Douglas Glover

Jun 012016
 

Osu

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Bodyslide

kill a dance & enjoy
your body stands
like candlelight

because this is a bag of echoes—come on,
now that you have drunk too
much silence, book

a forest, days
as recent as breath is
the only person that can carry

to your shadow. A lot
is not seawater, a lot is my journey
from birthday to languages—a

sound comes by
midnight & you say mid
night is for self, up

there, only a raven
knows my first
name; to get that

song out………………..song out
…………of black nylons
………………….out
……………….schools

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Tales

are roads
following broken
spider legs?

because her
voice no longer
enters their shoes

is the light through
with seeing inside
a raw egg? or

have the people
planted apple eyes in
their prison yards?

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Skydiving

………….there are different colours
………….when we go out
………….of our eyes near
……………………………………………………………a
guitargirl: non
……………………………………….dit is a field in
………………………………time with moon
……………………light—when a tree is
…………drunk, we can
…………………………………………………………….find
another
……………………………………………………place for
father
………………………………earth—when
……….there are no
…………………………………………………………….ghosts
inside
……………………………………………………his suitcase,
you
……………………………………….know he wore
………………………………moonlights

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Languages

i do not chew fruits
that i cannot pronounce

garden

whoever made
my body, first
drank a moon

revival

it is open & close
to fire, it will body
along midnight’s
circles—next
time you will
cry, she replied

material 

it is written on bodies
that clocks will
not age nor
listen

flying

& shadows
in the attic
are sisters

because

sleeping
changes every
body from

lines to
a quiet family

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—David Ishaya Osu

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David Ishaya Osu (b. 1991) is an Afo native from Onda. His poetry appears in: Vinyl, Chiron Review, Cutbank, The Lampeter Review, The Nottingham Review, Spillway, Juked, RædLeaf Poetry: The African Diaspora Folio, A Thousand Voices Rising: An Anthology of Contemporary African Poetry, among others. David is a board member of the Babishai Niwe Poetry Foundation, and was selected for the 2016 USA Callaloo Creative Writing Workshop. He was poetry editor for The James Franco Review. David is currently polishing his debut poetry book.

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Jun 012016
 

Diamanta1 2Diamanta in the English Cemetery, Piazzale Donatello, Florence.

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It’s almost 11:30 at night here. I just walked into my apartment and turned on the TV to find Philadelphia Story dubbed in Italian, which is pretty entertaining. I’ve been in Venice all day, which sounds lovely, and I’m probably just getting spoiled from my Italian adventures, but I found it gloomy and alien and too self-consciously beautiful.

So I really don’t write much these days. Most of the time, I’m with the students, escorting them from museum to train station, worrying about their homesickness, their illnesses, their inability to use paper maps. They are incapable of functioning without constant cell phone use but equally incapable of operating their Italian cell phones.

EBBTomb2Elizabeth Barrett Browning’s grave.

When I am alone, I am afflicted with restlessness and I wander around the streets, rather than writing diligently. I visit Sister Julia, a British nun who lives in a tiny apartment in the archway over the English cemetery (where Elizabeth Barrett Browning is buried, among others) and I try to converse, in my truly terrible Italian, with the Roma who gather there. I understand more than I can communicate. Their lives are dramatic, on the edge. Desperation, tears, and wailing. They are also amazingly international. They travel back and forth to Romania frequently–I don’t understand where they get the money for bus fare. A good day of begging yields about ten euros.

Sister Julia2Sister Julia in the English Cemetery.

There is a young Roma man named Mihai who can probably speak the best English. He is somewhat of a visionary, I think. He is about twenty, but has been married since he was fourteen and already has three children. He is resolutely against such young marriages, as he says it’s too hard on the women’s bodies. He wants to start a school for Roma children in his village in Romania. Roma parents rarely send their children to the regular school. I’ve heard a variety of reasons—they prefer single-sex education, they don’t want the girls to wear the uniform slacks, and the books and clothes are too expensive. Mainly they worry that the Gadjo (non-Roma) teachers will be cruel to their children.

Mihai, as well as his twin brother George (the two warrior saints, they both told me proudly—Michael and George) his older brother Ionel, and Ionel’s wife Diamanta, work diligently on their alphabet sheets under the archway of the English cemetery. Sister Julia has created these xeroxed worksheets for them with spaces to copy out the Lord’s Prayer in Latin, along with their names and ages.

lunchFrom left to right: Mihai, Sister Julia, Ionel, Laura Michele Diener, and Diamanta eating under the arch at the English Cemetery in Florence.

One of the women who is on the fringes of this group, Jova, begs at the Ospedale del’ Innocenti, where many of them sleep at night. She is a cousin of the core family. Mihai calls her, his familia, but seems confused about how she is actually related. Jova resembles most of the old beggar women in Europe–wizened. tiny, and brightly clad. She shakes a tiny cup and I can’t imagine she gets very much. Apparently, though, she has a college degree and is one of the only Roma I’ve met who is actually literate. She begs for the money to pay off the debt for her husband’s funeral. Although, like all the Roma I’ve met, she is hazy about dates and times, she remembers the concentration camp in Transnistria from her childhood.

Maria, her daughter, is the most aggressive of the Roma, and the only one that actually frightens me. If I caught her alone at night, I feel sure she would have no qualms about robbing me or possibly slitting my throat. Whenever she sees me, she comes running, calling out, “Amica, amica,” and kisses me, and then immediately demands money. I haven’t given her any in weeks, but she never gives up. At Mihai’s suggestion I’ve started carrying bags of rolls or peaches to offer her instead, and she gets angry and refuses to take one. Then she comes running after me and demands the entire bag. If I only give her one, she breaks it in half and then throws it away. Although she is Jova’s daughter, she is completely illiterate–apparently, her father forbade her to learn. I imagine she has had a very difficult life.

—Laura Michele Diener

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Laura Michele Diener 2

Laura Michele Diener teaches medieval history and women’s studies at Marshall University in Huntington, West Virginia. She received her PhD in history from The Ohio State University and has studied at Vassar College, Newnham College, Cambridge, and most recently, Vermont College of Fine Arts. Her creative writing has appeared in The Catholic Worker, Lake Effect, Appalachian Heritage, and Cargo Literary Magazine, and she is a regular contributor to Yes! Magazine.

