildew. And before they had a chance to wilt, she lopped them off and threw them in the trash. I’ve never gotten around to Dante. I was an Americanist before I moved down into comp. Maybe tomor­row, maybe the next war.

Down the passage we did not take—who is with the narrator? Is he still hung up on Hale? Or is he trying to take us all along? The door we never opened—so do we open it now, or just imagine? Are we contem­plating opportunities missed? Should we have married someone else? We all know better than that. Maybe we’re just trying to recoup from the mess we’ve made of our lives.

Other echoes
Inhabit the garden. Shall we follow?
Quick, said the bird, find them, find them,
Round the corner. Through the first gate,
Into our first world, shall we follow
The deception of the thrush?

What is this damn bird? No notes on the echoes, either, but we follow, or pre­tend following—what else is there for us to do? The door we never opened, the first world—is he talking Paradise here? Has he fallen? Have we fallen? Do we care? Or the first world might be something private, something personal—a chance he had but blew? A garden could be any­thing and suggests too much to pin down. Another Eliot ghost. But we follow and open the gate, or maybe we don’t, but somehow

There they were

He shifts to past tense—is that a memory? Yet since we never opened the gate, is it something we imagine might have happened? Anyway, somehow there they were, but we don’t know who they are, there they were in the gar­den, dignified yet invisi­ble, saintly people they must have been—maybe it’s their echoes we heard, they must know something we do not, they must know Something Else—and the pace relents, and still we followed, now slowly, there they were, whoever they are, our guests he calls them, accepted and accepting, there they were, and they moved with us, in a formal pattern, but not as if in memory or imagination, but as if in a trance, in a dream—

Jesus, this stuff makes you dizzy. The old poet is so careful to be so con­fusing. Each time I read these lines, I feel I have never seen them before. They only recall from past readings echoes of vain attempts to fig­ure them out. But this is not the wry Waste Land Eliot; I sense we are supposed to be lightly moved. And there is, I suppose, something lightly moving, moved lightly with the rhythms, with the sounds, with the scar­less words. And there was, I sup­pose, a time when I could be thus lightly moved—

But we aren’t so stupid now. Yet we followed then and we follow now because we’re hungover and can’t think of anything else to do, we follow the movement in the figures of motion, of flowers, of sight, of patterns and light, whose delicate associations rise and connect in airy matrix, building scaf­folds around what they reach for, try to construct, to contain, and still we fol­lowed, we follow, follow them along the empty alley, into the box circle, follow to the drained pool, where we stop, where we think we have a glimpse—

And the pool was filled with water out of sunlight,
And the lotos rose, quietly, quietly,
The surface glittered out of heart of light

Zen stuff here—the poet also listened to voices from the East—but a cloud passes, the pool is empty, and the moment, the light is gone.

Glimpse of what?

Go, go, go, said the bird: human kind
Cannot bear very much reality.

Blue skies soft overhead, a poem on one’s lap, a freeze-dried garden, a news­caster’s pleasant voice, the news of war, a pounding in one’s head; a long, black ghoul, the shadow projected from a teacher sitting in a lounge chair on his deck: these things are real, and they’re as far as one can go. They’re also more than one can bear.

Glimpse of what?

The scaffolds collapse.

There’s no there there.

There’s nothing there but words.

More Eliot hocus-pocus.

I realize I know little about the poet’s life, save for some gossip, but then I make a point of not learning about authors’ lives. Let’s save our questions, our revenge for the living and unlettered. And it is the measured words, not a writer’s beliefs and other casual slips that deserve our attention. Today, however, I am curi­ous. The poet has gotten under my skin. What else do I have? I flip to the front. Next to the title page, the epigraphs:

Heraclitus. I don’t know Greek, and only have scribbled a translation for the second:

The way up is the way down.

I have forgotten what that is about. Underneath the title, more notes:

T. S. E. 1888-1965
royalist in politics!
classicist in literature!!
Anglo-Catholic in religion?
anti-Semite????

At the end, Little Gidding, he makes some kind of one-for-all-and-all-for-one pitch for England, if I remember right. I must have written those notes in grad school, back when such things could surprise me, back when Modernists were still modern. I doubt Eliot is a hot item at Stanford now—but we all screw up sooner or later. Yet this is one fear I have about the Quartets, that for all their delicacy, their complexity, their diffuse sug­gestion, what they mask is very small.

My other fear is that Eliot wants to convert me.

A screech—

The patio door—

Margaret at last, love of my life, the yin to my yang. But she stands there in the opening and waits for me to speak—a bad sign. I hit her with this, con brio:

Garlic and sapphires in the mud
Clot the bedded axle-tree.
The trilling wire in the blood
Sings below inveterate scars
Appeasing long forgotten wars.

She stares at me. No games today.

“You’re not serious, are you.” She does not raise her voice at the end to make a question. She seldom does.

“No, never.”

“I mean about what you said.”

“What, about enlisting?”

“I mean about retiring.”

“Sure. Why not?”

“I don’t think you could stand it.”

“What is there to stand?”

“I don’t think you could stand yourself.”

Suddenness, maybe anger from Margaret—another bad sign.

She remains a moment, either giving me a chance to reply or trying to think of some way to mollify the abruptness of her remark. But neither of us finds anything to say. I make a mental note to fix the door. She takes a slow breath, releases a gen­tle heave. Then the door scrapes shut.

I read aloud to the door, its cry still scratching in my ears:

The dance along the artery
The circulation of the lymph
Are figured in the drift of stars

Nothing happens.

Couldn’t stand myself—not irony, not from Margaret. What has got­ten into her? She must be in some kind of a funk. I suppose I should be careful with my sar­casm. Then again, she could tell me when she is going to take me liter­ally. Something has started here. More later. Film at eleven.

But why should she be upset? She must know I wouldn’t do it. I’ve never really thought about it, yet now, for the first time, it occurs to me: I could. I’m not that old and don’t feel old. I can still go three sets at the courts with­out tripping off a riot in my chest. Old age, disease, death—those worries I displace each month with the slice the school takes from my check. But I could retire. I’ve put my time in for the state, the house is almost paid for, and I have enough socked away. The girls won’t need help. Eliza­beth’s mar­ried to a lawyer handling Apple’s suit against Microsoft, so she’ll be set up well into the next millennium. And Mary wouldn’t ask if she did. As for Marga­ret, she wouldn’t know how to quit. It would be against the Plan. She’ll clock in until she’s 65, so she won’t need anything, either. And if I can do it, why not?

Why should anyone be upset here? Because it also occurs to me I have been lucky. I had the right age for the wars, too young for Europe and Korea, too old for the rest. I got into the state system when California was still flush, when the pay showed some respect for the profession. And we moved to Sara­toga when a teacher could buy a house, when you didn’t have to be a million­aire to buy a house in the hills. Because isn’t that sup­posed to be part of what we work for and look forward to, a place of quiet, the means to inhabit it—a house with a garden out back, a garden, our peek at paradise, our reward for not getting divorced too often, for not covet­ing our neighbor’s wife, for rais­ing two kids who did not turn into junkies or wel­fare mothers, for kneeling twenty-five plus years in the temple of American higher education?

I look at our garden—

Only lucky.

There is a plan to a garden, practical and esthetic. She studies the habits of insects and fungi—Margaret has an aversion to spraying with chemicals—and our odd lot has to be factored in. The terrain is uneven; ground water comes up in unexpected places. Dig down one spot, and the hole fills; a few feet away there is nothing but hard clay. And plants have to be arranged in a pat­tern by their size, their foliage, and the color of their blooms, and the times of their blooms scheduled, annuals interspersed with perennials—

None of which matters now. Yet if the loss of the garden has disturbed her, she hasn’t shown it. And if these plants have meant anything to her over the years or moved her in any way, I have not seen it, or know what it is. There is no plan to her Plan. It is just something she does.

War news, then. But my newscaster has beat a retreat to make way for other news. The other news: a bloodless military coup in Thailand, a military crackdown in Albania, bloody; divi­sion in Yugoslavia, some hope for some reform. In the USSR some guy named Yeltsin wanting Gor­bachev to step down. Software piracy by a firm in Chicago, a hefty fine slapped on Du Pont for toxic waste, the Administration’s proposal to deregulate banks. Governor Pete’s railing against the state teacher’s union, the snow pack down in the Sierra, more drought predicted. The usual murders and rapes.

I spin the dial.

On the other stations: self-help on investments, cars, computers, home improve­ment, and divorce. No sports yet, but plenty of music, some cham­pagne classical, the rest pop stuff I no longer recognize, run­ning a spectrum from raw to schmultzy sentimental.

Not retire. One might as well work until he is feeble-minded enough to believe his life has been worthwhile.

I thumb through the poems, looking at my notes—when did I write all these? My scratches crowd the margins, different hands in varying slants with varying cramped postures, ciphers on the yellowed pages of my vari­ous selves, fading voices from the past. The temptation is to trace a progression, like fail­ing eyesight, of a falling from legibility, but I don’t know when I wrote which or if they follow that order.

I look at my notes on Little Gidding. 1942 minus 1888—actually, Eliot wasn’t that old when he finished the Quartets. He went on another twenty years, but I don’t think he wrote much else.

Somewhere in the pines, the raucous call of a Steller’s jay.

He was a year younger than I.

She’s right. I couldn’t stand it, retirement. But I have stood the self I have been stuck with long enough, and could stand him a few years more.

Bitch.

.

.

At the still point of the turning world. Neither flesh nor fleshless;
Neither from nor towards; at the still point, there the dance is,
But neither arrest nor movement. And do not call it fixity,
Where past and future are gathered.

It’s a prescription for a hangover. It’s not working. The poem is not becoming any clearer and the English teacher’s headache is getting worse.

Still stuck in Burnt Norton. He picks up themes and reconsiders them in other contexts, other images, other rhythms, different voices. I guess he’s talking back and forth to himself, like instruments in chamber music, hence Quartets. Hence the teacher’s head. But here he must be getting down to brass tacks so I’ll give it my best shot. Not this, not that—he’s trying to talk about Something Else again. There must be a Point to the still point, and he’s trying to figure out how we can get it. Dancing is a fig­ure of partici­pation, our move­ment in the world. But since Something Else is beyond the transience of life, the metaphors of place and motion are not enough. We can only make our best guess at what it might be, what our relation­ship might be to it. But if we’re caught up in the move­ment of the dance, we lose sight of what we’re doing, so we have to step back and let go.

First:

The release from action and suffering, release from the inner
And the outer compulsion, yet surrounded
By a grace of sense, a white light still and moving

Then:

both a new world
And the old made explicit, understood

But we have to dance first to find that out. Yet since beyond us, we’ll never get it right, our eyes deceive us, our best guess will fail, so we detach our­selves from our selves, purge our desires, our wish, don’t look, don’t hope,

Descend lower, descend only
Into the world of perpetual solitude,
World not world, but that which is not world,
Internal darkness, deprivation

No ecstasy—maybe then the light will come. We attach ourselves to the world and do the best we can, or negate our attachment to it and put on hair shirts.

The way up is the way down.

It’s the way the poem works back and forth, up and down, move­ment and countermovement, assertion and denial, hope and despair. One is the way of sub­tle adjustment, the other of prostration.

I’ll never make the first and am not ready for the other yet.

The way up is the way down.

Both somehow get you there.

Both will drive you crazy—

What’s with Margaret? The English teacher is lonely. Today, how­ever, he may have to fend for himself.

Back to the war, then. Still more talk of negotiations from the box. Aziz, the Iraqi Foreign Min­ister, has left Moscow; Gorbachev’s been on the horn with Bush. Meanwhile, the Security Council is meeting behind closed doors. Every­one is just talking. My newscaster hides his shame.

Saddam upset us all last week with his bid for a truce. He can’t be seri­ous, though, yet has to pretend that he is so he can buy more time to save his skin and/or wear us down. Then the Soviets got into the act, and they’ve been shuf­fling plans back and forth with Iraq all week. They can’t be serious, either, but have to try to look more so than we if they’re going to get anything in the Mid­dle East when the show is finally over. And Bush has to pretend to be interested so he won’t offend our Arab allies or embarrass the struggling Gorbachev too much, but he won’t give in—he can’t and keep his face. Yet if he isn’t careful, he will lose his gorgeous war and have to fight, or worse, settle for some kind of peace.

But no one’s serious. More bombs today. We’ll bomb again tomor­row. And there is always this to lift our spirits: we’ll never run out of bombs.

Or words.

Back to the poem.

Words move, music moves
Only in time; but that which is only living
Can only die. Words, after speech, reach
Into the silence.

Words, words, words. Eliot talks about them, too, words. He talks about the difficulties of making sense of one’s life, of getting it down in words. About whether or not what one writes is worth the effort, whether there is anything that can be said that hasn’t be said before, or if anything can be said at all. Speech/reach, a nasty rhyme—he has his doubts. As if what a poet says makes a difference.

Only by the form, the pattern,
Can words or music reach
The stillness

The pattern, the stillness, and music again—these are only words about words.

When in doubt, transcend.

It’s what I did in grad school. I wrote some junk about the influence of nine­teenth century Transcendentalism on the American novel in the twenti­eth. There isn’t any, of course, which was kind of my point: those scabrous novels were determined by what wasn’t there. We all need something to pee on. When I got the job at State, I cleaned up the disser­tation, sent it out, and some­one published a few copies, which was enough to get me tenure. For all I know it’s still buried in the basements of a couple of university libraries along with the rest.

Words strain,
Crack and sometimes break, under the burden,
Under the tension, slip, slide, perish

I took over freshman comp because no one else would do it. No regrets on leaving lit, however. I was tired of having my students make me feel I was pull­ing one over on them. Also I was beginning to wonder if I wasn’t. Traipse through this century and see what you get. You learn the writers are made of the same stuff as the rest of us. We’re crude oil, they’re high octane—the only difference is that they have been refined.

Decay with imprecision, will not stay in place,
Will not stay still.

Actually, I did have a plan, a reason for doing comp. My idea was to let students figure out the world for themselves. If I could get them to under­stand the order of words, just look at what they were saying, they might come up with something better, or at least something different.

Who am I kidding. I was unsure of myself in school and lacked ambition. Also the ex wanted to stay in the area.

Shrieking voices
Scolding, mocking, or merely chattering,
Always assail them.

All these damn papers—I know what I will find. The topics, the play­ers have changed over the years, but I always get the same responses. From some, righteous approval, anger against unseen enemies; in a few, holy indignation, the whimpers of martyrdom. Either way, the furious desire for self-justifica­tion. But for the most part, resentment against any assault on their place in the middle of the curve, and grunts, groans, and stammering, a frenetic dash to get to the last of a thousand words. Yet why should they bother? They know school is just a way to weed them out for the corporations. If they ever get a job, busi­ness will tell them what to think later and pay them for it.

I got the awards that come if you stick around long enough.

A few students have come back to say hello.

I could have gone higher in this racket. I also could have gone lower. But I couldn’t have done anything better or worse—

I haven’t done a damn thing.

You spend a lifetime trying to gain the quiet that comes from comple­tion, the coming together of parts—

All you get is the quiet.

Maybe it is time to get out.

The Word in the desert
Is most attacked by voices of temptation,
The crying shadow in the funeral dance,
The loud lament of the disconsolate chimera.

Margaret really looked pissed off.

Ridiculous the waste sad time
Stretching before and after.

Burnt Norton, last lines.

The English teacher is getting depressed.

.

.

An hour past the deadline, still in the garden, the garden is still dead. You get used to it, though, and sit here long enough it takes on its own esthetic. All the subtle shades of umber, the intricate pattern of vines and leaves—it looks like a cubist painting, or wild embellishments, rococo. And there’s something about the smell of dirt and deadness that stuffs the sinuses but clears your head. But this will pass too. You can’t even count on the perma­nence of decay.

The sky is still blue, but less soft, and the sun is almost overhead, but hot­ter, less kind. The English teacher who sits by a garden that sits on a hill still has not found resolve or reason to get up. He is still hung­over, but the focused pain of his headache has become a sloppy blur. Worse, the coffee pot is empty.

Margaret’s in the kitchen, cleaning up, banging pans. Whatever is bugging her, there are repairs to be made. But they can wait. For now, I wish she’d keep it down.

And I wish they’d get this damn war over. It’s getting on my nerves. One moment my newscaster tells me preparations are being made for the inva­sion, that Saddam’s time is running out; the next he says the White House is reviewing Gor­bachev’s plan. Israel, he claims, is in a state of panic after the Scud missile and fears another attack. Our troops, massed on the bor­der, are restless, and our generals worry that the moment will be lost. I suspect, how­ever, my newscaster is making all that up. He is the one who is panicky and restless. He has lost his art, is fumbling badly, and has run out of things to say.

Every­one’s on edge and sloppy today. More bombs will calm us down.

Or more Eliot:

In my beginning is my end.

East Coker—I have straggled into the next Quartet. There is a time, he tells me, for houses to rise, houses to fall, for houses to live and die, a time for building and generation, a time for the wind

to shake the tattered arras woven with a silent motto.

My notes:

1939-40
East Coker: West Country village. TSE’s ancestors departed from, 17th. cent.

Departed for the New World. I don’t know if they made it to Califor­nia, though. He returns to his ancestral home, then harks back to the past. I sup­pose you have to start somewhere, and home as good as any. It’s where you end up that is the problem.

In that open field
If you do not come too close, if you do not come too close,
On a summer midnight, you can hear the music
Of the weak pipe and the little drum
And see them dancing around the bonfire
The association of man and woman

He imagines some ancient rite. Too close, too close—the repetition is haunt­ing, but the rest is rather quaint. Dancing again—we are supposed to be reminded of the still point, of the pattern. Of whatever. Now he adds mar­riage to the stew.

In daunsinge, signifying matrimonie—
A dignified and commodiois sacrament.
Two and two, necessarye coniunction,
Holding eche other by the hand or the arm
Whiche betokeneth concorde.

Eliot’s first, as I recall, was less than stable. But we won’t hold that against him. I think he was weird about sex, too. So hard to be normal—we won’t hold that against him, either. My note in the margin:

E Coker: home of Sir Thomas Elyot—related? Wrote The Boke named the Governour, 1531: moral treatise on education of rulers; dancing/soul

He has slipped in a direct quotation from Elyot’s book, he does stuff like that. It’s what endeared him to us in grad school. What’s his point? Good dancing makes good marriages, good marriages make good kings? We should all dance to the music of the spheres? Eliot the royalist rearing his purple head. But someone as subtle as T.S. couldn’t be so obvious.

Then again, maybe that is where subtlety leads.

Round and round the fire
Leaping through the flames, or joined in circles,
Rustically solemn or in rustic laughter
Lifting heavy feet in clumsy shoes,
Earth feet, loam feet, lifted in country mirth
Mirth of those long since under earth
Nourishing the corn. Keeping time

He is getting sentimental—is Glen Miller next? Lots of corn has been nour­ished since Elyot’s time, more is on the way for Eliot, because as he writes this Germany has run through Poland and France, and England is waiting its turn. I suppose he is trying to find an anchor in a time of crisis and turns to the past. And his point here is not final, he has more to say—

But why look back at all? What can we learn from the past except how to perfect the mistakes we have repeated?

Tedious crap!

Rite, ritual, and romance—they are ways to make us blind. Good tyrants make good kings. Try to get them to dance to another tune. And marriage gives us the illusion we are together, then sets us up to be led by the nose. Marry us off, get the flocks together, beat the tribal drum. Put clogs on our feet, dress us up like rubes, and have a hoedown. Dance, dance, dance. Dance our blues away. Then stick a gun in our hands. Hitler and Mussolini knew that very well. As does Saddam. And Bush. And every­one else.