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May 232016
 

Capture

Okay, this is one of those, you know, things that come out of the blue. Tom Greene, VCFA’s president, called me from his car this morning to tell me they had launched a new Vermont College of Fine Arts Artists Development Fund based on a $1 million donation from the Martin Foundation. Part of the fund, a fund within the fund for writers, authors, and publishers, is named after me.

Douglas Glover Fund

The announcement just went up on Friday. You can find the relevant VCFA web page here. And you can download Artists Development Fund brochure here.

Naturally, I am nonplussed, amazed, bemused, and touched. I am grateful to the Martin Foundation for singling me out like this. It’s a terrific honour. I hope the fund inspires and supports many, many great writers in the future.

There is, of course, backstory here. But so far the donor wishes to remain anonymous, and I won’t blab.

dg

 

May 152016
 

Capture

Capture

Micheline Lanctôt and Le Rédempteur, image via Radio-Canada

Actress, director, writer, translator Micheline Lanctôt picked my novel as one of the indispensable books last month on French language CBC Radio. The word they used on air and on their website is “incontournable.” The novel in question is my book The Life and Times of Captain N., first published by Knopf in New York where Gordon Lish was my editor. The French version was published under the title Le Rédempteur  (the redeemer, which was its working title most of the time I was writing it, oddly enough). The translator was the redoubtable Daniel Poliquin who went on to be a prolific novelist himself (this was back in the early 1990s).

Micheline knows my work intimately. She translated my book of stories 16 Categories of Desire into French. It was published as Seize Sortes de Désir. She’s a wonderful actress and director. Long before I actually met her, or even thought of meeting her, I knew exactly who she was, having been entranced with her performance on the screen in The Apprenticeship of Duddy Kravitz (1974), where she played the French-Canadian love interest opposite Richard Dreyfus.

View the complete list of indispensable books @ Ici on lit at Radio-Canada.

dg

May 152016
 

Carollyn Ogburn

It’s a deep pleasure to announce that Carolyn Ogburn is joining the NC masthead as a contributor. It’s long been a fantasy of mine to open up a music wing of the magazine. We’ve had some sporadic pieces now and then, some wonderful in their own right, but never anything continuous or systematic. Now Carolyn has come along to fill the niche. From now on we should have a semi-regular stream of really good music pieces, interviews mostly to begin with. She’s already done two (see below), and they’re terrific, opening up a whole new experience for our readers and giving us an entry into a new art form. Carolyn is my dream hire: competent, dependable, very smart about music, a good writer, and she can handle WordPress!

Music in the Anthropocene: Interview with Composer Nathan Currier — Carolyn Ogburn

Random Walks: Interview with Composer Ivan Seng — Carolyn Ogburn

Carolyn Ogburn lives in the mountains of Western North Carolina where she takes on a variety of worldly topics from the quiet comfort of her porch. Her writing can be found in the Asheville Poetry Review, the Potomac Review, the Indiana Review, and more. A graduate of Oberlin Conservatory and NC School of the Arts, she writes on literature, autism, music, and disability rights. She is completing an MFA at Vermont College of Fine Arts, and is at work on her first novel.

May 152016
 

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E. M. Forester asserted that, at least in terms of plot, “The main facts in human life are five: birth, food, sleep, love and death.” In Yulia Mahr’s short film and in Max Richter’s SLEEP, the composition it springs from, sleep at last gets its due. Richter describes SLEEP as “an eight-hour personal lullaby for a frenetic world and a manifesto for a slower pace of existence.”  Mahr’s visual lullaby “Path 5 (delta)” is decidedly more restless, but still haunts this unspoken, dreamy space we hardly understand, draws us down under the covers to find our own sleepy understandings.

The film, like the music, is minimalist, repeats a few visual themes: the waxing and waning of a moon, time lapse film of crowds, traffic, cities, and time lapse footage of people sleeping. In this way it moves from the macro to the micro, from the ghostly, pock marked face that pulls at us, watches over our sleep, through the frenzy of the lives we choose, down to the small dances of sleep in our tiny rooms and beds.

max-richter

Mahr chooses to make all the footage black and white and then reverses the colours so the film takes on the ghostly appearance of photography negatives. This reversal means that light takes over, swallows the moon then offers it up again, bodies of light rush through cityscapes, and sleepers of light toss and turn. All the darknesses here are sublimated into light.

Fades to light in film, and perhaps most notably in the TV serial Six Feet Under, lean towards the divine, look heavenward, counter to the fade to black’s going under swallowing of time, of consciousness. Less established in film vernacular, a fade to white is highly specialized, more rarely used. Jacob T. Swinney explores this visually in his video montage of the device:

As Sami Emory points out, “When filmmakers invert the norm, however, and end on a wash of white, what follows can be wholly enigmatic.” The fade-to-white’s ambiguity is perfect for Mahr’s repeating, minimalist reflection on sleep and its place in our worlds.

Where Richter’s composition lulls towards sleep states, Mahr’s visual composition is restless. None of the film is peaceful. The chaos of the time-lapse crowds and cities crossfade so that they layer over the sleepers, the moon haunting the background. The boundaries between the images are porous, sleep not a separate eden of peacefulness. What this emphasizes, divulges, is the bare truth of sleep, its vulnerability.

maxresdefault

Richter, in several interviews, has talked about his fascination with the neurological aspects of sleep. In interview with Robin Murray in Clash Magazine, he describes his process and the questions he has explored with “Sleep” is how he has created a work of art that, in many ways, relies on the experience of the listener:

“It’s actually on the condition that people bring their own biography and their own thoughts about it, and then you start to get a sense of the bigger picture of the thing. Because until then it’s just hypothetical, really,” he states. “You’ve got this thing and you think this is what it is, but honestly, that’s just through the lens of my experience and my intentions. And actually, especially in this piece, the experiences of the listener are really at the centre of it. If there is a theme, then it’s the act of hearing and the act of sleeping – that’s the theme of it.”

Though performances of the piece have incorporated actual sleepers, this is something Richter himself can never experience. In an interview with Red Bull Music Academy Daily, he confessed “For me, though, that part of my brain is just incapable of turning off. Listening to music is a really busy activity. I’m going, “Hmm… I’d rather do that, I’d fix that noise…” [laughs] That’s how I’m wired. I don’t listen to music before bed because then I’d never fall asleep! You think about it from a maker’s perspective, you know – how is that made? I think that’s quite natural, that sort of curiosity.”

From the video to Path 5 (delta) by Max Richter.

The fundamental experience of SLEEP is inaccessible to him, like the secret world of our sleep is inaccessible to us, the audience like dreams indirectly linking the artist to his artwork.

Yulia Mahr is a visual anthropologist and award winning filmmaker, a combination which evidently makes her the perfect dreamer for Richter’s “Dreams.”

—R.W.Gray

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May 142016
 

IMG_0444Art work by Greg Mulcahy

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Julot Calcascieu and I have not spoken in years. Estrangement between writers once friends is common; its reasons are always personal and complicated.  In this case, I’m not sure what the reasons are. Perhaps it was a long-forgotten insult given and received, or growth, or change, or life. And really the reasons don’t matter.

Calcascieu and I were first associated with Abigail Allen’s magazine, Phantasmagoria. We were both contributors, and we shared, or I thought we shared, similar views on where literature was and where it needed to go.

Perhaps my views have changed.

Perhaps his have.

A conversation that was pleasant turned unpleasant, and each of us discovered who the other really was.

As I’ve said, we haven’t spoken in years, but things find their ways to me sometimes, so I will state categorically that I did not steal from Calcascieu or cheat him out of money.  I covered our expenses for a joint reading we did in a nearby state. I asked him to reimburse me for his share. He refused. Maybe there was a misunderstanding—I grant that possibility. But there was no swindle or theft and absolutely no attempt at either.

Arguments about money are always arguments about money, especially when money is, as it was and continues to be, scarce, but they are often arguments about something else as well.

Maybe this is an argument about disappointment, both personal and professional, or about the disappearance of an imagined solidarity, or sympathy, or world.

But I can tell you this. Julot Calcascieu has a hat, a hat he wears at readings. Julot Calcascieu calls this hat a “poet’s hat” and believes it essential to his image as “poet and theorist.” Now I live in a cold climate that seems, contrary to fact, to be growing colder. Consequently, I own a dozen hats. But none are magical or empowered or definitions of my identity. Julot Calcascieu is a construct, self-constructed perhaps, but no less so for that. Yeats’ “tattered coat upon a stick” if that.

Maybe all poets are.

Still there are the poems.

The poems, still.

—Greg Mulcahy

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BIRDS

Went to Lakewood
Pond.
Didn’t see a swan
Or fifty-nine
Or
Anything, but some
Gull
Confused
In a parking
Lot.

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COUNSELOR

Finding another
Via internet
With my name
& did his mother
call him
ti’ bijoux
or what
& how
&
momma?

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MECHANICAL

There are times
When a
Man
Needs a
Really sharp
Probe.

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GENESIS of my CORRECTION

I was not
The good
Brother.
Always two:
The good one
And
The other one.

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DIFFERENCE

And if you did not love me
I would not mind.
The poet said.
But she
First she
Made a world
In her poem for them.
That was the difference.

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ASPIRE

Poetry has
Use as the
Movies teach—
Use it
To engage
Poor students
In
Poor schools.
You’ll need—
Of course—
Inspired teachers
As heroes—
Heroes
Who do not
Cost too
Much.

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COSMOLOGY

First, there was no money.
Then the War.
Then money.
Then money and small wars.
Then no war and money.
Then money.
Then money and small wars.
Where did that money get to?

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STORY

And the prisoner of the story
Given a page a day
A page
A day
To write on. No more.
Picture him sitting on the
Bunk
Pencil and page in hand.
Looking out the dark bars
For enough.
No more.

—Julot Calcascieu

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Greg Mulcahy is the author of Out of Work, Constellation, Carbine, and O’Hearn. He teaches at Century College in Minnesota.

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May 132016
 

dyer

Restless, humorous, shamelessly casual, reading Geoff Dyer is somewhat like an after-lunch conversation with a slightly eccentric uncle, a man who has traveled, who has an infectious love of jazz, a headful of ideas, and a preference for tofu over turkey. —Jason DeYoung

Dyer_border 1

White Sands: Experiences from the Outside World
Geoff Dyer
Pantheon Books, 2016
256 pages, $25

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In his Paris Review interview, Geoff Dyer says this about his travels: “I like—and am on the lookout for—places where time has stood its ground… I like being in new places, having adventures, and examining the point where the place and the self interact or merge.”

Restless, humorous, shamelessly casual, reading Geoff Dyer is somewhat like an after-lunch conversation with a slightly eccentric uncle, a man who has traveled, who has an infectious love of jazz, a headful of ideas, and a preference for tofu over turkey. He is also a man who has a point, but has to arrive at it in his own way, on is own time, lest he never get there at all. And the point that he does get to is never what you expected, and it doesn’t quite live up to the promises or the possibilities of his narrative, because he’s an artist of disappointment and inverted expectations. In some ways, he does it to be funny. It’s part of his British humor to make peace with things less than perfect: “I’m English. Ninety-eight percent of anything always sounds good to me,” he says after being told by a doctor that he might not regain one-hundred percent of his eyesight back after a small stroke. But he also does it as an observant and attentive traveler, as when he describes the ruination of outdoor artwork by fencing.

Disarming, humorous prose aside, Dyer’s writing is multi-layered and complex. He tells us that he wants to understand and apply meaning to what he sees and experiences. Yes, he might be disappointed, but he makes something of it, often reshaping what is clearly a non-experience into something worth experiencing: fully accepting the moss-sheading counsel of Annie Dillard, who supplies one of the opening epigraphs to White Sands:

The point of going somewhere like the Napo River in Ecuador is not to see the most spectacular anything. It’s simply to see what is there. We are here on the planet only once, and might as well get a feel for the place.