And good craftsmen make good fascists. I’ve listened to recordings of the poet reading his work, heard his careful pronunciation of all those dif­ficult for­eign words in his tremulous, singsongy voice—it is the music of a fastidi­ous, failing fop who licks the first boot that comes along.

Dance, dance, dance.

Bomb, bomb, bomb.

Here there may be correspondence.

Because how did this thing happen? OK, Saddam’s not a very nice guy, but Jesus, what a dancer! Because didn’t Saudi Arabia and Kuwait foot the bill for Saddam’s holy war against Iran a decade ago because of their uneasiness with their Persian brothers in the faith? And while the Soviet Union pro­vided arms, didn’t Europe’s weapons merchants cash in as well? And, in spite of the Soviets, didn’t we kick in a few bucks and support him, too, because of our holy hatred of Khomeini who deposed that angel of democracy, the Shah our coup stuck in? And then, in our soft-shoe shuffle of linkage, didn’t we also sell arms to Iran so we could maintain balance against all those wayward Muslims, so we could fund our own sacred war against the Sandinistas next door? Eight years of stepping to the music of mass slaughter—the world trained Saddam how to boogie very well.

And now Gorbachev has his generals on his back, mad about his los­ing Soviet presence in the Gulf, so he does his two-faced two-step, he tries to strike a deal. And now Saddam wants to get Israel in the dance. A few well placed bombs, if he can get them there, would do the trick. But the Israelis have too much to lose if they hit the floor because that would break the coalition and could turn the Arabs against them, against us. We have to show Israel we won’t skip a beat—our Holocaust guilt, the Jewish lobby, our love for non-Arabs who will bear the brunt of Mid-East flack—yet still tap-dance to the tune of peace because our bombing of Iraqi civilians has upset the Arab world. Europe has been upset with us, too, and only grudgingly follows our lead, yet they can afford to waffle—they aren’t so much involved. And what did they expect when they armed Saddam, or when they passed the baton to us? England, how­ever, Eliot’s precious England, has been behind us all the way, Eng­land who, after the Nazi waltz, left the political mess in the Gulf when they pulled their Empire out. We could trace this tune back to the Crusades.

But the blood from the bombing is nothing compared to what will be shed if we attack. And if more Arab blood is spilled, the poor Arabs will see their oil rich Sheiks shake and shimmy in their dependence on us, their part­ners in this dance. And spilling U.S. blood would not play well with us, or the mixing of our blood with Arab. So we dance and we bomb and we bomb and we dance. This is the way the world works, this is the new world order. This is the tune of linkage, the music of the spheres, this is the dance along our arteries, the circu­lation of oil through our lymph.

And we probably would have let Saddam take a little of Kuwait, maybe a lot, because that would not have broken up the dance. Saddam’s only crime is that he got too greedy. Or not even that. He was just unlucky: he was left standing without a chair when the music stopped—

But the thing will happen.

It will happen, and it will have to happen soon.

Because how much longer can we let all that oil burn? And not just because of the oil, or not even because of the oil, because we never kidded ourselves about that, but because of the lyrics, because of the words, because if Bush waits any longer, Gorbachev will come up with a plan whose terms match his own, because then we will all see what we don’t see now, what lies behind the words or, rather, what does not, because when words fail because they always fail, the only thing left to do is act—

I read aloud, to the garden, everyone, all together now:

O dark dark dark. They all go into the dark,
The vacant interstellar spaces, the vacant into the vacant,
The captains, merchant bankers, eminent men of letters,
The generous patrons of art, the statesmen and the rulers,
Distinguished civil servants, chairmen of many committees,
Industrial lords and petty contractors, all go into the dark,
And dark the Sun and Moon, and the Almanach de Gotha
And the Stock Exchange Gazette, the Directory of Directors,
And cold the sense and lost the motive of action.
And we all go with them, into the silent funeral,
Nobody’s funeral, for there is no one to bury.

It is only the Eliot who doubts I can believe.

Margaret—

At the kitchen window—

What is she looking at?

She is looking at me.

Now she’s gone.

How much longer is she going to keep this up?

You say I am repeating
Something I have said before. I shall say it again.
Shall I say it again? In order to arrive there

No help from my ancestors. My people were Scotch-Irish, the Low­landers King James sent to Ireland to tame the unruly Catholics. When they got to Penn­sylvania they became Americans: they cleaned the slate. Only a few words from a great-grandfather who fell at Chancellorsville, letters from Libby Prison of desperate, starved faith.

Give us the time and the resources, and we will find a way to clean the slate for good.

Not retire—

.

.

“What will you do.”

Saint Margaret—

“What will I do about what?” I didn’t hear the door. She has come straight to me and stands in a rigid pose that struggles with ease. Her long narrow face, serenely, solemnly attractive when unworried, is taut not with anger, but with her attempt to compose her indignation and turn it into something pleasant. From her breasts, a weary sigh. She is preparing to get down to busi­ness.

“What about school.”

“What about it?”

“When you retire.”

“When am I retiring?”

“When you do retire.”

“They will replace me. They’ll hire two part-timers and save a few bucks.”

“What about your students.”

“They won’t know the difference.”

“What about you.”

“What about me?”

“What will you do.”

“What am I doing now?”

The muscles in her cheeks ratchet one notch tighter. Her tone, how­ever, does not waver. In her eyes, the avoidance that comes with a direct look.

“What will you do with yourself.”

I will not give in to this. “I will write a novel.”

And tighter.

“What will you do.”

“I will eat a novel.”

And tighter.

“What will you do.”

“I will burn a novel.”

Still tighter—it is not a pretty sight. If she would just lose her temper so we can both see what this is, then we could take it where it should go, or at least have a decent fight.

“What will you do.”

“I will dig a hole and bury myself in the garden. Maybe something will sprout this summer. Why don’t you sit down?”

“Why don’t you turn that damn radio off? This war has made you morbid.”

“Someone has to listen.”

“Someone could find a better way to spend his time.”

“Better an honest bum than a busy fool.”

“Better to do something worthwhile.”

“It is because people are trying to be worthwhile that the world is so screwed up.”

“I’m not as clever as you—”

“I’m not clever at all; I’m an idiot. And you could do a better job of hid­ing your contempt.”

“It is difficult to appreciate what is put to ill use. You will only get worse at this.”

“I will get better.”

“I don’t pretend to have all the answers—”

“Then what do you have?”

She stops and retreats without lowering her eyes, gathering herself inward to that wordless, weedless place where she wants to put me. Prone on the deck, side by side, two shadows, dwarfs of a married couple; one slouched, one erect, both sadly comic, not touching.

“I have a life,” she says at last.

There is no reply to that. I stare at her, her cheeks go slack, then she loads up to start again.

“I think I could take your becoming an alcoholic.”

“It takes practice.”

“Or maybe you could have an affair with one of your students.”

“I will give the matter full consideration.”

“I don’t care that you don’t care about me. I don’t care what you care about. I think I could take your scorn, I’ve taken it so long. But if you think I’m going to spend the rest of my years watching you abuse yourself, you are wrong. You’d bet­ter find someone else to do it.”

“Then I shall become an accountant. I will learn to keep the books on men’s souls.”

With that she turns and goes back into the house.

That shriek, the door—

She isn’t serious. We’ve been at it too long to start over. This one’s good for two or three days, a week, tops. We will avoid each other the rest of the day, then have din­ner without speaking. One of us will stay up late until the other falls asleep. Sunday will be a little tricky. But gradually we will get back into the rhythm. Her pointed silence will yield to embar­rassment over losing her cool, then she’ll start acting as if nothing happened, and we will pick up where we left off. It’s part of a dance rou­tine we’ve worked out. It’s called not stepping on each other’s toes. We will find little things to talk about, then our jobs will take over. Neither of us will apologize, a frivolous step we dropped years ago. And I will man­age to behave. It is a good diversion and I can be good at it—

I will not give in to her. I will not be turned into something pleasant.

But her first time. I’m always the one who talks about splitting up.

She isn’t serious—

Her car—

.

.

You think you know someone, but all you know are the habits, the posi­tions you work out to keep each other at arm’s length, at that unbreachable distance that comes when you are close, and then some­thing disrupts the rhythm, a pause in the music, a break between numbers, the noise of a war, and you wonder who she is before you, her stiff hand already sliding from your shoul­der, you wonder what it was that kept you together, and then you find yourself in the middle of the dance floor, by your­self, and you wonder where you are, you hope the music starts back soon—

We dance and we dance and we follow—

And the bombs keep coming down.

In the uncertain hour before the morning
Near the ending of interminable night
At the recurrent end of the unending
After the dark dove with the flickering tongue
Had passed below the horizon of his homing
While the dead leaves still rattled on like tin

Little Gidding. 1941-2. My note on dove: Nazi bomber—the irony is too large to be ironic. Germany has finally made it to Eliot’s front door. He sees himself as a fire warden surveying the damage after an air raid in London, a nice pose for a poet. Then a schizophrenic passage where he pretends meeting someone on the streets who reminds him of himself yet also other poets, the greats, long dead and gone. He imagines them talking to him, and they give him this advice:

‘From wrong to wrong the exasperated spirit
Proceeds, unless restored by that refining fire
Where you must move in measure, like a dancer.’

Still the worry, still the doubt, but I sense elation breaking through. Terza rima without the rima—he’s hitting his stride, he must feel he’s got his hands around something at last. He is only a man, only a poet, one of us, but has decided what is true for him could be true for us all, that, in case we missed it in the first three poems, to dance we need to pray.

Little Gidding, my note: the site of an Anglican religious community cleared out and burned down by Crom­well and his faithful Puritan crew. It is where Eliot wants us to return to contemplate Nazis, where he wants us to get dive-bombed again.

The dove descending breaks the air
With flame of incandescent terror
Of which the tongues declare
The one discharge from sin and error.
The only hope, or else despair
Lies in the choice of pyre or pyre—
To be redeemed from fire by fire.

Because now the dove has become the Holy Spirit, a flaming angel pound­ing us into absolution, redeeming us from the fire of destruction with the purifying fire of faith.

What’s the difference?

Who then devised the torment? Love.
Love is the unfamiliar Name
Behind the hands that wove
The intolerable shirt of flame

Because since we can’t love ourselves or each other but only what flees from us, what is beyond us, we turn love over to Someone, Something Else. But Something Else is only the burning residue of our selves extin­guished by the flame, selves collected and displaced, selves hidden from us by the act of conse­cration, selves blinded by the purity of our beseeching. And in the after­glow of self-immolation, our pain becomes a joy, we think we have found something. We call it meaning. And we think we can go on.

So, while the light fails
On a winter’s afternoon, in a secluded chapel
History is now and England.

And all shall be well.

Let us pray.

Either:

We take despair, our failures and throw them up into the air, then let them fall on our heads until we are beaten senseless. They fall, we fall, we hug the ground and chastise ourselves with our selves and make them bleed and sing.

Or:

There is no other course but the one we have chosen, except the course of humiliation and darkness.

Or someone does the burning for us.

Saddam Hussein. He said that a few days ago. My newscaster has just quoted him, trying to set the stage for today’s events. Now he puzzles over Saddam’s words, trying to figure out what they might mean. A ruse, he’s bluff­ing, he’s putting up a front to scare us—

Or Saddam could be pure and humble, too. Also Bush and all the other Roundheads. Because who’s to say they’re not believers? They’ve just found the way to turn faith inside out, to turn it not on themselves but on everyone else.

Because what’s the difference between their fire and our Anglican’s? We get turned into ashes either way.

And one kind of faith may feed the other.

Now he measures his words carefully, with reverence and with awe. Over a half million troops on either side, the newscaster tells me, and it is difficult to know how many of theirs we’ve taken out. Between us and them, just as many land mines. And miles of berm and razor wire. And kill zones all mapped out. And trenches they’ll fill with burning oil. They have been months getting ready for the attack, have buried themselves deep in sand and cement. No airplanes, but they still have big guns. And chemicals—we’d bet­ter count on all stops being pulled.

Now his voice lifts cautiously as he talks about our preparations last night. Mas­sive carpet bombing to soften them up, and cluster bombs, steel rain. And phosphorous shells. And fuel-air explosives—the mist that turns air, lungs, and spirits into living fire. And napalm—there’s a memory, our dove in Vietnam. The argument about how many soldiers we’ve hit is largely a debate over degrees of hugeness. As for the living, only the Republican Guard is well trained, which Saddam may try to protect. The rest are poorly trained civilians pushed to serve—poor slobs like the rest of us, like us all.

Still talk of negotiations, but they’re only a formality, he says with a joy he can scarcely contain. He is happy now, my newscaster, he sounds ecstatic. He sounds not only as if the thing has begun, but as if it is already over.

But his ecstasy is premature. Those slobs can’t go back to Baghdad in defeat, nor can they expect anything from us. Either they lie down and get slaughtered or they come out and fight. They will have to become believ­ers, too. The faith of the world has given them no other choice.

History is now and Kuwait.

Let us still pray.

It will be a long and bloody war.

It will be a long and bloody war, but we will be able to claim a word, and that word will be Victory.

It will be a long and bloody war, but we will restore our faith in our­selves and in our faith.

It will be a long and bloody war, but it won’t be long before we find the need to forget it.

Not retire. Maybe it is time to enlist.

I can’t remember the last time I saw her cry.

.

.

Eliot, objective correlative:

a set of objects, a situation, a chain of events which shall be the for­mula of that particular emotion; such that when the exter­nal facts, which must terminate in sensory experience, are given, the emo­tion is imme­diately invoked.

I went into the house to find this. It’s a theory of poetic expression.

Against the back fence cling the corpses of desiccated vines. The fine, fern­like leaves on the jacaranda have lost their color and curled even finer. The delicate patterns they once made against the sky now look like so many fish skeletons, hanging limp from the tree. The pods that carry its seeds, hard and black, have started falling, too soon, too dead. Whole limbs have dropped from the other trees. The leaves on a cape honey­suckle by the house, which she pruned to look like a tree, rained down last week, almost at once, still green, now brown. At the base of its thick stem, black cracks have appeared where water gathered, froze, and swelled. A jade tree and some other succu­lents, whose names I do not know, have turned into dark rubbery monsters, crip­ples with gnarled, drooping limbs.

And there are many more plants whose names I never learned, each differ­ent in its individual decomposition, in the writhing twists and breaks of its stems, the failing filigree and serration of its leaves, the particular clench of shriveled petals if it was a plant that flowered in winter—all of them now beyond identification. On the ground the litter of debris piling upon debris, a complexity of runners and roots and vines and fallen leaves and branches, resolving into the simplicity of dirt.

The roses—a dozen bushes—only show their thorns.

What do I feel.

.

.

On a clear day like today, if I got up and looked over our fence, I would see all the way from the foothills to the bay, the hills green with indifferent, indige­nous weeds, the bay a sliver of silvery reflection. And I would see all that is between them, the valley, the roads, San Jose and the other towns where we have transplanted ourselves, miles and miles of the spread of our sprawling lives, of the grid of our motion, of the cross­ings of our lives together, of the improbable constructions that house our aspira­tions, of the breath of our uncertain, weedlike growth—

But I do not get up.

If I looked up, I would see a sky that thinks it’s blue, a hot sun short of midday that strips me of that illusion, of the illusion a sky can fill empty space—

But I do not look.

Instead I stare at a poem.

He tells me he does not know much about gods, but he thinks the river is a strong brown god.

I have skipped The Dry Salvages. How did that happen?

I skim through this one without reading it. Not much underlined, no notes. Either I understood it well enough some time past, or did not under­stand it at all. Or perhaps I understood it too well. Salvages—Eliot provides his own note—some rocks off the coast of New England. Rhymes, he tells me, with assuages. He can’t wash the New World off his hands.

There is no end of it, the voiceless wailing,
No end to the withering of withered flowers,
To the movement of pain that is painless and motionless,
To the drift of the sea and the drifting wreckage,
The bone’s prayer to Death its God.

He should have stopped there.

Better not to have said anything at all.

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The sun is directly overhead, white hot; the blue has gone away.

A portable radio has been thrown over the fence—

A rose is a rose is a rose.

A rose was a rose was a rose.

Light is light is light.

The world is the world is the world.

A word is a word is a word.

The world is a word is a war.

The way up is the way down.

The way down is the way up.

The way down is the way down. . . .

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The sun. . . .

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The door—

Margaret—

She’s back—

I didn’t hear her car—

She stands again at the opening, wearing leather gloves and black rub­ber boots that trumpet at her calves. Dry-eyed, without expression, she pauses there a moment, gazing over the fence. In her hands, across her chest, a new pruning saw with a bright chrome handle and the straight smile from a blade of large, angry teeth.

This is how the day has gone. This is what one should expect—

But she acts as if I am not here. Instead, she goes over to one of the rose­bushes and hacks away with vigorous yet steady strokes. The thorns grasp and tear her clothes. She doesn’t seem to notice. She stops, she drops the saw, then stands back and contemplates her butchering, par­tially complete. A hushed world gives silent approval. On her face, the look of satisfaction.

Pathetic. This gesture was meant for me—

Back to work. She stoops and yanks a small shrub by the rosebush. It breaks off at the roots. That does not satisfy her and she hurls it against the fence.

Because what she is doing to the garden is what she thinks I have done to her—

She shakes her disappointment, turns, and, crushing crisp deadness under her boots, trudges to the cape honeysuckle. Grabbing high on its trunk, she pulls back with all her weight. A few hard tugs and it snaps; she falls on her rear. But she is up before I can think about giving her a hand, and holding half a tree, she stares at it without anger or regret. It is heavy, she lets it fall. On the shoulder of her white blouse, already dark with sweat, a few spots of blood.

But what she is doing to the garden, what she thinks she’s doing to me, she’s also doing to herself. Still, I don’t get up, but sit and watch. There is nothing to think about here, nothing that can be done. I know I cannot stop her.

She steps back, and, arms folded, considers what to do next. She has decided. She walks to the house, unloops the hose from the hook, opens the faucet, and goes back to the middle of the garden. Then she adjusts the nozzle to a narrow, violent spray and turns it on the plants. Vines jump, branches shudder, the spray deflects and scatters. Dry leaves crack, snap, and fly, which she beats back down with the hose.

Not to me, not to her—

Yet still she keeps on spraying, eyes focused where the stream hits, strafing long strips, then shooting individual plants until they are drowned in mud and water. A few minutes is all it takes to turn the garden into thick soup.

I don’t know what this is—

Now just the loud but even sound of the torrent from the hose and a splashing in fresh puddles. And still she keeps on spraying, her face still serene and full of pur­pose. And still I don’t get up, but sit and stay. It’s the least I can do for her. But I can’t watch this anymore, so I pick up a book and read.

Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is un—

The stench hits me, a fecal smell of dirt and rotten life, heavy, wet, and sick—I can’t sit still any longer. I don’t know what she’s doing, but I might as well get up and join her.

When I come back from the garage, she is stooping, lifting plants, and throwing them against the back fence. It splatters with mud when they hit. Already at its base, a small pile growing larger.

I plug in the extension cord and run it to the jacaranda. Then I con­nect the cir­cular saw. Whatever this is, I will make quick work of it.