Geoff Dyer is the author of gobs of books, including novels, essay collections, and book-length works of nonfiction, and it’s his nonfiction for which is his best known. His two most recent books are Zona (which I reviewed for Numéro Cinq) and Another Great Day at Sea: Life Aboard the USS George H.W. Bush. But White Sands is in some ways a gathering point, a return perhaps, to Dyer’s various interests that he explored in other books such as But Beautiful (on jazz), The Ongoing Moment (on photography), and Out of Seer Rage (a quasi-memoir devoted to Dyer’s own desire to write a “sober academic study” of DH Lawrence —he never does; he just writes a book about wanting to write one). He is not necessarily retreading ground in White Sands, but as he says in the book, he has been feeling things from his youth—such as the music of Pharoah Sanders and Coltrane—gripping him like they haven’t in decades.


Pharoah Sander’s “Upper Egypt & Lower Egypt” Somehow a song made to accompany Dyer’s work, as he writes in White Sands, “Upper Egypt & Lower Egypt” is “ten minutes of random percussion and bass and plonking around that never seems like getting anywhere.”

It isn’t easy to say what White Sands is—an essay collection or a collection of narratives?—because of a rather confounding Author’s Note. “[T]his book is a mixture of fiction and non-fiction,” it reads, “What’s the difference? Well, in fiction stuff can be made up or altered….The main point is that the book does not demand to be read according to how far from a presumed dividing line…it is presumed to stand. In this regard White Sands is both the figure at the center of the carpet and a blank space on the map.”[1] Dyer’s also on record of saying that he doesn’t like the term “travel essay,” and that he has created personas for himself in his “non-fiction” before, notably in Out of Seer Rage, all of which tells me that taxonomies be damned here.

Hence, despite reading like a collection of essays in tone and form, for this review, I’m going to call White Sands a collection of narratives, which ought to be a baggy enough label to hold it. It includes nine large narratives, most around twenty to thirty pages in length, with ten mini chapter narratives framing the larger ones—it kind of reminds you of Hemingway’s In Our Time, with its flash-length chapters wedged between full-length stories. These short chapters act as the through line on which the larger, more in-depth narratives hang, and they give shape to the book. The opening chapter, for instance, is about a “hump” of land that Dyer and his friends played on in school. This hump is part of his “personal landscape”—“if we had decided to take peyote or set fire to one of our schoolmate, this is where we would have done it,” he writes. The following, larger narrative deals tangentially with the landscape of Polynesia, where Dyer glumly retraces the footsteps of Gauguin. These mini narratives have various degrees of connection to the larger ones, but they’re important to White Sands overall structure and focus, because it’s where themes are introduced and patterns of thought are reinforced, most notably is DH Lawrence’s idea of “nodality.”

In an essay on Taos, New Mexico, Lawrence says that there are “choice spots on the earth, where the spirit dwelt,” places that create “nodality,” where “when you get there you feel something final. There is an arrival.” These places form due to some fluke of geomorphology or develop a special quality, generally prehistoric. These are places in olden days where people believed that sterility could be cured or sacrifice could be laid and rain would come. Often, it has been forgotten what makes these places so special, with just its ruins as reminders of their singularity. Stonehenge, in popular imagination, might be something of the sort; for DH Lawrence, it was Taos, New Mexico.

White Sands is Dyer’s travels to find secular “nodalities”—areas that have acquired “the bleak gravity and elemental aura of prehistory,” places where time has perhaps stood its ground. He visits the aforementioned Spiral Jetty and Walter De Maria’s Lightning Field—a name that sounds more exciting than the actual artwork. He ventures to far northern Norway to glimpse the Northern Lights, and takes pilgrimages to the Brentwood homes of German philosophers who had fled the Nazis. He spends a day in China’s Forbidden City. And, of course, he visits White Sands, New Mexico, but he’s there for only a single paragraph.

Spiral-Jetty-1970

Spiral Jetty, Robert Smithson, 1970

Compared to Lawrence’s rapturous writing—“[T]he moment I saw the brilliant, proud morning shine high over the deserts of Santa Fe, something stood still in my soul”[2] —Dyer’s accounts of these places are calmer, sedate at times, except for his expression of discomfort, for which there are many. His discomfort, however, is our laughter, and this is when Dyer is at his best. At heart he’s a clever guy with a droll sense of humor, and I want to quote a few choice passages here:

I changed into one of those hospital gowns that tie up at the back, the purpose of which seems to be to enfeeble you, to reduce your capacity for independent action. To walk even few steps risks the ignominy of exposing your bottom to the world. (“Stroke of Luck”)

Nevertheless, we did what you do when you come to a place for a Euro city break: we went for a walk, one of the most horrible walks we had ever embarked on. The Norwegian word for ‘stroll’ is best translated as ‘grim battle for survival…’ (“Northern Lights”)

My heart sank. My heart is prone to sinking, and although few words have the capacity to make it sink as rapidly or deeply as the word ‘guide,’ plenty of others make it sink like a slow stone: words like ‘having to’ or ‘listen to,’ as in having to listen to a guide tell me stuff about the Forbidden City I could read about in a book back home, by which time any desire to do so would have sunk without trace. (“Forbidden City”)

Many of Gauguin’s most famous paintings are of Tahitian babes who were young and sexy and ate fruit and looked like they were always happy to go to bed with a syphilitic old letch whose legs were covered in weeping eczema.…. [In truth] the missionaries made them wear something called a Mother Hubbard. (“Where? What? Where”)[3]

Notwithstanding a clear label to put on the works in White Sands (and why the hell should we need one?!) Dyer is a master of smartly structured narrative form. The pieces here range from straight up personal narratives to hybridized works of storytelling, essay, and criticism. He deploys techniques of iteration of conflict, “power of three,” and estrangement, all the while delightfully dipping and diving through jazz lore and the works from academic heavyweights such as Raymond Williams, Fredric Jameson, and Robert Hughes. Even his shaggy-dog-ness is carefully structured. “Pilgrimage” is a good example of this, because the narrative flows cosmically through the landscape of a Sunday morning in Los Angles, to the front door of Theodore Adorno’s Brentwood home, then passes into a contemporary reflection on Minima Moralia (text Adorno started in the depths of World War II and finished in sunny LA in 1949, while in exile), before surfacing with the narrator opining on age, acro adagio, Susan Sontag’s own pilgrimage to visit Thomas Mann, and the photography of Antoine Wilson, who calls himself “the slow paparazzo,” taking pictures of places where celebrities were within minutes of their leaving. The piece is really quite something, recharging and recycling the themes and thoughts of the entire book, yet never seeming to repeat the same story, as if turning a multifaceted cut crystal, continually finding new angles.

The Questioner of the SphinxThe Questioner of the Sphinx, Elihu Vedders, 1863

In Chapter Four, Dyer spells out what these broad experiences in the book sum up to be. To illustrate it, he call on a painting by Elihu Vedders called The Questioner of the Sphinx. Dyer writes: “His painting seems emblematic of the experience that crop up repeatedly in this book: of trying to work out what a certain place—a certain way of marking the landscape—means; what it’s trying to tell us; what we go to it for.” Yes, this is there, in the book, but there’s something else too, and that is negative space, and lots of it. In narrative after narrative, we have descriptions of missed opportunities, of the time and space enclosing experiences that weren’t special or didn’t live up to their “marketing,” or of a lifelong desire for an “elsewhere.” In one of the chapter narratives, the narrator, presumably Dyer himself, talks about his rich aunt sending postcards to him a child from the American Southwest which gave the young Geoffery his “first sense of elsewhere; an elsewhere that seemed the opposite of everywhere and everything I knew” in Cheltenham, England.

Finding this “elsewhere,” whether good or bad, is what he strives for in his “experiences from the outside world” (another phrase from DH Lawrence). In this search he finds mostly the mysterious negative space surrounding fulfillment. He struggles to know what to make of it, and White Sands second epigraph, from Kafka, might shed some light on this struggle. It reads:

There remains the inexplicable mass of rock. The legend tried to explain the inexplicable. As it came out of the substratum of truth it had in turn to end in the inexplicable.

Inexplicable, ineffable, a deep space or inner space, places to lose one self: we see this over and over in Dyer’s work. “I would have liked to spend hours in there, a whole day even,” he writes about an art installation that desensitized its participants with beat-less music and saturating, soft blue lights—it’s a place to escape the chafe of time, perhaps.

White Sands is a remarkably well-thought out work. The more you pull at it the more it reveals to have additional streams of life and layers. In spite of all Dyer’s disappointments, it’s a hopeful and satisfying read, too. It’s a book one can’t help but feel some inspiration from, especially when Dyer writes from his Romantic heritage: “Life is so interesting I’d like to stick around forever, just to see what happens, how it all turns out.”

—Jason DeYoung

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Jason DeYoung

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Jason DeYoung

Jason DeYoung lives in Atlanta, Georgia. His work has appeared or is forthcoming in numerous publications, including Booth, Corium, The Austin Review (web), The Los Angeles Review, New Orleans Review, Monkeybicycle, Music & Literature (web), 3:AM, and Houghton Mifflin Harcourt’s Best American Mystery Stories 2012. He is a Senior Editor at Numéro Cinq Magazine.

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Footnotes    (↵ returns to text)

  1. Again from the Paris Review interview: “Fiction, nonfiction—the two are bleeding into each other all the time.”
  2. DH Lawrence, Selected Essays. “Mexico and New Mexico,” Page 182. Penguin Books Ltd., 1986.
  3. But the drollest passage I know in Dyer’s work comes from a wonderful book called Otherwise Know as the Human Condition (2011) in an essay called “Sex and Hotels.” Just for chuckles, here it is: “Hotels are synonymous with sex. Sex in a hotel is romantic, daring, unbridled, wild. Sex in a hotel is sexy. If you’ve been having a sexy time at home you’ll have a sexier time in a hotel. And it’s even more fun if there are two of you.”
May 122016
 

Betsy book pics 2013 - 147

 

Apple

Crisp air, press of ladder rung on instep,
iiiitree sway and dappled light, then stem twist
iiiiiiand the weight of apple in hand—

reaching through that leafy light, did we ask
iiiiwhat else we were after?  Some desire
iiiiiito possess the whole splendid day, sun glint

on grass, September’s slow withdrawal,
iiiithe drying leaves sparse now, so the apples
iiiiiiwere little flames.  Strange that we make

one fruit both medicine and poison,
iiiiprescribed and forbidden, as if everything’s
iiiiiimixed, and there’s no forgetting that darker

hunger at work, blind to the damage it does,
iiiiego’s bad apple, poison in the star
iiiiiiand gravity, gravity, gravity.

But then wind-falls in wet grass—paradox
iiiiof fortune—how sweet for the bees and wasps
iiiiiiwho find the cores warmed by the sun

into a heady liquor, and sip.   Once
iiiiwe had a wooden apple made with such skill,
iiiiiimore than one person picked it up

thinking to bite, until our dog finally did.
iiiiWe found it under the couch, splintered
iiiiiiand pocked, and with stern voices banished him

to the yard.  As if once down the stairs
iiiihe wouldn’t happily enter that bright world
iiiiiiof rock and dirt, nuthatch, beetle, squirrel.

.

Bear

Say you’re out jogging in New Hampshire
and come across one feeding on berries

and too busy with those sweet juices,
with fattening up for winter, to bother with you,

who just wants to move along country roads
on your own two legs, between meadow and wood,

not too fast, not too slow, out for a run
before porridge.  Innocent enough,

but still an intruder, still something a bear
might sniff as trouble, bothersome

for a creature intent on moving through
her world unharmed eating berries

with her cub on an August morning—
and so a creature much like you.

But there’s that cub, and you’ve been warned:
sing, make a racket, till they shamble off.

A barroom ditty comes to mind,
all those bottles of beer on the wall, so you sing

as if a song could save you.
You wave your arms overhead to make yourself bigger—

or boorish, you begin to think,
as mother nudges cub off into the woods.