The purplish mist of the tree’s tiny blooms always embarrassed me some­how when the thing was alive. What is now left disgusts me. The pods, the fronds, the way they cling—lock­ing the switch on the saw, I reach high and rip through slender, sapless branches. With a few flour­ishes I have the tree down to a stump.

I try to pull the stump up. The bastard will not budge. I kick it hard, and still it doesn’t move. I go to the garage and bring back an ax. Swinging at the base, I aim for its roots, not knowing where they are. When I’ve cir­cled the stump, I try to lift again, but it has scarcely weakened. So I swing wildly, deep into the ground, not thinking about my feet or damage to the blade. Then I try once more to pull it out, and now it comes out easily.

I stare at the upturned stump—a black, gnarled hand with severed fin­gers—feeling queasy and contrite. Then I look at myself—I’m a mess, and I forgot to change my clothes. Then I look at the carnage in the dirt, then down into the pit I have just made. Lightness in my head, a vacant joy. Mur­der must feel something like this. Or suicide. Or both.

No passion on Margaret’s face, but squatting now, she has found momen­tum. She thrusts, she grabs, she tosses; plants sail and slap against the fence. The pile is huge—she’s almost half done, the fence is almost half cov­ered, almost half the gar­den is down to dirt. A kind of passion, though, in the rhythm of her motion, a kind of passion in the sensuous mud that clings to her and makes her pulsing torso shine. It is the kind of passion that has moved the world today.

What next? I’m at a loss for procedure here. I decide I might as well pull the remaining roots, which don’t come up without a fight. Then I go to the cape honeysuckle and finish it off with the saw, then give its stump a hard yank. But it comes out with all the roots intact—her spraying must have loos­ened the ground. Then I saw the roots and branches of both trees fireplace length and stack them on the deck. When I see the neat pile sit­ting there, I feel the passion myself.

The roses, then. I take the ax to the nearest bush, the one she first attacked.

“Keep an inch or two off the ground,” she says, not turning, before I have a chance to swing. I am not going to argue with her again today.

I don’t trust my aim with the ax, however, so I try the circular saw. But the branches are too low and the thorns too thick to get the blade on its base, so I start at the top and attempt to work my way down. Yet as I shove the saw into the upper branches, they close around my hands and scratch, and I can’t push the blade hard enough against them to raise the metal guard. So I hold the saw with one hand and pull back the guard with the other, baring a full half circle of its whining rage.

I lunge, I feint, and still get scratched. My hands sting, my back hurts from bending; the passion turns to fury. But only after many fierce attacks and quick retreats do I finally succeed in taking the bush down to a stub. Then I lift the branches gin­gerly and carry them to the deck, and still get scratched. And still eleven more to go.

I charge into the next bush. When I finish, my hands are screaming. Then I realize I should have worn gloves, but no point in going back to get them now. When I finish the third, I look at Margaret, and see she’s three-fourths done. I rush through another and throw its branches on the deck instead of carrying them, trying to catch up with her, but doubting I can.

Mister Lincoln, Queen Elizabeth, Eclipse, Camelot, Cathedral, Honor, and Pink Peace—I tear through rulers, virtues, cosmic events, and mythi­cal and religious places, and slash memories of their buds’ subtle colors and soft flesh, turning them all to caustic dust. But I tire and begin to lose the passion. Then my method decays to sloppiness, then to desperation. And anger dissi­pates into numbness, the pain from scratches into to a dull burn. Then I don’t feel that. Then I’m on my knees at one bush, and don’t rise to go to the next. This must be the way that a massacre goes. I don’t know, how­ever, why it took me over fifty years to realize such behavior is normal.

I look up, and she is nearly done, the ground is almost clean.

I look up again, and she is gathering the debris and putting it in plastic bags.

I look up again, and the bags are on the deck.

I look up again, and she is smoothing the ground with a rake.

When I finish the last bush, weary and still kneeling, I look at my red hands. The pain, I think, will come back after they heal. What I feel now is what one feels when he has passed the point of feeling. Then I stand. My knees cry, my back cracks, blood rushes from my head, the sky, the earth turn black—

When my eyes regain focus, I see she has finished raking the last bush, then see the result of our separate labors. Dirt one somber color, dark but no longer slick with water, the ground clean and level, with faint, even fur­rows from the rake that cross the terrain in so many parallel lines and circle the stumps of a dozen roses—the yard looks grimly marvelous, like a Zen garden or something else. Then I see Margaret, leaning on the rake. Filthy, ever expressionless, she doesn’t look like anything, yet looks mar­velously grim in her exhaustion. She looks sublime.

Only now do I see her plan today: she just wanted to clear out the dead accounts.

Also that there’s a chance I have made a few other mistakes.

So much can be predicted at this point. A hot shower, some place of seclu­sion. One of us will probably go out to dinner. Maybe I’ll drink again, but I doubt it. I really don’t enjoy it that much. Besides, Sunday I’ll need to be sober to prepare for Monday’s classes. Maybe instead I’ll give Eliot another shot—there may be a point or two I missed. And then I’ll watch the news tonight to see if anything has happened in the Gulf. But this is the miraculous part: after the news, I don’t know what will happen next.

“The roses will come back” she says, but not to me.

She tells someone they are sturdy.

— Gary Garvin

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Gary Garvin lives in San Jose, California, where he writes and teaches English. His short stories and essays have appeared in Fourth Genre, Numéro Cinq, the minnesota 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 a novel.

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Feb 272011
 

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The publication last fall of the first of three volumes of Twain’s Autobiography has not only given University of California Press a bestseller but also stirred interest once more in Twain’s other work, so I decided to give The Adventures of Huckleberry Finn another read. What struck me this time through was how much the world of the novel is filled with narrow pieties and superstitions, with shallow sentiment and prejudice, with lack of resolve and general moral and intellectual torpor—and quick turns to violence. The last is related to the former: these are sides of an equation.

“We ain’t burglars. That ain’t no sort of style. We are highwaymen. We stop stages and carriages on the road, with masks on, and kill the people and take their watches and money.”

“Must we always kill the people?”

“Oh, certainly. It’s best. Some authorities think different, but mostly it’s considered best to kill them—except some that you bring to the cave here, and keep them till they’re ransomed.”

Tom Sawyer, early on, defines appropriate conduct for a gang he’s forming, drawing inspiration from what he’s absorbed from the old world and new, their history and sentimental thrillers. What Sawyer conceives in playful boyish aggression, however, either lies latent in the language of the adults—someone should count the number of times words related to killing are dropped—or is at the threshold of erupting at almost every turn, in knife fights and fist fights, in blood feuds and mob lynchings. I missed this in previous readings, how deeply pessimistic Twain is in Huck Finn.

Then again, perhaps his world is not so unfamiliar. For example:

palin-crosshairs

This picture appeared not long ago on Sarah Palin’s Facebook—just before Rep. Gabrielle Giffords, Democrat, Arizona, was shot.

What I most wanted to look at was the ending, which left me unsatisfied last time through and has been cause for much critical debate over the years. Adam Gopknik recently gave his take in his review of the Autobiography in The New Yorker (November 29, 2010):

One wants to defend the ending (somebody has to, as with O.J. Simpson), but it’s indefensible, callow and dull, and the only explanation is that Twain’s show-biz instincts—Tom Sawyer’s a hit, everyone likes him, that shtick is gold—got the better of him. The ending has the inconsequence of a comedian looking for a way off the stage.

I must confess I’m skeptical of critics who believe they have a better idea of how to write a novel than the author. As for his seemingly objective modern critical standards, I am reminded of Northrup Frye’s remark in Anatomy of Criticism:

Every deliberately constructed hierarchy of values in literature known to me is based on a concealed social, moral, or intellectual analogy.

But the last ten chapters are bizarre. Jim is at last captured and locked up at Aunt Sally’s farm, waiting to be sold, and Tom Sawyer, drawing inspiration from sensational escapes such as that found in The Count of Monte Cristo, plots a complicated scheme to free him that takes weeks to carry out. In the process he subjects Jim to accelerating abuse and throws the farm and town into turmoil, all in the name of “honor.” While Huck and Tom tunnel away, they have Jim create a coat of arms, scratch inscriptions on a rock, and visit him with minor plagues of rats and snakes and spiders, and so on, all for proper effect. Tom even proposes they smuggle in a saw so Jim can cut off his foot to free himself of his shackle when all he needs to do is lift the bedpost and slip off the chain. They could simply have stolen the key to the shed and taken off early on, as Huck suggested. Tom, however, objects:

Work? Why, cert’nly it would work, like rats a-fighting. But it’s too blame’ simple; there ain’t nothing to it. What’s the good of a plan that ain’t no more trouble than that? It’s as mild as goose-milk. Why, Huck, it wouldn’t make no more talk than breaking into a soap factory.”

Honor, apparently, cannot be bought easily. But this time around it occurred to me that Tom gives the answer not only to the odd ending but also explains the whole novel. Difficulty and stirring things up are not only the book’s purpose but also set the principle that determines its construction. It is also a novel about getting people to talk in a world where sensible talk is difficult.

Part of Twain’s problem is that so much of his material is thematically thin. By thin I mean there just isn’t much to think about and little to dramatize convincingly. What moves most characters is petty and mean, however great their pretensions. The Grangerfords and Shepherdons have been fighting a family feud for years, even though they have forgotten the cause of their dispute. There is scant thematic material to explore here and little else to have the characters do but take shots at each other like soldiers in a well-known video game, which is what they do. The only thematic interest in this section comes from the mawkish, morose pictures by dearly departed Emmeline Grangerford, which set the comic undertone that provides the ironic tension the main action needs.

Of course there is the problem of slavery. Huck has his famous crisis of conscience in Chapter XXXI, where he says:

And at last, when it hit me all of a sudden that here was the plain hand of Providence slapping me in the face and letting me know my wickedness was being watched all the time from up there in heaven, whilst I was stealing a poor old woman’s n—-r that hadn’t ever done me no harm, and now was showing me there’s One that’s always on the lookout, and ain’t a-going to allow no such miserable doings to go only just so fur and no further, I most dropped in my tracks I was so scared.

He continues this debate for pages, which is curious because I don’t recall his being that moved elsewhere by matters of church or state. Usually his conscience strikes when someone is about to get hurt. But Twain is only using Huck to stage the debate for us—and there just isn’t much for us to think about. However childish Huck’s thinking, the adult argument he engages is no more sophisticated. I have no idea how this chapter appeared to Reconstruction America, where change was largely nominal, but anyone who has paid much attention to slavery and religion—or any system of values and beliefs—won’t find anything to put the two together. Ultimately, the distance between belief and the practice is so great that it is absurd—and darkly comic. Slavery, or rather our conception of it, is a horribly bad joke, as damning an indictment as any Twain might have made, and the only thing he can do is hammer home that point with repetition until it sinks in, which is what he does in these pages. In lecture halls Twain would repeat a bad joke over and over until the audience finally started laughing.

Something similar happens in the last ten chapters. Jim isn’t being tortured by all of Tom’s abuse, we are. Jim endures it good-naturedly. We are the ones who agonize at Tom’s manipulation of Jim, at the stalls in plot, the twists and inward spirals of his nonsense. We want Jim to be freed and the novel to find moral resolution. Instead we keep getting the fact of Jim’s enslavement thrown at us. But theme is intimately related to plot, and what characters do in a novel’s world depends on its meanings. There has to be a point to climax, some frame of reference for its resolution. Yet slavery does not make moral or intellectual sense, so there’s no coherent way, dramatically or thematically, to wrap the novel up. Incoherence is the concluding thought and resulting climatic effect. Twain gives us the ending the novel requires and leaves us where we need to be.

It is appropriate, I suppose, that the only one who suffers bodily harm is Tom himself, who gets shot in the leg by the pursuing mob once they finally make their escape. But not until the very end does Tom reveal the irony that slaps us all in the face: Jim was freed months ago in Miss Watson’s will. His elaborate scheme was just literary indulgence, maybe some boyish perversion. What are we supposed to make of that? Nothing, except perhaps think about getting slapped and why. What took ten chapters to develop is dismissed in a few quick paragraphs and the novel whisks us away in a “happy ending” where we are not allowed to dwell.

Why should we be?

In so many ways, the main character of Huck Finn is its audience. I can only imagine what kinds of maneuvers Twain had to work with his contemporaries, though the novel gives much indication that they weren’t getting the point. Many modern critics have criticized Twain for demeaning Jim and trivializing slavery—Jane Smiley, for example, in “Say It Ain’t So, Huck: Second Thoughts”—but they have the benefits of a more tolerant audience and the experience of over a century of change and reflection, which Twain did not. How superior modern critics are I will have to leave to them to decide, but I will challenge them to define and defend their grounds. I will not dismiss their arguments, however, because their concerns are serious, vital to the fabric of this country, and constantly need airing out. But let’s not reject books or close off discussions—or force a narrow esthetic on writers that constricts what and how they write. (Smiley prefers Uncle Tom’s Cabin).

What kind of ending do we want? If the fog doesn’t fall that night, if they make the turn at Cairo up the Ohio River and into the free states, what would that have resolved? Perhaps we would have had the satisfaction of seeing Jim freed, though he still would have been separated from his family, but that would leave slavery intact below the Mason Dixon and take it out of sight. And it would deflate, I would argue, the overwhelming absurdity of the horrible joke. Better to torture us than give a satisfactory ending. Such an ending would also have further isolated the South from the national debate, not much more settled in the 1880s than at the time of the Civil War. But also Twain’s subject is not just the South, but all our history and our European inheritance—and the whole damned human race—of which slavery was one part. The life Jim finds in the free states would have been different, but not much better.

Or we could have had a tragic ending, more in keeping with reality and the world of the novel, where the currents of the Mississippi inexorably take them to New Orleans and Jim is sold and we are exposed to what the river sheltered them from, the cruelty and hardships of the plantation. But with the ensuing charge of emotions that would be unleashed in this experience, the absurdity would still be lost or consumed. By distancing us in these chapters and playing with our expectations, Twain keeps his argument alive and us in our seats, though squirming. I’m wondering if Brecht’s distancing effect—Verfremdungseffekt—comes into play here, “which prevents the audience from losing itself passively and completely in the character created by the actor, and which consequently leads the audience to be a consciously critical observer” (from Brecht on Theatre). Also odds are good such a book would not have been published, or if it were, not read, or if read only would have divided the country even more in destructive debate and further isolation.

My point about audience is an esthetic argument, not political. Writing is a matter of pitting one’s stories about the world against those the world tells about itself and seeing what can be figured out.

Everything is fiction. Some of us are just more honest about that fact.

At any rate, Twain would not give up his sense of humor, which not only encourages us to question ourselves but also sustains us, and maybe helps keep us together. Nor would he abandon constructing his novel the way it needed to be written. And maybe he helped lay the groundwork for the novels that eventually followed—read Toni Morrison’s essay “This Amazing, Troubling Book.”

The Freitag triangle

notice twainFrom the front pages of the novel

Actually, what most struck me this time through is how odd the whole book is. There are so many scenes that stall, that could have been compressed, so much that seems merely incidental. Odder than the last chapters is the attention given to who should have been marginal characters, the Duke and King, and they could have been disposed of much sooner. The whole plot does not follow a linear progression built upon character, motive, and social forces, but rests on coincidence and accident—missing the turn at Cairo because of the fog, ending up at Aunt Sally’s after so many weeks rafting down the river—and there are so many scenes that do not connect with others. But plot depends upon a character’s power of action and the coherence of his or her world. In a world where characters have limited range and the world is confused, there can be no clear course of action, no rising climax, and no dramatic resolution. Put differently, if one looks from the distance of Twain’s overarching skepticism, everyone will appear small, their actions inconsequential. In such a novel, such a world, we might as well have a pair of frauds carry us along for the ride and think about what they represent—and make fun of them at our peril.

royalnonesuch

The novel can be explained by a long tradition. Its shallow characters, the satiric cast, the episodic nature of the plot—all of these elements are consistent with the picaresque novel, and Don Quixote is often alluded to, probably an influence. But I still want a principle that explains the logic of its design. I would argue that it is the expectation of a well-made novel faced with its absence that determines Huck Finn‘s construction and sets the tone. It is the ghost of rising climax, hovering everywhere, that gives the novel its form and tension. I also prefer to think of it as a novel looking forward to modern forms and to our condition, the fog of the last hundred years.

Realism is tricky word, subject to interpretation. Much of Huck Finn‘s “realism” comes from ironic deflation of sentimental modes. But it is real in an American sense and it is an American book in its openness and skepticism, in the good nature of characters like Huck and Jim that emerges in spite of all, and most in its love of our language, the dialects which engage and convince us start to finish. And there are moments, even if we can’t relate them to anything or link them together, such as this:

It was a monstrous big river down there—sometimes a mile and a half wide; we run nights, and laid up and hid daytimes; soon as night was most gone we stopped navigating and tied up—nearly always in the dead water under a towhead; and then cut young cottonwoods and willows, and hid the raft with them. Then we set out the lines. Next we slid into the river and had a swim, so as to freshen up and cool off; then we set down on the sandy bottom where the water was about knee deep, and watched the daylight come. Not a sound anywheres—perfectly still—just like the whole world was asleep, only sometimes the bullfrogs a-cluttering, maybe. The first thing to see, looking away over the water, was a kind of dull line—that was the woods on t’other side; you couldn’t make nothing else out; then a pale place in the sky; then more paleness spreading around; then the river softened up away off, and warn’t black any more, but gray; you could see little dark spots drifting along ever so far away—trading scows, and such things; and long black streaks—rafts; sometimes you could hear a sweep screaking; or jumbled up voices, it was so still, and sounds come so far; and by and by you could see a streak on the water which you know by the look of the streak that there’s a snag there in a swift current which breaks on it and makes that streak look that way; and you see the mist curl up off of the water, and the east reddens up, and the river, and you make out a log-cabin in the edge of the woods, away on the bank on t’other side of the river, being a woodyard, likely, and piled by them cheats so you can throw a dog through it anywheres; then the nice breeze springs up, and comes fanning you from over there, so cool and fresh and sweet to smell on account of the woods and the flowers; but sometimes not that way, because they’ve left dead fish laying around, gars and such, and they do get pretty rank; and next you’ve got the full day, and everything smiling in the sun, and the song-birds just going it!

It is not hard to see why Hemingway was so taken by this book or how it influenced him.

The image at the top of this post—as well as the tragedian above—comes from Edward Winsor Kemble’s original illustrations for the novel. The Duke and King have at last been caught, are suitably attired, and are being sensibly escorted out of town.

— 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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Aug 202010
 

Frisch.

Capture

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It should be possible to build a pagoda of crispbread, to think of nothing, to hear no thunder, no rain, no splashing from the gutter, no gurgling around the house. Perhaps no pagoda will emerge, but the night will pass. —Man in the Holocene

We would like to think there is, if not an amity, at least some correspondence between what ticks inside our heads and whatever it is that runs the world’s clock. Geiser, the protagonist of Max Frisch’s Man in the Holocene, indirectly voices such a desire throughout the novel. As for Geiser, as for writers and readers. If fiction is an ordering of experience, point of view can define relationships within that expe­rience. Between readers and author there is the narrator who shapes the telling and manages the way we receive its characters and the story’s message. The point of view established in a text is based on assumptions about what narrators and char­acters understand and are capable of understanding, about what they can and can­not do in the world, and about what the world might offer in return. The concept itself implies, perhaps, that our knowledge of people and the world exists only as it is refracted through a mind. Point of view can also, in the distance it sets between narrators and characters and between writers and readers create “the interest, the conflicts, the suspense, and the plot itself in most modern narratives” (Martin 131). More is involved here than dramatic effect, though: the way we feel about charac­ters and what they do contributes to our understanding of them. We would like to think that the distance that separates us can be closed, that tensions can be eased, that we agree about something, that conflicts find resolution, or, failing all these, that we might at least learn something from the broil. The evidence from Holocene and most recent fiction has been less than favorable, however. Certainties are dis­covered, but these certainties do not add up to much or tell us what we want to know. Still we are reluctant to give up these desires, and if we can’t fulfill them, we still try, those of us who write fiction, to find ways to contain our disappointment.

The horologists who study our fictions and the way we tell them have not brought consensus or felicity, either, and it is difficult even to find a useful defini­tion of point of view or one upon which all agree. The writing handbooks only give a few superficial details, while theorists have dismantled and rebuilt the concept so it can fit into their complex, comprehensive theories of narrative. Stevick regrets the phrase “point of view” because of its ambiguity and broadness: it can refer to the “intellectual orientation of a work. . .to the emotional stance of the writer. . .and to the angle from which a fictional work is narrated”(85). The third sense, he says, has stuck in one guise or another with most theorists, but I prefer a definition that includes all three. An outlook, intellectual or otherwise, will determine this angle of vision and color the light it passes, and it may be hard in some cases to separate Stevick’s second sense from the third. Point of view in the narrower sense depends on Point of View in the larger (hereafter I will resort to the melodramatic gimmick of capitalizing it). Not that this inclusion brings clarity; in fact the opposite may be true, that it compounds the distortion. And theorists may be frustrated in their attempts to create a coherent, unified theory: theories about point of view ulti­mately depend on a coherent, unified Point of View, and their elaborate structures may not have anywhere solid to rest.

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Covert vs. Overt Narration

If a theoretical basis for point of view cannot be settled on, the behavior can at least be observed. An author has several matters to resolve and coordinate. First he needs to decide who speaks and in what grammatical person, almost exclusively first or third. Then he has to determine the degree the narrator is present as a per­son. A narrator can have an existence in a story that ranges from covert (or effaced), where we are scarcely conscious of his presence, to overt, where we are aware of being directly addressed by a distinct personal voice, separate from those of the characters. If overt, the narrator may be involved in the story itself as an active participant or perform only as an observer, marginally involved in the plot. Or he may be located at some point removed which may not even be specified, where, though we are aware of his presence as a personal voice, he is not directly linked to the time or place of the story and can move freely across the terrain with­out restraint, and even have the perspective of knowing past and future events, knowledge characters locked in the time of the narrative do not share. A covert narrator can have similar privileges, but because, covert may be even freer because we’re less likely to think of this type as even being located in space and time.

Whether overt or covert, the range and depth of a narrator’s field of vision also need to be defined. A narrator may follow one character closely, presenting only his thoughts and feelings and seeing only what he sees (though we’re not bound to his vision: our understanding of this character will be qualified by other characters he encounters and what they say and do), or be able to observe closely the lives of several or all characters. A narrator may then stay on the surface, reporting only characters’ external words and actions, or dip inside their heads and present their thoughts, feelings, and whatever else he finds there. An author also has to decide on how his narrator will present this material, by summary and analysis, by direct or indirect quotation of their words and thoughts, or by some combination of these (free indirect discourse—more on this later). And in summary and indirect dis­course, the narration will be conditioned by the manner in which it is said, the tone of the narrator’s voice, his language, its rhythms.

Finally, an author has to decide how trustworthy to make his narrator. Unreli­able narrators, usually made so by their age and immaturity or by some emotional instability, stake a point against which another viewpoint must be posited (oh, let’s call it the author’s, but then there is also the possibility the author does not have one or refuses to give one, in which case the first point can’t be set and we’re all lost in relativity). But what is the opposite of unreliability? To say a narrator is reliable leads to the question as to what he is reliable about, and any account that goes beyond presenting the details of behavior must have a way to assemble them. Ulti­mately, we have to consider Point of View in the larger sense, whatever intellectual baggage the narrator carries. And selection of Point of View will influence the other decisions. A moralist on the order of Thackeray or a Marxist might give his narra­tor absolute authority and have him look through the eyes of a limited character—limited because a single individual at best can only play a small part in a larger social order—and may not have him spend much time inside that character’s head because there is little there he finds worthwhile (Cohn makes this point on Thack­eray, 67). A psychologist of whatever camp, on the other hand, may demote his orators and revolutionaries to characters who think they know what they’re talking about, but don’t, because he may believe their ideas not only ignore the funda­mentals of human behavior but also because their ideologies are suspect them­selves, based on psychological imbalance.

However gross my characterizations of the above narrators—thank heaven none of these exist, or exist very long—any writer is going to have, even though not formalized into theory, some attitude towards people, along with opinions on why they behave the way they do and how they should behave, and these will influence his esthetic choices. The person and thoughts about the person cannot be abstracted out of motive in fiction, the way, perhaps, motif can in music. We, of course, do not read fiction to learn ideas, any more than we look at a painting so we can imagine and then contemplate lines of perspective, but in both arts, perspective shapes the work (and perspective itself in the visual arts depends on a theoretical position). Even to reject ideas themselves implies an intellectual stance, and a writer who accepts this tact may spend his time on the surface, paying more atten­tion to craft than theme, turning point of view into a prism which produces many bright and interesting colors, but such a work will still influence the way we think about people and how seriously we take them.

Yet anyone trying to deal with the workings of the mind, however much he wants to believe in the permanence and universality of his views, has to face the fact that not only gray matter but also theories and opinions about it are loose and malleable stuff. Trends change along with what we raise from the depths (the rea­son why I suspect any attempt to define a theory of stream of conscious writing is doomed, also the reason why I’m glad we have writers: they create better fictions about the mind). Writers dealing with social order have to contend with a similar looseness in the rules they believe govern social conduct. It could be argued (and I would agree) that the most successful writers are those who most take on the chal­lenge of Point of View but at the same time recognize its limitations and do not let it too rigidly control their work. These writers also realize not only that much behavior is simply idiosyncratic but also that part of their task is to produce indi­viduals who embody those idiosyncrasies, not reduce them to a set of ideas. I include Point of View in my definition of point of view not because I believe there exists some kind of transcendent order that writers can grasp and in which they should align their work, but the opposite. Just as we accept their characters as “real,” as people who in some way exist, we grant their ideas a similar reality—but only provisionally. We always have to step back from a work and decide if charac­ters behave the way we think actual people do, just as we measure the writers’ ideas against what we believe to be true. We cannot do so until, however, until both are fixed before us in a text, becoming a kind of proposition, and point of view is one way to establish this fixity.

Two examples from Joyce and Mann will illustrate the interrelationship of the different aspects and also define opposite strategies used in third person narratives I will use in analyzing Frisch’s novel. As in Holocene, both narrators center on a single consciousness and have access to that character’s mind. And in all three, the characters are in a state of emotional distress, posing challenges to reaching an understanding of what is going on inside their heads. First, a passage from Mann’s Death in Venice, where Aschenbach is caught in a moment of infatuation with the boy Tadzio:

Too late, he thought at this moment. Too late! But was it too late? This step he had failed to take, it might quite possibly have led to goodness, levity, gaiety, to salutary sobriety. But the fact doubtless was, that the aging man did not want the sobering, that the intoxication was too dear too him. Who can decipher the nature and pattern of artistic creativity? Who can compre­hend the fusion of disciplined and dissolute instincts wherein it is so deeply rooted? For not to be capable of wanting salutary sobering is dissoluteness. Aschenbach was no longer disposed to self-criticism; the tastes, the spiritual dispositions of his later years, self-esteem, maturity, and tardy single-mind­edness disinclined him from analyzing his motives, and from deciding whether it was his conscience, or immorality and weakness that had pre­vented him from carrying out his intention. (qtd. in Cohn: 27)

The excerpt begins with the actual words of Aschenbach’s thought, but pre­sumably he is so distraught that he can go no further and the narrator has to take over. While the narrator is not located in the story in any physical way (how could he be, and then get inside Aschenbach’s head?), he has a distinct presence and speaks to us as a person in his own voice, using his own language. He also speaks with authority, talking about certainties (“the fact” of Aschenbach’s condition). The source of his authority comes from his superior knowledge of human behav­ior, along, perhaps, with his superior control of his emotions which makes such dispassionate analysis possible. And while he largely focuses Aschenbach’s psy­chological condition, his analysis has the force of judgment, a judgment based at least on the virtues of moderation. Whatever the narrator’s exact beliefs, we are aware that he does have a larger Point of View, and this Point of View puts him—and us—at an emotional and intellectual distance from Aschenbach, whom he analyzes as if he were a patient on a couch, if not someone in the confessional, hopelessly unrepentant.

Compare this example with one from Joyce’s A Portrait of the Artist as a Young Man:

He shook the sound out of his ears by an angry toss of his head and hur­ried on, stumbling through the mouldering offal, his heart already bitten by an ache of loathing and bitterness. His father’s whistle, his mother’s mut­terings, the screech of an unseen maniac were to him now so many voices offending and threatening to humble the pride of his youth. He drove the echoes even out off his heart with an execration: but, as he walked down the avenue and felt the grey morning light falling about him through the drip­ping trees and smelt the strange wild smell of the wet leaves and bark, his soul was loosed of her miseries.

The rain-laden trees of the avenue evoked in him, as always, memories of the girls and women in the plays of Gerhardt Hauptmann; and the mem­ory of their pale sorrows and the fragrance falling from the wet branches mingled in a mood of quiet joy.(30-31)

Again, the narrator follows his character closely, reports on his behavior, sees through his eyes, and knows what is going on inside his head. He is in touch with Stephen’s emotions as he describes his anger at home and his relief when he escapes, and also knows his habits and predilections—the effect of trees on him “as always,” along with his taste in theater. In both examples, the characters are too absorbed in their present emotional state to make any comment themselves. Here, however, the language of the narrative is rich with imagery, and unlike Mann’s nar­rator, Joyce’s is more interested in presenting emotional fullness and engaging us in it, rather than analyzing its problems. But where does the language come from and how does the narrator feel about this scene or want us to feel? Perhaps having wet leaves described as “strange” and “wet” reflects Joyce’s insight and might alter our perception of them, but the emotion is Stephen’s not the narrator’s. And while the language may not be directly Stephen’s, it is the kind of language he—or at least a sensitive yet sentimental youth—would use. All of the language, its rhythms, its diction, and its imagery, is conditioned by Stephen’s sensitivity and immaturity (a risky trick for Joyce, because so much of the prose has the charm but also the ungainliness of adolescence). Only a mawkish writer would have his narrator use words like “the humble pride of his youth,” and while in other fictions these words might be presented ironically if not sarcastically, as if calling to attention Stephen’s sentimentality, the context of Joyce’s novel does not support such a conclusion. While it is clear that some presence is controlling the narrative which has consider­able privilege in depicting the character, it is difficult to separate the narrator from Stephen. The narrator is an effaced one, not a distinct and separate voice, and exists only to present Stephen as he is at any given moment. Mann’s narrator has proba­bly seen Aschenbach’s fall all along and hints at it. Joyce’s narrator only follows Stephen as he rises and stumbles, without giving us clues as to which might happen next.

Further, while we may question Stephen’s emotional excess and his judgments of his parents, perhaps even form conclusions about the volatility of youth, the larger Point of View here is also Stephen’s: he believes in souls, not the narrator, and has an opinion as to their gender. Joyce does not use his narrator to assert some theological belief. Yet Stephen’s Point of View is incomplete and unstable, and does not provide a full, coherent way for us to reach any definite assessment of him or anything else. Point of View, inasmuch as it exists in the novel, comes from the maturing Stephen as he develops one, and we sense at the end he has more work to do. Here Point of View is dependent upon the character and to an extent inseparable from him, and thus suspect.

Cohn uses the terms dissonance and consonance to describe these two exam­ples respectively. The terms do have unfortunate connotations, as an overt narrator could be in harmony with his character, the covert, at least implicitly, removed, though her use is neutral. Her purpose is to measure distance, and the examples set opposite poles between which other narratives might vary. In the dissonant type, the “narrator remains emphatically distanced from the consciousness he narrates,” while the consonant involves the mediation of a narrator “who readily fuses with the consciousness he narrates” and thus brings it close(26).

Along with the obvious technical differences in the way these types of narra­tions are constructed, there will also be differences in the effect they have on the reader and different trade-offs as well. The covert narration will have a greater degree of immediacy and spontaneity: we see character in the throes of existence without being aware of a separate consciousness channeling this information. But since the narrator closely tracks the character’s thoughts and absorbs his language, his voice will be just as uncertain and unstable. According to Cohn: “The absence from A Portrait of any sort of evaluative judgments has led to the unresolved dis­cussion of its author’s attitude toward Stephen; but Joyce’s avoidance of a marked authorial presence is surely sufficient proof that the portrait of a problematic artist as a problematic young man demands from the reader the same tolerance for ambiguities that went into its making” (32). Joyce’s knowledge of people and the world are built into the way he constructs his character and narrator, but these larger meanings, inasmuch as they exist, will be implicit, and more open to varying interpretations. The appearance, if not the actuality of directness and coherence is sacrificed, the trade-off. Overt narration has the advantage of directness, as the nar­rator not only provides a vehicle for discussion, but also has the means for amplifi­cation, through analysis and commentary, as well as through summary enhanced, perhaps, by his superior control of language. If the writer wants us to take him seri­ously, his voice will assume the force of authority. As Cohn points out, “the stronger the authorial cast, the more emphatic the cognitive privilege of the narra­tor. And this cognitive privilege enables him to manifest dimensions of a fictional character that the latter is unwilling or unable to betray”(29), but, again, at the loss of closeness and spontaneity.

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Voice in Frisch

The poles, then, define a spectrum not only between closeness to and distance from a character, but also between authority and subjectivity, and clarity and ambiguity. Towards which end does Man in the Holocene belong? I will argue both, in a sense, and in a sense, neither. Frisch, then, the opening sections of the novel:

It should be possible to build a pagoda of crispbread, to think of noth­ing, to hear no thunder, no rain, no splashing from the gutter, no gurgling around the house. Perhaps no pagoda will emerge, but the night will pass.

Somewhere a tapping on metal.

It is always with the fourth floor that the wobbling begins; a trembling hand as the next piece of crispbread is put in place, a cough when the gable is already standing, and the whole thing lies in ruins—

Geiser has time to spare.

The news in the village is conflicting; some people say there has been no landslide at all, others that an old supporting wall has col­lapsed, and there is no way of diverting the highway at that spot. The woman in the post office, who ought to know, merely confirms that the mail bus is not running, but she stands behind the little counter in her usual care-laden fashion, keeping usual office hours, selling stamps, and even accepting parcels, which she places unhurriedly on the scales and then franks. It is taken for granted that state and canton are doing everything in their power to get the highway back in order. If necessary, helicopters can be brought in, unless there is fog. Nobody in the village thinks that the day, or perhaps the night, will come when the whole mountain could begin to slide, burying the village for all time.

Somewhere a tapping on metal.

It is midnight, but still no pagoda. (3-4)

This is obviously a third person narrator, and, as gradually becomes apparent, one who follows a single character, Geiser, closely and is privy to what goes on inside his head. The first sentence is a conditional with a gnomic flavor, as might come from an overt narrator with authority, who is commenting about some desir­able state of affairs for man in general, were it not for the specific, localized details of splashing from a particular gutter and gurgling around a particular house. Throughout these sections, there also seems to be some narrative control of time as well, as most the sentences are cast in progressive tense or habitual present, yet the actual time is vague and confusing. And so much of the narrative that follows looks only like objective description, such as might come from an effaced narrator who only reports places, events, thoughts, and sensations, and does so sparingly without comment or analysis. At the outset, who even is being described, where he is, and what happens—much less when—are not immediately clear, and we have to piece the evidence together as it comes. The second sentence tells us a pagoda is actually being built, sometime at night. The second section marks the first actual event in the present, after the progressive time of the first section, but who hears the tapping or where it comes from are still not specified. In the third we become aware of the person who not only hears the tapping but must be the subject of the speculation in the first sentence, an actual person who would like not to hear the noise of rain. And this must be the same person who builds the pagoda, who coughs, whose hand trembles. That “the whole thing lies in ruins” is in the present tense instead of present perfect, which would indicate a completed action, tells us this person has been trying to build one several times, may be doing so now, and will continue to try, probably without success. The fourth section tells us indirectly that this person is Geiser, who either cannot or does not want to sleep, and who is killing time with his construction. Then the fourth section takes us away from the house to a village, presumably the one where Geiser lives, and reports on the villagers’ opinions on a landslide, a highway that may have been damaged. But mention of a landslide takes us back to the first section: it was probably caused, if it did happen, by severe storms—over a week’s worth, we find out on the next page—which might explain why Geiser does not want to hear the rain. He is worried. The sixth section gives only the second actual event in the present time of the narrative, a repetition of the tapping, and the seventh finally identifies the time specifically, midnight, though it is not clear how much time has passed since the beginning section—or how many pagodas have risen and fallen. It would seem, however, that Geiser has been at it for a long time, that his concern about the storm must be considerable. Perhaps this is why his hand trembles.

The narrator does not give much help, and even after several pages, we only have a vague sense of where we are or who is involved. As we read on we are fed information bit by bit, and each new detail forces us to go back to reevaluate what we think we have learned. Only later do we find out that the highway is the only entrance to the village, thus that it is out would leave the villagers—and Geiser—isolated. Yet each new detail also makes us doubt our earlier conclusions. The ninth section suggests Geiser is old, as he describes his guests as youngish. Perhaps his age, then, is why his hand trembles, rather than his worry, or perhaps the shak­ing comes a combination of the two. Only much later can we piece his situation together: 73, a widow, Geiser was an entrepreneur of some sort who retired in this village, where he now sits out a long series of storms. And each new piece of evi­dence leads to more questions. We never feel we know as much as we need to know. How great is the possibility of a flood or landslide? How realistic or exagger­ated are Geiser’s fears? We don’t get definite answers. And when we find out Geiser is distraught enough to attempt what for him is a dangerous climb to safety over a nearby pass, to throw a salamander in the fire, to cook his cat because a power out­age has spoiled his food, yet who also, since these decisions are supposedly made for his survival, ignores his daughter’s phone calls and does not respond to people who knock at his door to help—we are either shocked, because we didn’t see this behavior coming, or not surprised at all because we saw it all along. Either way, we may not be satisfied the narrator has prepared us. Why is he holding out?

Still, as little guidance as we get from the narrator, we are always aware of his presence. He can not only observe but also present Geiser’s thoughts in indirect statement: “Geiser wonders whether there would still be a God if there were no longer a human brain, which cannot accept the idea of a creation without a creator” (9). And he has a distinctive voice, one that can formulate the generalization in the opening section about Geiser’s specific desire to be safe. Perhaps it is the voice of a narrator who is trying to be objective, and thus withholds comments and lets the facts speak for themselves. Or we may sense a wry detachment from a character the narrator at best finds curious. If we read a hint of sarcasm in the first sentence, we might decide that it may be normal to worry about storms, but not to the point that no rain or thunder can be heard. That “Geiser has time to spare,” if we hear a voice with this attitude, might suggest he is a person who does not know how to fill his spare time, and this idleness might lead to his excessive worry. That the village might be buried “for all time” could be read as a heavily sarcastic remark, pointed at Geiser’s boundless fear. Either way, the narrator distances us from Geiser, and we feel we have been given a specimen for some study, though one whose line of inquiry is less than clear. As with Mann’s narrator and his subject, Aschenbach, we have a narrator who knows his character and his condition too well and who sees the inevitable fall. If he doesn’t tell us more, it might be because he would only be stating the obvious (and of course doing so would kill suspense in the plot).