After all what did you see?
Just a glimpse of bear body through roadside scrub,

and nothing, nothing of its beauty.

.

Coast

The Jersey shoreline where I grew up
was hardly a cliff, but it was an edge

where we kids clamped our feet in sand
and felt the tide crisscross our ankles

pulling the ground out from under.  Before us
stretched the whole blue-gray beyond

drawing us toward the horizon’s flickering line.
Distance and dazzling surface filled our eyes,

then made me cringe at the thought of swimmers
caught in riptides.  When one caught me,

the girl I was probably could have stood
if the storm surf hadn’t kept knocking her legs

out from under, rolling her, closing over,
the slamming her breathless into black out.

Beyond shore, the great watery meadows
cared nothing for her, crabs crawling along

the stirred-up bottom couldn’t tell girl from
broken off tackle, and gulls cruising

overhead weren’t crying for her either.
Whoever pulled me out didn’t look back,

just walked off, as if angry at having to haul out
a kid who should have known better—

red caution flags out all along the shore.
Or maybe I just needed to wake up

alone in the sudden clarity of
wind-swept beach, stove-in storm fence,

one low slung wire against a quilted sky—
alive in a way I wasn’t before

the sea swallowed then coughed me back out,
before I woke on that rain-pocked beach,

sand thick in my scalp, seaweed clinging,
and sat up, and started to crawl.

.

Dear

meant pricey when Grandmother said it
in the grocery store, clucking over asparagus
in winter, raspberries in March.

But in Mother’s voice it meant something more
like adoration—until later,
the word turned into worried “oh dears”

as I composed my adolescent dramas,
those rough drafts of destiny.  I hardly noticed
the derelicts lined up in the doctor’s hallway

getting jabbed through their clothes
as I walked in, anemic from dieting.
I hadn’t yet taught the guys in prison

for drugs, for doing what others just dream,
hadn’t heard stories of childhood damage,
so could almost think drunks deserved their fate.

As if dogs deserve to be kicked, to be under
another’s boot, the way our neighbor
jabbed a broomstick into his great Dane

trying to turn her from sweet to vicious.
No one on our street was deaf to those cries,
her whimper and shriek as the man snarled.

Each afternoon as I read Bible stories
into my grandmother’s hearing aid box,
stories that thrive on reversals—last, first,

poor, rich, those who give, those who hold back—
I thought I knew which ones God would love.
I was young.  I thought I knew.

.

Everest

On the musical scale of vowels, E
is up there at the level of shriek.
Eeek, a mouse!  Seek is one thing,

Eureka! another.  So much searching
for ecstasy, endless satisfaction,
as if you could stay on Everest forever.

“Third heaven,” St. Paul talks about
in one epistle, though how he got there
he can’t say, and he can’t stay there, either.

The thorn in his flesh, whatever it was,
made sure of that. As my love says, you can
be so heavenly, you’re no earthly good.

Easy to imagine enlightenment
belonging to just the few who scale the top,
or those high flyers who thrive on extremes,

and not the little guy down below,
not the monk walking home from the river
with his bundle of reeds, but the devil

who stops him to brag, “I do all the things
you do.  You watch and I never sleep.
You fast, and I eat nothing at all.”

.

Fortune

Dante says she’s a kind of heavenly worker,
not quite an angel but more than a force
as she turns the wheel from famine to feast,
making failure last no longer than fame.
But failure, that big red F at the top of the page,

stops me in my tracks.  Once I thought I could
just take it, not write the paper on Freud
and Buber.   But the thought so frightened me,
my whole body  felt an electric fizz.
“F—  that,” I must have muttered, then sat down

to write, living on muffins and coffee
a whole week, dropping a small fortune,
in the pay phone, crying to my boyfriend
about Freud’s money metaphor, his belief that
women spend all our psychic energy

growing up…   So that freaking little F
on our birth certificate freezes the wheel?
Our fate’s rigged, and any faith we have
is just infantile delusion, oceanic
feeling with no base in reason or reality?

Tap-water coffee and Buber all night—
how I hoped for some splendid refutation.
Against reason he tells stories:  Here is
Rabbi Isaak pacing a bridge in Krakow
because he’s dreamed a treasure hidden there.

Here’s the captain of the guards scoffing, “Ha!
If I believed in dreams I’d have to go
to the house of a Jew named Isaak and dig
under his stove.”  Well, the rabbi hurries home
and finds that treasure, as if faith—or fate—

is all detour and surprise, stepping out
to find the way back in.  With his fortune,
the rabbi builds a house of prayer—because,
Herr Doktor, what to do with such a gift,
but pour it out into more giving?

“Good grief”
says one of Dante’s gluttons, ghost-thin
on Purgatory’s Terrace six—  “good,”
because he knows his agony will end.

So, golly, Mr. Golem, you just keep
going round, gazing at what you can’t grab,
growing gaunt on your diet of hope.

Down here it gets pretty grim when I lose
sight of “Let go and let God.”  In that void
I still hear my four-year-old sophist son

telling me he can turn on the TV
and see Spiderman each afternoon, but—
significant pause—“I’ve never seen God…”

Well, not in blue tights and a red hood,
not casting webs or scaling walls, either.
Addressing that absence, all the big saints,

those holy goombahs, say faith’s in the gap
between holding on and letting go,
so to find God takes three words: “I give up.”

But they aren’t often said with soft sighs
in a well-appointed parlor, are they?
More likely it’s a groan or plea for help,

when you’re losing your grip on a cliff edge.
That’s where the old joke comes in—guy grasps
a crumbling ledge, feels his fingers slip,

cries out, hears that big tuba voice call down,
“Let go!”  Looks around, tightens his grip,
shouts back, “Anybody else up there?”

.

Happy, Happy, Happy!

Keats calls the figures on the Grecian urn,
never arriving but not dying either—

as if we’re always on the road, between—
truth/beauty, head/heart, heaven and hell—

or what was that recipe we found once?
Himmel und erde, mixing potatoes and apples,

mashed so the two we loved separate were fused
like healing stirred, blended into hurt,

so you can’t tell them apart—the wound,
the crack, the tear that lets in light…

But happy to me always meant arriving
at the goal, then getting to hang at poolside
after hard work, sipping a pastel drink
with its little paper umbrella.