But he is also a narrator who corrects himself. A few pages later we find out “It is not true, incidentally, that no horns are sounding in the valley. . .”(11). Is the road out after all? Perhaps the narrator merely describes earlier reports, and here sets the record straight. Yet so many simple facts which the narrator should have the omniscience to know are often left uncertain, and this uncertainty cannot be attributed to ironic distance. Our attitude about Geiser’s extreme behavior depends on how we interpret the evidence, but I’m not sure we have been given enough by the narrator to reach a definite conclusion about Geiser’s sanity, much less know exactly why he does what he does. More importantly, the narrator, even by impli­cation, does not ascertain what he should know and what we most need to know, the degree of danger that might come from the storms. If there is a high probability of a landslide, and there is much evidence to suggest some probability, then Geiser’s fear, perhaps even his behavior, is not as excessive as we might think. The reason why the narrator doesn’t tell us is because he does not know any more than Geiser what to expect. In fact, the narrator does not tell us anything about his char­acter that Geiser himself does not know. We question the narrator’s apparent omniscience and realize we have to reassess his relationship with Geiser.

Ultimately, we have to decide who is speaking and how. In the fourth section the assessment of the postal clerk as a person “who ought to know” if there has been a landslide, but doesn’t because she is too occupied “in her usual care-laden fashion” with day-to-day matters, might be read as another wry remark from the narrator, yet these words seem out of character for him. However we read him, he seems too distant to concern himself with what would to him be trivial—but would not be to Geiser. And as we settle down in the narrative, we realize that we are told nothing that Geiser has not directly seen or thought about. Again, we have to backtrack and reassess what we’ve been told, but when we do, we understand that though he’s not mentioned in this section, he is the one who goes to the village to find out what has happened. And as we get to know Geiser and increasingly doubt the authority of the narrator, we realize that not only the assessment of the villagers but also many of the actual words are Geiser’s. The context, belatedly, makes this clear. What is suggested in the first two pages is made manifest in the following pages: Geiser is quite worried about the storms and is trying to calculate possible damage. The villagers, however, not only don’t seem especially concerned but can’t even get the facts straight, which, in Geiser’s mind, they “ought” to be able to do. He won’t get any help from people who, perhaps, put too much trust in the state and canton, none of whom are aware “that the whole mountain could begin to slide, burying the village for all time,” Geiser’s concern and probably Geiser’s words. The voice that corrects itself is, of course, Geiser’s, and when we realize this, we begin to wonder where the narrator himself stands.

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Free Indirect Discourse

The method that allows a character’s words to appear in a third person narra­tive is free indirect discourse, which will take a bit of explanation. A narrator has several ways to present the words and thoughts of his characters, which range from direct presentation of their words through quotation—dialogue for speech, inte­rior monologue for their thoughts—through indirect quotation, as exemplified in the sentence quoted above (“Geiser wonders. . .”), where specific details of a char­acter’s speech are presented, but not his exact words, and through summary, where both the details and the words become subsumed into a general report. An author’s choices here depend on the degree he wants to directly represent his character’s words (mimesis) or have his narrator report them (diegesis)(McHale 258-59). Somewhere between direct and indirect quotation lies a nether realm theorists have assigned to free indirect discourse, which uses characters’ actual words but frames them in the grammar of the narration, as shown in the following example from Dos Passos’ novel, 1919:

She almost fainted when he started to make love to her. No, no, she couldn’t just now, but tomorrow she’d drink in spite of the pledge she’d signed with the N.E.R. and shoot the moon. (qtd. in and slightly altered by McHale: 250)

The sentence keeps the past tense and third person (“she” instead of “I”) of the narrative, but in presenting her speech, it not only follows her syntax, as we might imagine it were this a direct quotation (the interjectional construction “No, no”), but also uses her specific words, her diction and colloquial expressions (“shoot the moon”). The advantage such a technique offers is that it maintains the immediacy and spontaneity of speech—we are aware of a character’s actual words and feel we actually experience them—yet also allows the author to move almost seamlessly between character and narrator to report actions and fill in background. An author could, of course, accomplish the same ends by mixing narrative summary and direct quotations, but free indirect discourse is more fluid and more economical, and certainly less awkward than the alternative of having a character report the all the needed background in his speech. The same advantage would apply to render­ing consciousness, where free indirect discourse takes the place of interior mono­logue, extensive use of which can be awkward and unrealistic. Free indirect discourse offers another benefit: since a character may have limited understanding, an author can move freely—even imperceptibly—back to the narrative voice to fill in what we need to know.

Free indirect discourse in its specific meaning applies only to a character’s actual thoughts or speech as they occur, as in the example above (Cohn uses the term “narrated monologue” to make this distinction). An author can set up a nar­rative in ways that help us distinguish the different discourses, as in the following example from Flaubert:

A quarter of an hour later he had a longing to go into the coach yard, as if by chance. Would he perhaps see her again?

“What’s the use?” he said to himself. (qtd. in Cohn: 135)

Narrative summary in the first sentence is followed by free indirect discourse in the second and direct quotation in the third, a pattern Flaubert often uses whose repe­tition helps us know which type of discourse is being used and identify who is speaking(135). There is also a more general sense of the term, where the narrative might use a character’s idiom even though no actual speech may be involved and grammatical indicators are less distinct, which occurs in the Joyce example cited above. And the more subtly and the more loosely the technique is used, the more difficult it becomes to know who is talking, narrator or character, or decide how we should take the words. Closeness brings ambiguity.

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Voice in Frisch/Complications

In Holocene, it is difficult not only to know who is speaking but even determine what kind of discourse is being used. With a few exceptions, the entire narrative is set in the present tense, so there is not the indicator of a shift of tense, as in the Flaubert and Dos Passos examples. As occurs in the first pages, many sections report Geiser’s behavior without mentioning him, so there isn’t the indicator of shift in personal pronoun as well. The fragmented nature of the narrative also con­tributes to the ambiguity of discourse. Consider the following examples, which exist as separate, consecutive sections:

Today is Wednesday.

(Or is it Thursday?) (9)

By itself, the first could simply be narrative summary, made independently of Geiser’s words, but the second section makes us realize Geiser’s confusion is involved, so both could be free indirect discourse. Then again, one or both could be free direct discourse, where the narrative uses a character’s exact words without using the conventional quotation marks to distinguish them as such. (Parentheses probably mark an actual thought in the second.) And again, we lack the indicators of shifts in tense and person. More baffling is this section, where there is not even a verb to mark a tense:

No knowledge without memory. (6)

Geiser here is concerned about losing his memory, specifically, as mentioned in the preceding section, with his inability to recall how to draw the golden section. This sentence could be free direct discourse, presenting his actual thought, his own con­clusion about the implications of losing one’s memory. Or it could be free indirect discourse, a presentation of that thought. Or, if we haven’t yet abandoned the authority of the narrator, it might be some gnomic statement the narrator makes himself not only about Geiser’s condition, but about people in general.

A narrator’s ability to step back and view events in other places and times also helps distinguish voices. Here, however, as in the Joyce example, despite appear­ances otherwise, the narrator stays entirely not only within Geiser’s angle of vision but sees only when Geiser actually sees. Everything in the narrative is grounded in the actual time and place of Geiser’s experience. In the section on the first page that begins “The news in the village is conflicting,” it looks as if the narrator has left the house to report on another scene, or, once we realize Geiser’s involvement, that the narrator is giving us a flashback of what Geiser does at an earlier time. Neither is the case. The context of the entire narrative tells us as much. There are few sections that deal with other places and times at this length, and to give the narrator free­dom and omniscience here and not elsewhere would be technically odd and incon­sistent. Instead, Geiser is actually remembering, in the actual time and place of the narrative, at night inside his house, an earlier trip to the village and his talk with the postal clerk and others, and does so now because he is worried about the storm and is comparing his view with theirs, which is too vague and inconclusive to help him with his present concern, a fear made greater, perhaps, by the late hour. The pre­sentness and actuality of this memory is made clear when the narrator says “Nobody in the village thinks the day, or perhaps the night, will come. . .” (my italics). The night is this night, the night the story begins. The use of the present tense in describing the clerk’s treatment of parcels (“which she places unhurriedly on the scales and then franks”) suggests that Geiser now has this image before him in memory and is reexperiencing it.

The influence of Geiser’s language on the passage indicates free indirect dis­course, at least in the general sense, and we see the advantages of such a technique. A kind of psychological realism is maintained here: memories can have a specific nature and influence us in specific ways, even though we don’t actually go through the process of recalling all the details they might contain. And by having the nar­rator report on the memory, Frisch can present these details without violating this effect yet still maintain the actuality, the presentness of the memory in the mind of the character. There are technical advantages as well. The narrator can present the memory without resorting to extensive inquit formulas (“Geiser thought about. . .”; “He remembered when he. . .”), which would be awkward, or making the entire section an interior monologue, a technique Frisch has decided not to use, at least directly, and which would be unrealistic and odd anyway. A similar case can be made for the longish sections that describe his trip to Iceland and his Matterhorn climb, where many details are presented which are not necessarily actually recalled. But note the difference between this kind of reported memory and a flashback. The latter, even if it only reports details without comment, could present a different Geiser, a younger one, and provide some point of reference, a basis for comparison with the present Geiser. The reported memory, since conditioned by his present state of mind, will not allow this perspective—unless, of course, a character can look back objectively on his life.

Perhaps what is most odd about the narrative is that, except possibly for the few handwritten notes, themselves largely summaries of what he has read, and a few sentences that might be free direct discourse, there is no direct voicing of Geiser’s speech or his thoughts, odd because if we stay this close to a character, we expect him to speak up once in a while, if not out loud, at least to himself. Hearing his actual words might not only help us get fix on who he is and how he speaks, but also set up a pattern of discourse, as in the Flaubert example, giving us a better sense of which words might be his when presented in free indirect discourse, and thus separate him from the narrator. It is not even easy to tell when he is actually thinking. There are few indirect statements to indicate mental activity. Most sen­tences report perceptions or thoughts by themselves, without using a pronoun to identify Geiser. And frequently the narrator uses the indefinite personal pronoun “one,” as in this example:

A summer guest from Germany, a professor of astronomy, knows a lot about the sun and, if asked, is not unwilling to talk about it, even to a lay­man. Afterward one clears the cups away, grateful for the short visit. (15)

The conditional “if” leaves us wondering if Geiser asks today or not, though he probably does, given his pressing concerns about meteorology and the influence the sun might have on the weather. The use of “one” makes it sound as if the nar­rator is describing some generalized situation to raise some truism about people in general, even though this is a specific, actual event and the “one” is Geiser. Even where we are certain what Geiser is doing, the narration blurs his presence.

What most makes separation of voices difficult is that the narrator uses no lan­guage that Geiser would not use himself. Even though we may not know exactly when he speaks or what he says, we can infer the types of words he would use once we get to know him. The sparseness of the language—there are few descriptive adjectives, and most of these are neutral, indicating only physical properties or measurement—the neutral coloring of tone, the concrete images, and the crisp, sharp phrasing of the sentences are consistent with what we know about the char­acter and his situation. He prefers “factual books” (10) over novels. By profession, which though not specified is obviously a tech­nical one, Geiser would be given to such terse, formulaic expressions and he would attempt to be objective in his descriptions, as guided by his scientific outlook. As an admirer of the explorer Captain Scott, he is independent and self-reliant, not self-absorbed or given to emotional effusion. And his age would bring a laconism that comes from so many years of dealing with expecta­tions and disappoint­ments, as well as from a sense of what lies ahead. We feel the presence of a mind trying to establish personal and intellec­tual control and be directed by the possibilities such control might offer.

And whatever conclusions the narrator might reach with this language, Geiser would reach also, because he is aware of his condition to an extent. He realizes that his posture as Geiser the imperiled explorer is unwarranted when he does not send a letter to his daughter because “there are sentences in it that sound like Captain Scott in his tent”(20). Geiser finds solace in the thought that “At any rate, one knows afterward that one is not crazy: other people have also noticed that it keeps on raining” (16), but also shows recognition that his behavior may be less than rational, and perhaps senses what is to come. The narrator does not say anything Geiser would not say, or think anything he would not think. If Geiser wrote this story, he would say it exactly the way this narrator has.

While the dry, detached tone of the narrative might distance us from Geiser, sympathy—ours or anyone else’s—is not an emotion he would allow. If we feel distant from Geiser, it is because Geiser is distant from himself. It would not be out of character for him to be removed from his thoughts or even think about himself in the third person, as if about someone else. Thus sentences such as:

Geiser has time to spare. (3)

Geiser is a widower. (37)

Geiser is still wearing his hat. (57)

Geiser wants no visitors. (93)

Geiser is not a newt. (97)

could be read as free indirect discourse in the strict sense, a presentation of his actual, specific thoughts. Geiser is making observations about himself and voicing them with the same wry detachment we might first have attributed to the narrator. Or for that matter, they might be free direct discourse: he is actually saying these to himself—or out loud, for all we know—referring to himself as “Geiser.” A case could even be made that almost the entire narrative is free indirect discourse in the specific sense—only his actual thoughts are present. Or, more likely, that it uses only free indirect discourse in the general sense—his type of thought and language colors the narrative, without there being any indication of actual thought or speech. We have no way of telling. The ambiguity about discourse itself prevents the per­spective a separation of narrative and figural voices might offer.

Though we may not always know where he is, we do have, as in Mann, an overt narrator who speaks in a separate voice, and speaks with authority, but it is an authority without content, as he says nothing beyond what Geiser himself knows. The narrator, who, of course, is not Geiser, is still a doubling of Geiser’s conscious­ness and exists as a kind of ghost who hovers bodiless over the corporeal character. But once we cast appearances aside, we see that the narrator, though overt, really functions more like an effaced narrator, like Joyce’s, who, with the help of free indi­rect discourse is fused with his character and presents him without comment or even clear hints. And as with Stephen in Portrait, we see the development, or at least an attempt towards development of a Point of View, contained by and contin­gent to some degree upon the character Geiser. It would be a mistake, however, to think of the covert narration as controlled by some kind of hidden person—it is with reluctance I refer to him as “him” or “who”—who hides behind the scenes and manipulates images and words while the overt narrator walks the stage and speaks. Only gradually—if at all—do we realize how the narrative works, so care­fully and subtly has Frisch crafted the narrative voice. Like many effects in fiction, his depends on our not noticing it.

Yet still unlike Joyce’s narrator, at least in effect, because an effaced narrator can present emotions when a character is not in a state to voice them. In Holocene, we don’t even get amplification of these emotions, not even where they should be most strong: Geiser’s struggle with the climb over the pass, his feelings when he abandons this escape—and especially when he goes haywire and roasts his cat, which only gets a brief, bare report. The narrator only presents Geiser’s conscious­ness, and does not go deeper to express some unconscious substratum because it is Geiser’s consciousness, shaped by his scientific outlook that controls what is pre­sented. Nor can the narrator imply conclusions where Geiser cannot: he can only show the pieces as Geiser scatters them. The only fear expressed is the fear Geiser feels is justified: if he decides he is in danger, he would feel a measure of fear is in order to determine a course of action. Any other play of emotion would serve no purpose. And if Geiser does not attempt to analyze himself, it is because he may not know how or, more likely, because he might question the kinds of introspection that place more emphasis on emotions than reason.

To be sure, we are made aware of his emotions and how they affect him, beyond their pragmatic value, but in the only way his rational mind would allow, through concrete things and their physical description, the images of memory and perception covertly planted in the narration. But again, the narrator can only present them, not embellish them or pull them together. Early in the novel, he watches the vines and roses in his garden “being torn to shreds”(8) by the rain, and later he imagines a fallen tree on the slope he is contemplating climbing, “its smashed crown pointing” the “black roots spread out in the air” (13). While these details might give Geiser useful external evidence in determining the possibility of greater destruction, they make us wonder about the emotional condition of the man who perceives them, who must imagine himself ripped to shreds, emotionally, perhaps even physically if he steps out. The black roots suggest a darkness within, a despair he barely recognizes and cannot control.

This oblique expression of his emotional state is evident between pages 41 and 53, a passage where it would most seem the narrator has left the scene—and Geiser—to fill in background, but hasn’t. Page 41 gives a string of reports on rain outside the window, made morning to night, almost on the hour. Geiser has been watching the rain constantly, in a frame of mind we can only guess at, but obvi­ously he is quite concerned. Next a long scene on winter, introduced by the sentence, “At least it is not snowing.” The immediate relevance of this seeming non sequitur is that were it now winter, all this rain would be snow and Geiser would have an avalanche to worry over as well if he stayed through the next season. After all, he is in the Alps. And thoughts of snow and avalanches recall his earlier reading about the area’s past, the relentless glacial activity in the Ice Age. Thus the later section on Iceland, where he once visited, is also anticipated. Echoed perhaps as well is Geiser’s self-image as Captain Scott, a solitary arctic explorer.

Then follows a longish description of the valley in winter. The color black is used in each specific description, in all but four of the next eighteen sentences—black footprints in the snow, black asphalt, black birds, and so on—and in the other four there is a “dirty gray,” “silvery gray,” and “bracken brown”—dark or neutral shades. Coffee in the last of the eighteen might suggest black as well. And snow is grimy in the next sentence, a ravine in shadow. This passage is another reported memory, whose details, while he may not be actually recalling them, are determined by his present state of mind and whose impact he now feels. The blackness that briefly appears earlier here explodes, and his mood must be very dark indeed. This memory, its blackness might be motivated by the time—it is after eleven, perhaps much later. He is again spending another night worrying and when he goes to the window now, all he can see is the night. We realize what Geiser may not, that he is disturbed, perhaps to the point of pathology. He does make some qualification at the end of this section when he realizes that the glaciers, after all, are “in retreat,” but in the summation “All in all, a green valley,” after all the blackness, the color green bursts out like a vain ray of hope, too quick, too brief to last. We sense not optimism, but a rapid mood swing, a sign of instability. And just as Geiser struggles to contain his darker fears with reason, the rational control exerted on the narrative struggles with stream of conscious, barely allowed to emerge.

The next day gets only a brief two sections, where the possibility of the sun coming out is pitted against the sound of water rushing again in the ravine. And in the next section he contemplates if not prepares for his escape: a train schedule is cut out and posted on the wall. Then the next six pages have many short sections, again seemingly out of the scene, describing the advantages and disadvantages of the valley, all trivial (and often comic). At best it is a picturesque place, but then again, there’s not much to be said for it—“A valley with no Baedeker stars,” as is noted in one section. We realize that Geiser is not just thinking about his immedi­ate future, but the rest of his life and what it might be worth. Loneliness is not an emotion the stoic Geiser would allow, but he must sense his isolation in a valley where he feels out of place, an isolation intensified by the storms. Basel, the desti­nation of his escape plan, is not only where his daughter lives but also where he grew up. Perhaps it is time to return. And, at his age, he must be aware of his approaching death. Winter is our last season. That “Erosion is a slow process” (48) offers some consolation: whatever may happen in the valley might not happen suddenly, as he fears. But erosion happens nonetheless, and its effects are irreversi­ble. Geiser must also be aware of his own possible erosion, physical and mental, which throughout the novel is paralleled with that caused by the storms, and while both types of erosion usually occur gradually, his, at his age, can also happen as suddenly as a flood or landslide. These sections and the next, dealing with Iceland, are probably set at night, when he is most prone to despair. The long section on Iceland—another reported memory, of a trip he made some time ago—can only describe the sterility of the land. Here, the memory is again motivated by his fear of danger and echoes what he has been learning from the texts he has cut out and taped to the wall. What has happened in Iceland once occurred in the Alps and will eventually happen again. Nature once was, still is, and will forever be indifferent to man, to Geiser in particular. But there is also the suggestion, even if Geiser doesn’t see it, that his own life is just as barren now—and perhaps has always been that way, for reasons he may glimpse but not admit. All the images in these pages, in their coldness, their sterility, and their blackness are too extreme, too exaggerated for his immediate or even distant concerns. We see cracks in the rational mind and sense that his breakdown, already anticipated, might be imminent. Later, after his hike, when his behavior is most bizarre, the narrative, like Geiser, is silent because the reasoning machine has broken down and can’t find the words to speak.

While Geiser’s consciousness determines the narrative, we become aware of its limitations and realize the only way we can come to any kind of assessment of Geiser is by going outside it. And the narrative, the way it is constructed, impels us to make some kind of assessment of Geiser and his odd behavior. In so many ways we are put at a distance from Geiser that screams to be closed. The authoritative character of the overt narrator, however much this is only a matter of appearance, puts us at a psychological if not moral remove. And discovering the narrator is no different from Geiser only makes us wonder more why Geiser doesn’t see what is so obvious to us. Frisch probably avoided interior monologue to reinforce this dis­tance, as hearing Geiser’s actual words might lead to a familiarity that would com­promise it. Perhaps, too, Geiser not only is not disposed to talking to himself, he might also lack the confidence or ability to do so, which would present another aspect of his psychological distress. The covert narration, however, in its focus on Geiser and its fusion with him through free indirect discourse, brings us close enough to him to want some kind of accounting for all the details embedded in it of his extreme behavior. The fragmentary nature of the narrative itself, along with gaps it creates, perhaps suggesting a fragmented mind, posits the need for a whole­ness that a conclusion might bring—

.

Point of View/point of view

But how can we reach any definite conclusion? The novel pushes us only in a vague direction towards some kind of assessment, but does not give us the means to make one or even know what kind of assessment is in order. We aren’t even given enough hints to understand what is happening to Geiser, much less decide how we should take him. Should we feel sympathetic with him, pity him, or view him from some ironic distance? We can’t even get an answer to the question that most cries for one: Is this guy crazy or not? The tone is so sparse it could be read in several ways, whether we ascribe it to Geiser or the narrator. The terse, bare words could come from someone too resigned to say more, or one who is simply being stoic. Or they could be the words of someone who does care about his life and life in general, perhaps too much, and does not want to spoil this hope with false and exaggerated expectation. The overt narrator has no authority, and the strict adher­ence to Geiser’s point of view, unreliable itself, allows no other. The use of an effaced narrator and free indirect discourse does not necessarily preclude coher­ence. In fact, as Cohn notes, “narrated monologues themselves tend to commit the narrator to attitudes of sympathy or irony: “Precisely because they cast the lan­guage of a subjective mind into the grammar of objective narration, they amplify emotional notes, but also throw into ironic relief all false notes struck by a figural mind”(117). But, as she explains, this kind of emotive shaping depends on an implied context, and in Holocene, there isn’t one provided by the narration. It’s hard to determine a false note in music that has no determinable key. The point of view is so fixed on Geiser’s consciousness that covert narration is not given the power to direct by implication. We can’t even get the point of view of other voices—of other characters. We question the competence of the villagers, and almost everyone else has left town. The novel provides an apt image that might describe the narrative. Geiser is out in his yard one morning. The rain has lifted but left a dense fog:

Field glasses are no use at all in times like these, one screws them this way and that without being able to find any sharp outline to bring into focus; all they do is make the mist thicker. (7)

We have the tools for focusing—a narrator fixed on Geiser’s point of view—but we don’t have anywhere to focus through his eyes, his mind. Like Geiser, we’re in a fog, and without guidance, a place to focus, we are forced to weigh the evidence ourselves.

What can we conclude?

We might decide that the consciousness—Geiser’s—that controls the narrative presents the major conflict of the novel and perhaps demonstrates the trap Geiser has put himself in. We sense that reason has turned into rationalization, a covering up of inner turmoil instead of a recognition and treatment of it. This rational out­look, coupled with his independence, has led to his cutting himself from what he most needs, the help and support of other people. Geiser recognizes this himself to some extent, but only after much physical and psychological distress. After aban­doning his escape, after suffering a stroke and the fall it causes, after throwing a salamander in the fire—which he must have hated because it reminded him of his own inhumanity (“Geiser is not a newt”)—after roasting the cat, Geiser, at the end of his rope, is saved by another, the one his brother lowers when they get trapped during their Matterhorn climb. This long section is another reported memory, motivated by Geiser’s immediate need for help, perhaps by his recognition of the essential need for relationships with other people. And this memory helps him recall what he has forgotten earlier, the names of his grandchildren, and what he has ignored all along, that his daughter is affectionate. And while we’re at it, we might question his abandoning the beliefs of other people, their religion—he falls asleep at the shrine—or their diversions, their novels. In a curiously parenthetical, nicely ironic comment in a work of fiction, he thinks:

(Novels are no use at all on days like these, they deal with people and their relationships, with themselves and others, fathers and mothers and daugh­ters or sons, lovers, etc., with individual souls, usually unhappy ones, with society, etc. as if the place for these things were assured, the earth for all time earth, the sea level fixed for all time.) (8)

But how secure can we be with such a conclusion and does the text support it? His isolation is not self-imposed: many retire to quaint villages, and he certainly did not cause the death of his wife, the only real company he might have had. His daughter understandably treats him as a child at the end, given his state when she finally comes, but we don’t know what his relationship with her is or what it would be like if he returned to Basel—or if she wants him to. And we don’t have any evi­dence that his life in his former home would be any better than what he has now. His distance from the villagers and their habitual ways is understandable and does not come from arrogance. In fact, if we criticize him for turning his back on other people, how much are we speaking from some habit ourselves we haven’t ques­tioned? One can be miserable with other people as well. Geiser at the end of the novel does stay in the village, for reasons not given, and while he may be setting himself up for isolation again, we have no way of knowing that he has not made the best choice he can make, given his options.

Or, if we deduce some kind of personality disorder, how confident can we be with our diagnosis? That his behavior is odd goes without saying, but is it the result of some underlying psychological defect or just a temporary aberration, not indicative of who he is? Even senility is not certain, as we all forget things when we are upset. A case could be made that his actions, however bizarre, are understand­able, given the circumstances. Several weeks of rain are enough to unnerve the best of us, especially if we live alone, if our neighbors are leaving, if our yard shows signs of damage, if our power goes off and spoils our food, which will be hard to replace when the villagers are hoarding, if our means of escape are closed, a single highway, which may go out at any time, if our means of communication with the outside world are periodically cut, our telephones, our TVs—and especially if we are 73 years old. Instead of pitying him, we might admire him for his stamina, his heroic resolve. Our assessment of Geiser ultimately depends on the issue the narrator cannot resolve—how imminent the danger is and how great might it be. Geiser’s evidence is not conclusive, but it does offer cause for alarm. There is, after all, the possibility that while not right this time, he might be the next, and when the land­slide comes, we applaud him for his prescience.

And the evidence Geiser gathers from his observations are to an extent cor­roborated by the texts he cuts out and tapes on the wall. These texts add another dimension to the narrative. Here we have overt narration with authority, with the twist that these voices come from actual sources, bringing a kind of realism to the novel. The reports from these authorities are not promising, as they tell about mas­sive, destructive floods, avalanches, and landslides in the area over the canton’s history, many within the last hundred years or so, recent enough to suggest possi­bilities, although too old to give any indication of what might happen in the near future. (It is curious, however, that Geiser does not consult meteorological reports from a newspaper or radio.) The report from all time is utterly bleak. The forces that created the Ice Age, that covered the valley with glaciers, that killed off the dinosaurs and will probably dispatch with man as well are still in motion, and in the long view, one has no cause for hope at all—but then this evidence is not useful at all, and we question Geiser’s sense of proportion. Scale is part of Geiser’s prob­lem: small cracks in his garden, loom large; salamanders stalk the house like dinosaurs. But our assessment of Geiser most depends on how we interpret what he is doing, and if we aren’t blinded by the habits of day-to-day living, we see much more is involved than his immediate safety.

The texts themselves, like the rest of narrative, are motivated by Geiser’s con­sciousness, appearing as they occur to him or he finds them, and we see these only when he reads or summarizes them and posts them on the wall. The collection of notes, as it gathers, must look to us like the rest of Geiser’s behavior, random and scattered. Yet there are patterns to them which suggest if not a wholeness, at least a movement, a groping towards wholeness. Consider the following series of hand­written notes (40), which I will analyze in turn:

The cells making up the human body, including the brain consist mainly of water

Water in the form of rain has preoccupied him throughout. Geiser is also wor­ried about his mental faculties, memory in particular, and since water is an unstable substance, some change, some deterioration can only be expected. If Geiser is contemplating his ultimate worth as a human being—not an unusual activity at a time of crisis—the thought that our minds are made of water is not uplifting. And if, as he wonders earlier, there may not be a God “if there were no longer a human brain, which cannot accept the idea of a creation without a creator,” whatever larger reality there might be to offer spiritual support could go as well.

The earth is not a perfect sphere

A desire for absolute perfection may be irrational on Geiser’s part, but the opposite, absolute mutability, hardly offers a source of strength, as imperfection suggests instability as well. Echoed here is his wish that “the earth for all [be] time earth”(8). Throughout the novel, he tries to find something that is stable and cer­tain, a lifeboat he can trust, some firm truth to latch onto. Earlier in the novel, having failed at building pagodas, he tries to remember how to construct the golden section, which not only is built upon the unalterable principles of geometry, but also suggests order and proportion. Perhaps the earth is incapable of these in any degree.

There has never been an earthquake in Ticino

At least there is not this to worry about, even if the earth is imperfect. As always, Geiser weighs the evidence.

Fish do not sleep

Geiser has not been sleeping well himself, which must concern him and which may account for his behavior later, as he should be exhausted. Also fish live in water, with all that it implies—is this why they do not sleep? And if Geiser sees himself as a fish, surrounded by water, his earlier thought about metamorphosis is reinforced. He fears he is turning into something less than human—but perhaps, humans, who are mostly water, as less than human anyway, who, if they keep their eyes open, only see and swim in unstable water.

The sum total of energy is constant

Another absolute truth, though not a reassuring one, as it does not preclude violent change in maintaining this constancy.

Human beings are the only living creatures with an awareness of history

At least there is this which distinguishes Geiser, who has been consulting the books, and other men from other animals—but this awareness only applies when their memory is intact. After all, “No knowledge without memory.” And what has this history produced of value, say, in Ticino, a place with no Baedeker stars?

Snakes have no hearing

Is Geiser hard of hearing, thus by extension, a kind of snake? In a figurative sense, he is if he is losing his memory. Or at least Geiser, who can hear thunder and rain, has proof he is a man and not a reptile, a stay against his fear of meta­morphosis.

3/4 of the earth’s surface is water

Water again, globally.

Europe and America move two centimeters away from each other every year, while entire continents (Atlantis) have already disappeared

Nature does not rest, and the effects of the earth’s imperfection can be devastating.

Since when have words existed?

Words are our way of expressing our awareness, but then there was a time before us, when there were no words. What was true then, and has it changed? What does it have to do with our words? With the words Geiser finds in the texts? With the words he indirectly voices in the narrative?

The universe is expanding

The forces of nature were here before us, still are present, and will be ever on the move, once we are gone. The notes move from the mind to the universe, from microcosm to the cosmos, and there is a logic not wholly psychological that joins them. What Geiser is contemplating is not just his own existence but what authori­ties—scientists, theologians, and philosophers—have attempted to define, what man is and how he stands in relationship to the universe, what his place is in some larger scheme. Holocene, of course, is not some kind of philosophical tract dis­guised as a novel. Rather, it is a story about a particular character’s experience, and his experience—the personal crisis posed by the storms—forces him to contem­plate larger matters. What kind of a world is it that could let happen to him what he fears might happen? The violence of the storms and the violence they inflict on his thoughts lead him explore abstract issues and look for connections.

Geiser, not a scientist or a philosopher, has to turn to the authorities. And if as we read we do question the authority of the narrator and Geiser’s competence, then all more reason to find someone who has it. Like Geiser, we read the texts and look for answers as well. The way the narration is constructed invites us to this larger speculation in several ways. Even though Geiser selects the texts and though we might question his motives for cutting them out, having them isolated in the nar­rative and quoted gives them an independence that encourages us to consider them in their own right, regardless of what we think about Geiser. Within the narrative proper, the construction of statements without reference to Geiser (“No knowledge without memory”), along with the uncertainty of who says them, also makes us consider them on own merits. But then again, when we realize that Geiser influ­ences and is involved in these statements, then his words gain some philosophical weight. What Cohn describes as the effects of extensive use of free indirect dis­course in Broch’s novel Death of Virgil also applies to Holocene: “The near-continuous employment of the technique in its most emphatic form, inducing a radical fusion of narrating and figural voices, leads third-person narration to the frontiers where it borders at once on lyric poetry and philosophic dis­course”(126). Lyric, because we are aware of the individual who thinks and how his thoughts make him feel, philosophic, because of what he thinks and the import his thoughts carry.

The language itself—again, Geiser’s language—through it’s attempts at preci­sion, its direct syntax, and carefully measured tone suggest the language of abstract discourse. The voice is the voice of a mind which tries to state only what can be said with certainty and exclude all that cannot. Even the short sections, seen in a differ­ent light, suggest complete, isolated perceptions, as if propositions in some treatise. Compare the opening sections of the novel with:

1           The world is everything that is the case.

1.1        The world is the totality of facts, not of things.

1.11      The world is determined by the facts, and by these being all the facts.

1.12      For the totality of facts determines both what is the case, and also all that is not the case.

1.13      The facts in logical space are the world. (31)

I note here that if Tractatus Logico-Philosophicus were a novel—I am intrigued by the use of first person in the book—and these words were spoken by a character named Ludwig Wittgenstein, say, during a severe storm, we might be inclined to think he was crazy. Wittgenstein’s work, of course, is organized and systematic, Geiser’s scattered and fragmented, but then again, they are dealing with different subjects. Where Wittgenstein tries to construct a world based on the certainties of logic and words, Geiser is concerned with the certainties of things which exist in the physical world and of perceptions and emotions, which can gauge and determine the temper of whatever touch he has with whatever lies beyond him. He’s an exis­tentialist, not a logical positivist. The real nature of his study becomes apparent in his catalogue of thunder:

The twelve-volume encyclopedia Der Grosse Brockhaus explains what causes lightning and distinguishes streak lightning, ball lightning, bead lightning, etc., but there is little to be learned about thunder; yet in the course of a single night, unable to sleep, one can distinguish at least nine types of thunder:

1.

The simple thunder crack.

2.

Stuttering or tottering thunder: this usually comes after a lengthy silence, spreads across the whole valley, and can go on for minutes on end.

3.

Echo thunder: shrill as a hammer striking on loose metal and setting up a whirring, fluttering echo which is louder than the peal itself.

4.

Roll or bump thunder: relatively unfrightening, for it is reminiscent of rolling barrels bumping against one another. (5)

Geiser is listening to the thunder and thinking about past thunder as well as thun­der in the abstract, trying to make rational classification. And again he is weighing the evidence: based on the sounds, how dangerous is this series of storms? Possibly a great deal so, possibly not. The evidence is inconclusive, and he has no way of knowing what will happen next. His study here, how­ever, is only indirectly related to the threat. I doubt thunder is an appropriate subject for scientific study, and if it were, it would be related more to atmos­pheric con­ditions and causes, not types of sounds, and discussed in quantitative terms, not metaphorical. Rain, landslides, and lightning inflict damage, not noise. What he is really con­ducting is a phe­nomenological study of his fear, which sound does influence, and its causes and effects. Not nature, but man’s perception of and relation­ship to it is the subject of Geiser’s thoughts and of the novel as a whole.

Geiser, of course, is not a philosopher, but it is as valid to call him one as it is a lunatic (and we might decide there is some relationship between the two). If Geiser does not find any way to bring the texts or his observations together into some coherent, explicit understanding, it is in part because he has limited abilities to do so. After all, “Man remains an amateur” (60). But our criticism here would not be of what he is attempting but that his efforts are incomplete and sketchy. Still, if there are any ideas that can explain whatever it is that is going on out there, an average man should be able to comprehend them to some degree, and whether he fully understands them or not, his life will be influenced by the forces they try to explain—and he will feel these forces in palpable ways. And in many ways, the nar­rative encourages us to take Geiser as an average person, as one of us. The slow and incomplete development of Geiser’s character forces us to create some kind of abstract person to absorb the information as it comes, and this abstract person could be anyone—thus everyone. The frequent use of the impersonal pronoun “one” has a similar effect. And unless we judge too quickly, we realize that Geiser, aside from his age, is no different from most of us. We simply don’t know enough about him to make any solid personality assessment. The suppression of details that might help us get a better fix on his personality cannot be attributed to denial. If Geiser had some essential flaw, it would still appear obliquely in the text and we would feel the tension of his repression. Rather, Frisch has not given these details because they are not essential to what he is doing. He has deliberately created an ambiguous—and prototypical— character. Geiser is everyman, man in the Holocene.

Then again, Geiser may be better equipped than many of us for this inquiry. He is capable of grasping abstract concepts, and his resolve keeps him from shying away from where they might lead. Also, his age brings him closer to what the younger among us can for the time being ignore, our mortality and what causes it. And his isolation, caused by his retirement in the valley and exacerbated by the storm, means that he will not have anything to distract him in his inquiry. If we reject the thread of his thoughts—and ignore reading the texts on the wall—what is our justification? We are turning our backs on the only real authority in the novel, but replacing it with what? We may simply be responding from reflex, like the vil­lagers, caught up in what we expect to read about in novels—about “people and their relationships, with themselves and others, fathers and mothers and daugh­ters or sons, lovers, etc., with individual souls, usually unhappy ones, with society”—to see anything larger.

Then what does Geiser find out about himself—about man in the Holocene?

Man has always been conscious of the mystery surrounding his origin and development as a species, and an inexhaustible field of inquiry is opened to him by his ability to regard himself (the “subject”) in relation to the world in which he lives (the “object”)—see Philosophy. . . .