Who wants to be stuck going round and round?
Still, if you’re Keats spitting blood,

or the bull on that urn, then the slower you go
the better.

Though it takes more than dragging our heels
to arrive where Catherine of Sienna does,

saying all the way  to heaven is heaven,
especially when it looks like hell.  The hacked up

ruins of what once was a town, the heavy weight
of the dead loaded onto carts,

the buttons, bones, shoes still in the rubble
when the survivors comb through:

against those scenes, only the smallest gestures
seem to hold—the cup of water

handed to a prisoner on a train, the shawl
wrapped around a shivering child at the border,

the last piece of bread a hungry man
breaks in two.

—Betsy Sholl

.

Betsy Sholl has published eight books of poetry, most recently Otherwise Unseeable (University of Wisconsin, 2014), which won the 2014 Maine Literary Award for Poetry, Rough Cradle (Alice James, 2009) and Late Psalm (Univ. of Wisconsin, 2004).

Other books include Don’t Explain, winner of the Felix Pollak Award (University of Wisconsin Press, 1997), and The Red Line, which won the 1991 AWP Prize for Poetry (Univ. of Pittsburgh, 1992). From 2006 to 2011 she was Poet Laureate of Maine. She has had poems published recently or forthcoming in Brilliant Corners, Field, New Ohio Review, and Image. Also, this past spring she performed some of her jazz poems with musicians Gary Wittner and Jim Cameron.

Three earlier collections of poetry came out with Alice James Books, where she was a founding member. A chapbook, Coastal Bop, came out with Oyster River Press in 2001. Her poems have appeared in many journals and anthologies, among them Field, Image, The Kenyon Review, The Massachusetts Review, and The Missouri Review. In 1991 she won the Maine Arts Commission Chapbook Competition. She is the recipient of an NEA Fellowship and two Maine Artists Fellowships. She has taught in the Writing Program at M.I.T. and until recently taught at the Univ. of Southern Maine.

 

May 122016
 

Noll-20

Noll is a writer fascinated with the quality of existence, and by the idea that it could be something better. —Joseph Schreiber

Quiet-Creature-web-1000

Quiet Creature on the Corner
João Gilberto Noll
Translated by Adam Morris
Two Lines Press, May 2016
120 pages; $9.95

.

We humans tend to fancy ourselves rational beings. We hold to the convention of cause and effect. We imagine that if faced with strange and unusual situations, we would respond with curiosity, anxiety, or alarm and make an effort to act appropriately. We are inclined to believe that we need to understand what is happening to us and around us at all times. But, is that truly the way we actually exist in the world?

João Gilberto Noll is an author who dares to challenge that assumption. His novel, Quiet Creature on the Corner is, on the surface, a spare and modestly surreal tale of a young man who surrenders himself to a life that is inexplicably handed to him without seriously questioning his circumstances until he is deeply absorbed in a situation that is rapidly growing stranger and more uncertain. Newly released from Two Lines Press, in a measured, wonderfully restrained translation by Adam Morris, this novel offers an English language audience an absorbing introduction to this esteemed Brazilian author.

Born in Porto Alegre, Brazil, in 1946, Noll began his studies in literature in 1967, but left school two years later to work as a journalist in Rio de Janeiro. He would eventually return to university, completing his degree in 1979. Participation in the University of Iowa Writer’s Program in 1982 brought him to international attention when one of his stories was included in an anthology of new Brazilian authors published in Germany in 1983. Over the following twenty years he would be invited to teach in Berkley, California; Bellagio, Italy; and London, UK. Quiet Creature on the Corner (O quieto animal da esquina), his fifth novel, was originally published in 1991.

Noll is a writer fascinated with the quality of existence, and by the idea that it could be something better. Like many of his Brazilian literary cohorts he was nourished on a “robust” existentialism and reflects that this, combined with his own innate sense of himself as a human being, may have been critical in forming his view of literature as having:

. . . a universal, maybe even atemporal core, to the extent that one can say that . . . for we’re not here to deny the material conditions of time and space. But it’s my impression that there’s something pretty common at the heart of the phenomenon of literary creation, the fact that it’s born out of tremendous unease, a tremendous discomfort, a feeling of enormous insufficiency in the face of what is real.[1]

He describes himself as more interested, more committed to speaking about the impossible than the possible. And, although he is typically considered a postmodern writer, he is not entirely comfortable with that classification, insofar as he sees it as legitimizing cynicism. “I am in no way at all cynical,” he insists, “I’m tragic the whole time, I take everything in strict seriousness, that’s why I don’t consider myself post-modern.”[2]

Written and set during the years marking Brazil’s transition from military dictatorship to fledgling democracy, the surreal atmosphere that filters through the narrative of Quiet Creature on the Corner reflects the shifting and uncertain dynamics of a society in flux. The book opens with the unnamed narrator, a nineteen-year-old living in Porto Alegre, washing from his hands the grease of the job he has just lost. There is the immediate sense that he is relieved to rid himself of this manual labour even if it means joining the growing ranks of the unemployed. He prefers to see himself as a poet, a purveyor of verse. He spends his days wandering around town, and shares a squat with his mother in an unfinished building at night. The streets of his impoverished neighbourhood are littered with signs of decay and economic ruin.

One day, following a back alley sexual encounter with a neighbour, he finds himself arrested and charged with rape. However, our hero does not spend long in jail, the next morning a mysterious German man hands him a package containing poetry books and paper, and informs him that he is going to a psychiatric clinic. No matter how odd this turn of events may be, his reaction is positive: “Wow, . . . my entire life looks like it’s about to change,” he remarks. He is still young but he feels that he has been waiting, impatiently, for his life to get itself sorted out. He gives the impression he almost imagines this is his due.

His time at the clinic appears to be spent in some kind of dream-like state. He describes an idyllic life on a farm with the same girl who had charged him with rape, caring for horses and cows, and becoming a father. When he emerges from this condition he is surprised to find he is still in his room at the clinic, his experiences had seemed so real. However he notices that the German man, whom he will soon learn is named Kurt, appears considerably older than he remembers. He asks to see a mirror and discovers that he himself has grown long hair and a thick beard. He wonders how much time has passed.