Since M. is unable to understand himself through insight, he has from earliest times tried to reach out toward the idea of a divine being (see Religion) or some other nonhuman presence, to which he equates himself while at the same time distinguishing himself from it: it may be an animal (see Totemism), the spirit of an ancestor (see Ancestor Worship), or some other alter ego (see Mask); in rationalistic times it might even be a machine. . . . (53)

If this source is right, and Geiser has found nothing in his other reading or his experience to contradict it, then all our attempts to give meaning to our place in the world are our own projections, illusions created by ourselves that are perhaps self-serving, and not revelations from some beyond. There is no relationship between “subject” and “object” beyond the effect physical forces of the object have on sub­jects. These forces make us appear and grow and age—and die and disappear. That’s it. We may look at nature and think about what we see, but we will get no response to our thoughts. As Geiser later notes, “only human beings can recognize catastrophes, provided they survive them; Nature recognizes no catastrophes”(79). If Geiser’s thoughts have lost proportion, it is because there is no frame of reference on a human scale. If Geiser cannot find any meaningful connections between the texts, it is because there aren’t any. We may need other people—and Geiser may have to recognize this need—but our relationships with others do not bring us closer to the world. And we may not have any stable or even real way to define or validate these needs. The Matterhorn memory about the help from his brother is balanced against but does not cancel out what he remembers from Iceland, the potential violence and absolute indifference of nature. The novel ends where it started. Geiser—man in the Holocene—is alone. If we feel distant from Geiser, it is because we are all isolated from the world and from each other. The way the narra­tive is built reflects this state. We are even isolated from our own selves, because, paradox­ically, the more Geiser looks at the contents of his mind, the less he feels they belong to him, and the closer we get to Geiser’s mind, the more we become aware of this distance.

So much of his behavior can be read as a struggle against this condition. He throws the salamander in the fire in rejection of an indifferent Nature that allowed dinosaurs to perish, as well as in rebellion against the fact of his own physical nature, that in many ways he is no different from reptiles. If he roasts his cat, it is because he decides his life is worth something and thus worth saving. We regret, of course, that he doesn’t ask for food from someone else first and are relieved he gives Kitty a decent burial—his line of reasoning has slipped—but we have to con­sider this act in the light of what he is up against. The absurdity of his behavior only underscores the Absurdity of his existence. But there is something if not heroic, at least honest in his attempts to come to terms with the void and our insignificance in face of it, with our eventual individual, even collective extinction. We might admire him, then, for his determined but futile struggle.

Ultimately, it doesn’t matter how strong or smart or sane Geiser is: no one has the strength or knowledge to stand up against the void. What Geiser can’t do, Frisch or his narrator can’t do either. No one can provide the perspective in which to view someone else’s behavior because no one can claim any authority to explain what does not exist. There is no definite point of view in the novel because there is no definite Point of View. Still there is the desire to push against whatever it is that surrounds us, and to find ways to talk about it, and even to write about it. Perhaps these efforts are the ones that most define us as humans and are the ones that are most worthwhile. Stiller, the protagonist of Frisch’s first novel, I’m Not Stiller, sees death—by suicide—as the only other alternative. He realizes that suicide itself is an illusion, and concludes “. . .I must fly in the confidence that the void itself will bear me up, that is to say a leap without wings, a leap into nothingness. . .into emptiness as the only reality which belongs to me, which can bear me up. . .”(68). That Geiser can look at himself and at the world from a distance posits another self that can look, perhaps the self that most matters, and while we may not be able to locate this self or place it in the world, we discover the inviolability of the fact this self exists—and sense the presence of something that pushes back against us. But we also real­ize this self is impermanent and will perish. Geiser must know, as Stiller does, that “In face of the fact of life and death there is nothing whatever to be said”(280). And what pushes back, we can’t know, much less put faith in: Stiller’s hope in the void has to be pitted against despair. We can only find ways to talk around what cannot be said, and when we write, if we write honestly and carefully, we construct narra­tives that do not violate the ineffable by having narrators or characters say more than they can say. As Frisch himself explains about his writing:

What is important is what cannot be said, the white space between the words. The words themselves always express the incidentals, which is not what we really mean. What we are really concerned with can only, at best, be written about, and that means, quite literally, we write around it. We encompass it. We make statements that never contain the whole true expe­rience: that cannot be described. All the statements can do is to encircle it, as tightly and closely as possible: the true, the inexpressible experience emerges at best as the tension between these statements. (Sketchbook 1946-1949 25)

He compares himself to a sculptor, who can only carefully chip away at the stone but not see what he creates. Language is his chisel, which “works by bringing the area of blankness in the things that can be said as close as possible to the central mystery, the living element.” It is Geiser’s partial apprehension of this mystery which makes him as a character more than an oddity in a case study, and it is our apprehension of the mystery through Geiser that makes Holocene a profound and disturbing work. Like Geiser, we are moved, we are frightened, and then confused and perhaps exhausted, but at the end, we can only draw quiet.

Wittgenstein’s work, after so many pages of sentences that turn into formulas of symbolic logic, comes to same conclusion:

6.54 My propositions are elucidatory in this way: he who under­stands me finally recognizes them as senseless, when he has climbed out through them, on them, over them. (He must so to speak throw away the ladder, after he has climbed on it.)

He must surmount these propositions; then he sees the world rightly.

7      Whereof one cannot speak, thereof one must be silent. (89)

Here we realize Wittgenstein is a novelist after all.

—Gary Garvin.

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Works Cited

Cohn, Dorritt. Transparent Minds. Princeton: Princeton University Press, 1978.

Friedman, Norman. “Point of View in Fiction: The Development of a Critical Concept.” The Theory of the Novel. Ed. Philip Stevick. New York: The Free Press, 1967.

Frisch, Max. I’m Not Stiller. Trans. Michael Bullock. New York: Vintage, 1958.

———. Man in the Holocene. Trans. Geoffrey Skelton. New York: Harcourt Brace Jovanovich, 1979.

———. Sketchbook 1946-1949. Trans. Geoffrey Skelton. New York: Harcourt Brace Jovanovich, 1983.

McHale, Brian. “Free Indirect Discourse: A Survey of Recent Accounts.” PTL 3: 249-288.

Martin, Wallace. Recent Theories of Narrative. Ithaca: Cornell University Press, 1987.

Stevick, Philip. The Theory of the Novel. New York: The Free Press, 1967.

Wittgenstein, Ludwig. Tractatus Logico-Philosophicus. Trans. C. K. Ogden. New York: Routledge and Kegan Paul, 1981.

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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 short stories have appeared in Numéro Cinqthe minnesota review, New Novel Review, Confrontation, The New Review, The Santa Clara Review, The South Carolina Review, The Berkeley Graduate, and The Crescent Review. He is currently at work on a collection of essays and another novel.

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Jul 092010
 

The writer and his double

 

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Shy in high school, perfect only in awareness of my imperfections, I was also too good a daughter, thus too unsure of myself, to put up much of a fight when my parents decided I should go to a girls school when col­lege time rolled around. Their reasons, echoes maybe of the way things once were done, these echoes themselves echoes of something else proba­bly not worth listening to, must have been related to the notion that a young woman needed a place of seclusion where she could develop patience, forbearance, and a sense of pro­priety before she entered the world then left it to get married, qualities that would help her wear the harness with grace.

They never said as much, of course, because silence was a South­ern quality, too, a way of preserving the purity, the ineffability of whatever it was that mat­tered in life after this whatever had been shaken by the Sixties, that dec­ade of noise, or so they must have felt, my father, who upheld morality by never doing anything wrong, who propped the sagging social structure by becoming a pillar of busi­ness, church, and family; my mother, who aggressively pursued her passive role as a mother and tacit keeper of vir­tue and all things beautiful, who did her part in the decline by wielding clubs—the bridge club, the garden club, and a cou­ple of clubs at First Pres.

I don’t know, however, what claim they had on the South, as their families didn’t go back that far or spread that wide when they came. We were middle class suburbanites like everyone else, and Dad had to scrape a bit to send my sister and me to a private school. Still, this was what I inherited and had to contend with, not an order, but its rigid outline, not a belonging, but its reflec­tion, a place in a posited universe that I only knew through the sign language of wistful sighs and stiff gestures, whose spheres resonated with the music of things that went unsaid.

But what can be said against what isn’t said? Protest would only bounce off the sheen of their beliefs. And even the usual complaints wouldn’t stick well, not by the time I was old enough to make them. They had already acquiesced to civil rights and put race behind them—amazing how easy it was for them to let it go. As for the femi­nine song and dance, it would have been hard to tell Mom she was oppressed in a home where she had the upper hand, harder yet when she left it to sell real estate, and impossible, years later, when she left Dad—none of which behavior con­tradicted her view of Southern women and marriage and motherhood, but somehow seemed to support it. So the only way I knew to rebel was be quiet myself, with silent denial against their blind acceptance, and show them fierce obedience—

Which I doubt they expected or even wanted. There was more to both of them, I know, and they did have private lives, but I didn’t see that much of these and ignored them whenever they appeared. I wouldn’t allow my parents what I couldn’t bear blossoming in me, blemishes of individuality, the signs of incompleteness. If I didn’t put up a fight, it was because I lacked the nerve. The changes, when they came, overwhelmed me without changing me into any­thing definite, much less different, so I was ready to cling to anything that would give my life a polished shape without rattling it more, even if my sheen came from wholesale rejection of something that didn’t exist. I grew up an abstraction in a world of abstractions.

And it’s as easy to think of them as reasonably happy in their lives as wretched and uptight. They were reserved, not repressed, and their silence, I suspect, was as much a way of keeping to themselves. Sometimes you have to nail down one part of your life in order to set the other parts free.

But really, they were somewhat modern people, who adapted where they had to. They never said that much of anything.

Maybe they just decided that what worked for my older sister should have been good enough for me. Marian turned out OK, or seems to have. At any rate, I doubt they gave their choice of where I should go to college much more thought beyond their fear of Chapel Hill. Here was what made me give in eas­ily: I was scared of the place, though not like my parents of getting knocked up or having happen to me any of the things unimagin­able to them that were hap­pening there, but of getting lost in the big university where everybody went.

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The girls school, beyond its blank stare at the Blue Ridge Mountains, looked at nothing else, and was named after the nondescript wife of one of Vir­ginia’s statesmen—probably nondescript himself—but I never learned anything else about her because I refused to participate in the school’s hagiog­raphy. Mary was her first name—all prominent wives from the Southern past were called Mary—and Old Mary was the nickname we gave the school. With her name came the blessings of the Presbyterian religion, enshrined in a chapel that dominated the quad, a columned, stark building that had classical features but not propor­tions, which, without the steeple, could have passed for a bank. The quad itself, mod­eled, the school insisted, after Jefferson’s at UVA, only faintly imitated pater. Beyond the chapel, there were two lines of skinny brick buildings that once were dorms, in the middle, a pair of Greekish oddities, and at the other end a large space left vacant in honor of another building that burned down which, from the pictures, smacked of the plantation. Spreading from the quad, the buildings that came with the school’s growth into the twen­tieth century, newer construc­tions with poured con­crete columns which flirted with modernity and tradition without catch­ing either. Old Mary had been rav­ished by John Calvin. Yet she was what life had prepared me for, and just as much what I deserved, because I hadn’t taken any steps myself to escape the South, our past.

The new teachers at Old Mary, however, had. Veterans of the 60s, they launched a campaign on our Southern belleness that would have put Gen­eral Sherman to shame. They were blunt, grim women who expected us to take the business of being a woman seriously. In the regular classes they taught, civili­zation got axed or turned on its head, gender was restored to language, and our mysterious enclosing organ emerged the figure that contained the other fig­ures. The old burdens were replaced with heavier ones; the lightness of our fairer sex became charged with terrifying power. And even though it wasn’t required, we all felt compelled to take at least one course in their women’s studies from a fear and guilt we never knew before our mothers.

Ourselves, our bodies—who wants to be a woman when she grows up?

The old guard resisted the assault, but really followed suit by stepping their course work up, and the only confidence I had in high school but never cared about got shot to hell. I wasn’t as smart as I thought and soon was left behind. And it was hard to see what was liberating in the liberal arts. Their only pur­pose, at least in the way they were taught by all the profs, liberated or not, seemed to be to grind the world into a rigor and put us in our place. There was more to life than academics, I decided, but had nowhere else to turn, because aside from studying there was nothing else to do. Dorm life was dorm life, a tedious affair of communal grum­bling and private invasions. Allison, my roommate was everything I thought I was supposed to be, blond, soft-spoken, agreeable, and gentle—and, needless to say, absurdly pretty. I hated her, of course, but had to be careful of what I said because she was also deadly literal.

Yet at least I discovered, using her as a gauge against the others, that I, a girl among girls and only among girls, freed from the judging eyes of males, fit somewhere in the middle and thus was moderately attrac­tive—for all the good it did me there, because now I missed those stares. My hormones, quiet in high school, at Old Mary started screaming. Alli­son, however, had no trouble accommodating hers because soon she began spending weekends at Wash­ington and Lee with a guy she met there at a mixer. Never mind how easy it was to dismiss her for her naiveté or that the guy was a jerk or that it was impossible to imagine any kind of worthwhile product from the two of them together—I was insanely jeal­ous. Because if one can’t be anything in life, she might as well have some fireworks. And this was Allison’s worst offense, that Sunday night she’d return with a furtive, anxious look on her face that took her a few days to knead back into her usual pleasantness. Obviously they were hitting the sheets hard, but she wouldn’t let herself enjoy it.

Mind and body were split, and raced apart but went nowhere at a time in my life and at a place where they were supposed to come together, leaving whatever was left of me, a girl not in waiting but just waiting, lonely and depressed. Yet depressed for no good reason, because all I learned about myself at Old Mary was that I was average, and if I were honest, above average in most respects. But then this was what most made me miserable and desperate, that I had nothing to be miserable and des­perate about.

I went for long walks in the hills, which didn’t help. From clearings, a sight of the Blue Ridge Mountains, which really were blue and genuinely mysterious, veiled by a mist too fine to reflect my moods or suggest any secrets or larger truths. And on a clear day in fall, the violence of the colors of turned leaves could take my breath away, making me wonder if humility might not be the only recourse there was in life.

Circumstances called for art, but it was just as much a time when a young woman was in need of an older man.

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Mr. French wasn’t French and didn’t even look French. In fact, what­ever his name conjured up when I first heard it, it was hard to imagine anyone fur­ther from what I had in mind. I couldn’t even tell on which side of forty he stood.

That first day, just before Thanksgiving break, leaving the dorm feel­ing exposed as much by an unseasonable coldness as the thought of what I was doing, then walking delicately over rasping leaves, as if stepping on my brittle self, then enter­ing one of those old dorms on the quad, then seeing him, waiting, stand­ing the way he stood, not as if he were between resting or moving but had taken the position he meant to have, as if standing there or anywhere were something one could do, as if once one had decided to stand, one could stand there or anywhere forever, seeing him standing, waiting at one of two old uprights squeezed into the tiny room—this building had been turned into music rooms, I had decided to take piano lessons, and Mr. French was going to be my teacher.

It was a private arrangement, almost. Mr. French was not part of the regu­lar staff but hired from outside to come in. Music lessons, for some reason economic or academic, were not part of the curriculum, and I had to pay extra for them but received no grade or credit, which suited me fine because the way Old Mary thought about things or financed them was a large part of what I was trying to flee. The fact that I was taking lessons, though, would appear on my transcript. It was hard to get completely out from under her thumb.

Music was the obvious choice. Painting presented the problem of what to do with paintings, and I could only imagine making impossibly small minia­tures I could hide in a drawer in my dorm room, yet still have to throw away before I went home. Writing meant I’d need to seclude myself some­where, stay up late, and then have to account for my absence. In both I would have to take a course, which I’d have to explain to my parents as well. I couldn’t bear the thought of Mom and Dad discovering that I was taking some kind of stand, trying to do something with myself, or having everyone at school find I wasn’t.

Because in both I’d have to create a new person—the writer, the painter—I’d then have to conceal, but I didn’t know how long I could keep that act up and my life was schizo­phrenic enough as it was. And in both I’d have to fill blank paper with some­thing from that person, a chal­lenge as frightening as it was unthinkable, as I ran the risk of being shocked by that person or having her gross me out or, just as bad, liking her too much. Or I might feel compelled to create something from the New Woman, who would only bore me and every­one else to tears.

With music, however, the notes would be there on the page and I’d only have to follow them. Much as I shared everyone’s aversion, classical music was inevitable, but what we played in the dorms wasn’t doing any­thing for me except wearing ruts in my head. More importantly, classical music wouldn’t offend anyone or seem pretentious because everyone was also unanimous in their unflappable indifference to the stuff. At worst, I’d only look a little stuck up.

The piano I reached by process of elimination. Winds and brasses required doing odd, personal things with the mouth. Strings were too prissy and too exacting—I worried I’d forever be searching for the right note, running my hand up and down delicate necks that had no frets. Too many people were playing the guitar, and what they played was too hip or too folksy. And it had to be a solo instrument, because if I was going to wither away into nothingness, I could at least do it on my own terms. But I needed some support. A piano was tall, strong, yet neutral, and could stand on its own—

Or maybe it was the piano that came first in making my decision, and music and the rest followed. Rather the memory of a piano, the baby grand that sat in my grandmother’s unused parlor in that old house in backwoods North Carolina, the piano itself neglected, scratched and badly out of tune, whose yellowed keys stuck together when you pressed them down. Maybe the mem­ory, or maybe the thought of my mother and aunts who once played it, and the idea of what they once were and had forgotten, or of what they might have been. But more than the thought of sound, a memory of the silence of the unplayed piano I knew and the way this silence transformed the parlor, the ungainly house that attempted distinction and fell short, the little run-down town where my grandfather managed to buy up half of whatever there was to own, the town and its sleepy, run-down people, and the raw fields of exhausted cotton and hale tobacco and the cinder block and cor­rugated steel factories that took their place, and the uncertain hills and stands of rough pines sur­rounding, transformed these not into some kind of Southern conception of things, if there ever was one, but into an idea the South had missed, because in its silence there were the possibilities of unplayed music, possibilities my mother and her sisters had not grasped, and which had not been grasped by those who came before or followed them in the South or anywhere else, the possi­bilities of some harmony that could bring the heart and head together, then lift and take them somewhere else—

Or maybe I thought music would somehow help me find a good man.

Neither hope, if I ever had them, chimed loudly when I first stepped into that room and saw Mr. French. He had all the features that set me on edge in a man—a long, worried face; wiry, oily hair; slender, nervous fin­gers; and a body not lean but thin, with sharp angles everywhere. Yet somehow he pulled it off, holding these irritations together in a balance, which, like the inch of ash on his perpetually lit cigarette, never fell. This poise was what I saw the first day, the last day, and all the days between. However it wouldn’t be accurate to say he never changed, but rather that he had found a way to consistently and evenly avoid a sameness.

He wasted no time in showing me what to do and how, explaining with a calm, deep voice that surprised me the need for correct posture, the way to raise my arms, bend my wrists, and curl my fingers above the keys. Next he introduced me the C major scale.

“Most think the C major scale is the easiest,” he said. “No flats or sharps, no black keys to trip over. But it’s because it’s the easiest that it’s the hardest.”

There was probably a larger point in this, but he had a way of making comments and not following them up for several weeks, or sometimes not at all.

Then he asked me to do with the piano what, for all the desperation or desire or whatever it was that brought me there, I hadn’t yet considered doing—play it. I stared at the box, the box stared back. If there were desire, then I must have realized I not only wasn’t going to find love, I wouldn’t even get a loving instrument, because its keys had turned before me into steps of towering stairs. Trembling, I started climb­ing, not quite slipping my thumbs under and swinging my hands over in synch, my right hand groping anxiously towards the higher sounds of heaven, my left following no more surely from the bass notes of hell. And once I made it to the top, I raced both hands back down, skipping a few steps on the way, then quickly withdrew them. Embar­rassed as a kid, I contemplated leaving.

Mr. French, without wincing, sat at the other piano and played the scale himself with a clear, firm articulation of each note, as if he were demonstrating the proof of a theory, or just as resolutely destroying one. Then he got up, took my hands, touching them in a way they had never been touched before and haven’t since—as if they were my hands, as if they could do something, but just as much as if it didn’t matter whether they did anything or not—and placed them back over the keys, encour­aging me to try again.

Thus touched and somewhat reassured, I did, stumbling up and down the stairs for several minutes, and while I didn’t succeed in proving any­thing, I did manage to reduce my haste and fear. But then he shocked me again by having me start on an actual piece of music, from Bartok’s Mikrokosmos.

“It means small world,” he said, referring to the title. The Mikrokos­mos was a collection of six books of short pieces that drew from a variety of influences, classical and folk, East and West, which were designed to introduce beginning pianists to the various problems they might encoun­ter in modern music—thus the small world, created from the larger. The pieces in the later books, however, though still short, could be quite com­plex and were technically demanding, music in their own right. Several, he explained, were still played in recital.

 “In my opinion it is a personal statement, a set of positions that mat­tered to Bartok.”

And probably positions that mattered to Mr. French, whoever he was, wherever they might have put him, as he said this without emotion. He was well on the way to becoming inscrutable.

His reason for using the Mikrokosmos, however, was modest, to develop the skill of sight-reading. Bartok used intervals to which most were unaccus­tomed, thus the pieces forced beginners to pay attention to what was in the score rather than what they expected to hear.

“One has to see music to play it.”

Maybe a larger point in this as well, though he said it without convic­tion, as if he were only stating the obvious. Then he drew silent, which I assumed meant I was supposed to play. I put my hands where he showed me, then looked up at the page and fell into a daze.

bartok-notes-jpg

The first note of the first piece of the first book, titled only with the digit 1, and all I had to do was press down my right thumb and left little finger at the same time I tapped my foot to keep the beat, hold them on C for two counts, then let up and go on to the next note. Yet when should I start my foot? How does one make the leap from silence to music? And would my thumb and fin­ger come down together at the right time, with my foot, the beat? How hard was I supposed to push, how quickly release? How would I know when exactly two beats had passed, not one and seven-eighths or two and a sixteenth? What was I supposed to think about or do with my fingers while I waited? How would I be able to go from this note to the next in smooth transition without a stutter that would disrupt the tempo, possibly wreck time itself for all time? How could I fill those two per­fectly shaped, inclined ovals with the mess of my imperfections, and if I ever got inside them, would I be able to get out again?

But there wasn’t that much to it—strictly five finger stuff, again in C major, so I didn’t have to hit the black keys or move my hands from where I glued them, and only about twenty seconds of half notes strung together in even steps, a lei­surely stroll up and down a little hill, then up and down again, with two whole notes to vary the rhythm and a break of a half rest in the middle. Once I got started, it only took a few tries to find my way and work out the mechanics. Yet it still wasn’t music, so I played the piece again, this time add­ing what I thought #1 yet lacked—

Feeling.

Here Mr. French winced, though did so without looking at me. He sat down at the other piano again, composed himself a moment, as if in prepara­tion for a lengthy, difficult work, and played #1 with the same care and delib­eration as before. I’m sure he only intended to show to me how it was supposed to be played, but it seemed to me the only purpose of this demon­stration was to surgically remove what I had tried to put in.

Lesson over, I left the music rooms, hearing nothing. Outside, the same scraggy ivy clinging to moldy brick; the same trees stripped as wholly as before, their leaves rotting on the ground in the same varying stages of decomposition; the same chapel whose spire pointed to the same indifferent, empty sky. Everything was exactly the way it was before, but was the same with an awful precision. Contempt is just a defense mecha­nism to protect ourselves: what familiarity really breeds is despair.

It wasn’t because I realized I was faced with the prospect of another disci­pline of dubious value, which, like my studies, would require long, hard work yet only reward me, at best, with some moderation of success. Nor did I honestly expect much more from the lessons than to get a respite from the bleak routine of school. Because at heart I am a realist, or have always tried to be one and always will. But realism needs some kind of flash, some flight to set it straight. What depressed me—and I know I wasn’t vamping—was that all I did was to try to turn the sterile little piece into music, and what Mr. French played didn’t sound like music.

Yet as I walked back through the cold, my hands felt warm.

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Thanksgiving, then the last week of the quarter as well as the week of my second lesson, which I limped through as dutifully as I did my classes, then exams. Then a month home for Christmas break, and all I can remember is that I couldn’t wait until I got back. Certainly not to my classes, where I did no bet­ter or worse, or to the dorm, where I got along about as well. I might have said, had I seen it coming, to the heavy snow which fell in February and stayed on the ground several weeks, covering the campus, the hills, my spirits, seemingly all spirit with infinite white, releasing with its weightless oppression a mind­less freedom. After a few days, however, my elation subsided as I realized the snow either was too much or not enough of what there might be to hope for.

It couldn’t have been to my lessons, either, where I continued to crawl through more scales, a methods book, and more of those little Bartok pieces. Or to Mr. French, who remained as impassive and remote as ever. I did, how­ever, learn to adopt his demeanor, becoming cool and detached myself. In doing so, I was able to find not a rhythm, but at least a pattern that didn’t rub, which helped get me through my classes and move the time in tolerable chunks.

I didn’t know what I couldn’t wait to get back to, even while I was doing it, those late nights in April, with spring threatening, after several months of holding back, being cool, being detached, distancing myself from the desire, if it was a desire, that had taken me to Mr. French, the les­sons, distancing myself from any hope, any desire, yet in the process creating a reservoir that was filling with that which displaced what I was holding back, and this I held back, too, which being checked, caused the reservoir to fill even more, fill with what I now saw had been in Mr. French all along, whose tank was already full and brim­ming, full not with passion but with its nameless counterpart without which passion has no edge. And seeing this in him, I still held back, thus was more filled each lesson by the quick, light, gray passes between us charged with quiet untouching, firm unwanting. Even the thought that he was both source and partner in this exchange was all the more cause to be cool, stay detached, and increase the distance from desire, from where it might go and find release, more cause to think even less about the chance that he might one day realize his involvement and respond—

Not find release, because there wasn’t tension, a bottling up of emo­tion straining to be set free, rather a flexing of some elastic mood that could not be pressed or contained, but played itself in unfelt ease. Unfelt because if felt, there wouldn’t be the ease—

Not ease, because it wasn’t easy, and again not ease, because ease still brings awareness of release, of strain—

Because I didn’t know I was doing it, even after I had been doing it for sev­eral weeks, which is why, after studying,  I could cross the campus those late nights in April and go unhurriedly, unselfconsciously to the quad, stick a key in the door of one of those little rooms, open it and find waiting—

A piano.

Maybe there were fantasies, scenes of body angles overcome by some inexorable yet intense physical geometry, images of parts exposed, joining in forceful, rapid rhythms, coming together in some improbable place—a dark, cramped practice room. Or in an undesirable place—a room in a seedy motel off campus, a seedier room in a tourist delight up in the hills. Or in some unimaginable place that only imagi­na­tion can create. But like dreams in which characters and settings shift without ever settling, these fanta­sies never found completion and I didn’t have them long. Because even now, with an imagination sufficiently cor­rupted by experience, the only scene I can suc­cessfully envision of Mr. French and me together is the one that actually occurred, of the two of us sitting in the light of day, one at each piano, going through a lesson. I can’t even remember his first name, though he insisted I use it, because I would never let him be anyone other than Mr. French, my piano teacher.

And maybe there were scenes of sitting at a piano, by myself, solo, in the single spot of light on a darkened stage before a hushed crowd waiting to be moved to unutterable appreciation for what my hands were about to pro­duce—but that was as far as those fantasies went, as I could never get them to play anything. Because it wasn’t the piano, either, since I gradu­ally came to realize what Mr. French must have seen from the outset, that as far as music was concerned, I was a lost cause.

Yet still I continued, trampling through more pieces—early English sonatinas I could never elevate to the least degree of stateliness, little Bach pieces which I gave an archness that wasn’t Baroque or Ger­man, Czerny stud­ies, those quick zippers of notes designed to develop facility and velocity that in my hands sounded like the desperate repetitive gestures of a lunatic—all of which Mr. French endured, all of which I still looked for­ward to, even though I never approached anything that might be called progress.

It would be difficult to explain the attraction to my lessons. Maybe there was relief in knowing that I was bad at something and could still keep going, or maybe in just knowing that in no unqualified terms I was bad. And it would be just as difficult to explain the change that occurred in me over the two years I took them, because I don’t think there was one, except that I grew deeply unattached to Mr. French and to the piano.

There were lessons within the lessons. He might drop one of his comments:

“The problem with Mahler is that he overextended his phrases.”

Mr. French, on music.

“Some blame Wagner for the Nazis. I blame the Nazis for the Nazis.”

His follow-up, made four or five lessons later. I wanted to believe he was Jewish, a refugee from refugees of flatulent eschatologies, the brutal nonsense these tend to shelter, but I don’t think he was.

Or, on a day I wasn’t prepared, he might play himself. Once, a Chopin Ballade he performed with a dispassion that sent shivers down my spine. Once Bartok’s “From the Diary of a Fly,” a piece in the last volume of the Mikro­kos­mos, a quick, complex, chromatic, almost atonal buzzing, which he played with a fervor that sent me into a flush.

“Woe, a cobweb—molto agitato e lamentoso!” Bartok’s gloss and tempo indication, said without mock agony.

Con gioialeggero. He escapes!” With real but measured joy.

“Bartok left Hungary when war broke out because the Aryan waltz turned his stomach,” he added when the piece was over. “But when he came over here, no one knew how to listen to him, so everyone hated his music. What’s the difference?” With regret, without resignation.

Or he might talk about his life, which was not going well. A shaky income from declining lessons, an uncertain position at a local high school where he was ignored. Not much chance, at his age, whatever it was, of starting another career.

I never learned enough about music to know how good he was, whether he was good but not quite good enough, or was good enough, but had a few bad breaks along the way that kept him from the concert halls and labels. What I do know now is that his looks weren’t smooth or catchy enough to stick on the cover of a CD.

A roof that leaked, a car on its last legs, a heart that sometimes skipped a beat. A son with leukemia. A wife and marriage that only got brief men­tion, about which, apparently, there wasn’t much more to be said.

These details he would drop matter-of-factly, without appeal for sym­pathy or pity, yet not with indifference or the coldness of stoic remove, but with the same engaged detachment that he gave to music. I sometimes wondered if he made all this up, just to put my own forced anxieties in context. Because the temptation is to say he was an angel sent to help me get my feet on the ground, or an inch above it. But the only statement I can make about Mr. French with any confidence is that as with me and my playing, as with his life, he did the best he could with what he got.

And at some point I learned I could get by without Mr. French and the piano. I became fairly serious about my studies, managing to hit the other side of B. Also I met a guy from UVA. Spring quarter of my sophomore year, I stopped practicing and missed half my lessons. Next fall I didn’t sign up and never touched the keys again.

But Bartok, but freshman year, but late at night, that chilly April, after I’d turn the key, open the door, hit the light, and see the piano waiting, after I positioned the bench and sat, already dizzy from the ethereal smells of a piano, the furniture polish outside, the shellac on felt hammers within, after I opened the lid and saw white keys and looked up and saw a black sky against the shadeless window, after I broke the silence of an oth­erwise empty room and began to practice his Mikrokos­mos—then it seemed that the world stopped spinning, or maybe that it had never started. Because after I made the stroll up and down the hills of #1, I entered a world of unexpected turns, never quite going where I thought I was going, becoming less sure of what I left behind.

Even in the next few pieces, still five fingers of easy C, the phrases did not follow predictable patterns. I’d go up where I thought I was supposed to go down, or have to linger on whole notes where I felt the urge to go on, run into rests where I could not make myself stop. Then came a syncopa­tion I couldn’t work out, then, in another piece, a sudden change in meter, a bar where Bartok put six quarter notes instead of four, as if such a shift were as natural as it was inevitable. Then the hands diverged and had to play different notes. In imita­tions that didn’t match neatly and ended in separate places. In counterpoints that joined tones which didn’t merge into a single sound but pulled apart, yet somehow belonged together in a way that questioned whether or not the har­mony which unites four bar­bers so easily was such a good idea.

In the months that followed, I made it through three of the six books, some hundred short works that pointed to other places, other times, other ways of thought, without straying from the small world of the Mikrokos­mos. Many based on Eastern European folk songs and dances, which didn’t make me want to dance or sing or wear a peasant frock, yet which didn’t preclude voice or motion and didn’t leave me naked. A pastorale that didn’t suggest the sounds of fields or shepherds, yet moved me to an unsettling peace. Some, titled with a technical phrase, approached lyrical calmness without turning me inward; others stayed this side of noise, where I began to feel at home. Medita­tions that could not be translated into words, a kind of thoughtless thinking. Pieces in Asian, Arabic modes that didn’t transport me to a mysterious East. Or in eccle­siastical modes that didn’t bring me to religion but made me want, at the same time, to assert and question belief. Even pieces in the traditional Western modes sounded different. If the major scales are happy and the minor sad, in Bartok’s work they were neither, but implied a mood not easily defined by moods, which could only exist in some indefinable region that lay between feeling and the formal ordering of his notes. And he used modes of his own invention that were enigmatic in the way they skirted both patness and super­natural levitation.

Still, I felt transported when I practiced, yet the only place the Mik­rokosmos took me was back into the Mikrokosmos, a world consistent with itself, where all the notes fit once I got used to the ways Bartok put them together. But his small world seemed large, large as much in what it posited as in what it avoided, and more solid than the real one. And around two or three in the morning I’d leave the room in whatever state is the opposite of a mystical trance though still has its focus and suspense. I would still be the same person as the one who, hours ago, went in that room to prac­tice. And I would still find the world, as I did the first day, exactly the same as it had been before. Yet it wasn’t a familiar world at all, or a world that led to despair. Because it seemed as if the real world and I had been stripped of what we had tried and could not hold, then torn apart and rebuilt, recreated into no more or less than what we were, though who or what this was—my revela­tion—was something I could never know. . . .

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We keep going back and forth, Phil and I. Some months we talk about having a kid, others about getting a divorce. It’s not that we don’t care enough on the one hand, or that we do care on the other. Rather our problem is in making decisions and giving definition to our lives, but then vacillation is just another routine we picked up along the way. Lately, we’ve been leaning towards a kid, though tonight didn’t come close.

What the hell. Modern medicine says I have another five years, maybe with one of its miracles, even ten.

It is late and I cannot sleep; my husband is dead beside me. An account exec in a so-so agency, also an enlightened being who has some­thing to say about everything—who makes me miss Dad. But really, Phil’s a sweet guy. Another Southerner, another fugitive, too, who, like me, has learned that the only way to distinguish ourselves in New York is to put on the Southern shtick of gentle manners and sweet, sloppy talk. They love it here, and it’s helped open a door or two. Still, we both work too hard at jobs that don’t mean that much to us and we don’t have much to show for it, other than a hefty credit line and this bed the size of New Hampshire.

I’m in marketing, too—everything is marketing, and all God’s chillun’ got marketing. Graduation from Old Mary without honors; then the waiting list, then a place in grad school at Chapel Hill, eventually an MBA. Finally, after a run of lousy jobs, my flight north to a more so-so position than Phil’s in a more so-so agency where we’re all still reeling from our latest blunder, a rol­lerblade campaign in Yugo­slavia we launched just before the Serbs began shelling Sarajevo. Economic reform, youth, free­dom was our take, and Milosevic seemed like an OK guy.

My life has not been music.

We’ll manage to recover, however, or at least find a way to repackage our guilt. And there’s new hope, a fresh wind from the East: the boys in research say that China has gone capitalist whole hog, that it’s time to think cellular phones.

How quickly, how loudly our country lifts us in our dreams, how softly it cushions our fall and reabsorbs us.

It’s a small world.

I get up and open the blinds to find company, or at least some kind of presence. Out the window, night, city lights, and Manhattan noise. It’s a scary place to think about having a kid.

And Mozart—I hear Mozart. How is this possible?

Then I realize it’s my neighbor next door, a little Vietnamese girl who can’t be more than eight. A few weeks ago I saw her in the hall and com­plimented her on how much she had improved. She blushed, apologized, and turned away, perhaps because she thought she might be disturbing us, as well as was embarrassed to realize her practicing wasn’t private. Until this moment, she hasn’t played since.

That quiet, serious face—I haven’t been able to stop thinking about her. Before I spoke to her she’d practice until late, and for the last month had been working on the same piece, playing it over and over again, hours on end with­out a break. There’s a perseverance here that borders on obsession, hers or someone else’s.

She may be the child of boat people, survivors of flimsy vessels, tropi­cal storms, looting, rape, and convictions, who encourage her to play in an attempt to hide the memory of these horrors. Then again, her family seems to do well enough—this is not a cheap building we live in—and she may as easily be the child of a pragmatist, one of those South Vietnamese generals who took the money and ran, who’s now having his daughter learn piano to dignify his corruption. Either way, music is poor dressing on the ugliness it might be try­ing to cover.

Of course it is possible neither is true, or that either circumstance, if true, has been washed out by so many years of life in the US that it no longer mat­ters. Or there may be something milder and simpler at stake, an Asian custom, that mania of losing themselves in a culture—the one before them now is ours—and doing so with a mechanical determination that misses the spirit, the point.

Which?

Besides, I’m treading on stereotypes, and her situation may be even sim­pler yet: she’s just a girl who for some reason has decided to play the piano, who, unlike me, is diligent and intends to stick it out. Whatever the case, she has taken my heart and I’ve wanted to speak again and somehow reach her—but what could I tell her, except not to make the mistakes I have made? That, and let her know there’s no salvation in perfection.

What she had been practicing all that time and is playing now is Mozart’s Sonata in C major, a.k.a. Sonata facile, a primer from another time when peo­ple sounded like they knew what they were saying. Those quick, clean runs of scales, the pedaling bass, the twittering trills, the drama of breathless departure from the tonic, the effortless return in reca­pitulation—formulas following the easeful logic of some well-oiled teleol­ogy. Lis­tening, I can see clear skies and lots of light, and hear lords and ladies holding glittering conversations as they walk on symmetrically laid paths, sauntering among the fountains, trimmed shrubs, and statues of cherubs in the garden behind the asylum for the reason­able and deranged hopeful.

Maybe I’m not being fair to Mozart.

Maybe I’m being too fair.

Back out the window. It is possible to imagine that the build­ings’ lights are stars and see in their clusters constellations, figures of beings from up on high who watch over us and every now and then toss down a word. Then again, it is possible to imagine anything—a Christmas tree, a base­ball score, a liquor bottle—and these are things we have done and I have seen. All it takes is flick­ing some switches.

Between the lights and me, the sounds of the random play of ecstasy, our working out all the possible per­mutations of money, sex, and violence.

There’s no end to the things we can create.

There’s no end to the things we can destroy with our creations.

Yet which way does irony fall? Is it the street noise that mocks the Mozart, or is Mozart the hoax the streets bought into, their noise abortive attempts to figure out how to play him?

But still she persists with that sonata. What I want to believe is that what I wish to hear is what I actually do hear, that she is playing the piece with deli­cacy and grace. There can’t be any harm in getting a few notes right. At any rate, it’s a relief to hear her practicing again.

Also, the slow movement is beautiful.

It’s a scary place to think about having a kid, but I suppose she should have a shot.

Now the urge to wake this slumbering brute and see if I can jumpstart him. Instead, however, I will stay up listening to Mozart. When she stops, maybe a tranquil sleepless night, to myself. It’s been a while..

—Gary Garvin

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

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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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