From the clinic, rather than returning to his old life, the narrator is pleased to see that he being taken out to a large estate in the country where he will live with Kurt, his wife Gerda, a man named Otávio, and the servant girl, Amália. Again he takes this development in stride. The atmosphere in the household is oddly tense; the dynamic between the residents is strained, pierced with silences and marked by some very strange interactions that our protagonist chances to observe. Nonetheless, he seems quite content to see how this new life will proceed. After all, he has a comfortable place to live, his needs are all taken care of, and the only thing he seems to be expected to do is write poetry. There is an element of passive opportunism in his attitude that is somewhat unnerving—he quickly becomes sexually involved with Amália and studies Kurt for indications of how he might assure his continued patronage.

As time goes on he learns that Gerda has cancer. This brings him into a closer proximity with Kurt, serving to deepen the mystery around this enigmatic man, rather than revealing secrets. After she succumbs to her illness, Kurt’s rapid aging accelerates. It is at this point that our protagonist seriously begins to question how quickly time is passing and realizes that he has lost his ability to judge. He notices that the remaining members of the household are also aging, and that he himself is no longer the young man he was when he arrived. He becomes increasingly troubled by the strange and surreal quality of his existence, and the curious nature of his benefactor. This impassive man seems to exercise a strange hold that keeps Otávio and Amália circling around him like satellites. What is it?

Yet, as much as he is worried about losing whatever potential financial advantage that might still await him, our protagonist still seems to be uncertain just how much he really wants to know, how much he wants to give, and how close he is willing to get to anyone to figure things out. One senses that so much remains unknown, simply because the narrator makes no real effort to understand, to fully engage. And herein lies the heart of the unsettling, haunting power of this novel.

Quiet Creature is a short work, easily read in one or two sittings. The language is spare, measured, with a matter-of-fact tone that holds level throughout. For our narrator, the past is best forgotten, the future uncertain but, with luck, ripe to be exploited. Whether he is recounting experiences that are mundane or extraordinary, his ambivalent, mildly irritated mood rarely wavers:

The late afternoon shadows had already insinuated themselves among the branches of the Protestant cemetery, the discreet headstones engraved almost exclusively with German names. Kurt and I were walking down a path and our steps made a cadence on the flagstones. Ahead of us, a gravedigger was pushing a little cart that carried Gerda’s casket. The wheels could’ve used an oiling, they made an infernal noise. From time to time the vision of an iron cross, stark, made my head pulse. Gerda’s grave just wouldn’t arrive. The gravedigger was really putting an effort into pushing the little cart, steeply bent over, his ass sticking out at us, pants straining at the seam between his enormous buttocks. I noticed it was getting darker. And the gravedigger started down another path.

At that time of day it was hard to discern the bottom of the grave. The gravedigger asked Kurt if he’d like to open the casket one last time. Kurt shook his head no, and nearby a bell began to toll.

I threw a shovelful of earth into the hole.

Time passes in an uneven, disjointed manner; a sensation heightened by the absence of any type of chapter or section breaks. Periodically there are abrupt jumps in time and place from one paragraph to the next, jarring when encountered in the narrative but effectively reminiscent of the shifts between scenes in a movie, lending a distinctly filmic quality to the dream-like, non-rational story. It is not surprising that critics have referenced filmmakers like David Lynch and Werner Herzog in an attempt to describe this book. Noll’s focus on light and dark, sounds and silence, further enhances this effect.

However, I would argue that it is the author’s exploitation of the inherent instability between the ordinary and the exceptional, and the social and the ontological that gives Quiet Creature on the Corner its distinctive, unsettling feel. As readers we have access to no reality outside the thoughts and impressions of the narrator, a man who maintains an attitude that is at once entirely self-interested yet emotionally disengaged. Like Camus’ Meursault or Handke’s Joseph Bloch in The Goalie’s Anxiety at the Penalty Kick, he demonstrates neither remorse nor regret for his crime. And why should he? It is, as far as he is concerned, the best thing that ever happened to him, lifting him out of a life of poverty and dead end jobs. He states on more than one occasion that he will do whatever is necessary to come out of this to his advantage even if he has no idea what that might entail.

Most disturbing is the startling lack of regard for others that our hero demonstrates. Only Kurt is important because he holds the key to his future security. As political events, blockades and rallies, intrude on his life he reacts with frustration—especially if they threaten something he wants. One is left to wonder at this desire to turn his back on everything he has known, including his mother, and his willingness to submit to such a strange, surreal world that might well exact a high price as his aging benefactor rapidly declines and his country moves on to democratic reform. But then, especially in times of instability and major change, who’s to say where the truth lies and whether denial of reality in the hope of another possibility is not the only sensible response?

—Joseph Schreiber

N5

Joe Schreiber

Joseph Schreiber is a writer and photographer living in Calgary. He maintains a book blog called Rough Ghosts. His reviews have also been published at 3:AM and Three Percent. He tweets @roughghosts.

Footnotes    (↵ returns to text)

  1. David Treece, “Interview with João Gilberto Noll,” Journal of Latin American Cultural Studies 6:2 (1997): 123
  2. Ibid., 129
May 112016
 

Mary Byrne

.

When Bea and I first came to Paris, we were still so wrapped up in each other we didn’t see much of our neighbour, Marie-Louise. She and a Vietnamese couple were the only other people sharing the lift with us. I did notice she was peculiar, with big fuzzy hair that was obviously dyed and glowed purplish against the light. She had a gummy smile, the seldom time we saw it, but as my girlfriend Bea said, that was hardly her fault. There were times when we would meet her down on the street and she wouldn’t even see us.

She rarely had visitors, although she had a mother in the suburbs and a sister who was married somewhere in town. Bea (who found out most of this) swears she actually met the mother once, helped carry her bag up the stairs, and found her strangely unfriendly.

“You fabulate, my dear,” I told Bea that time. “It’s the causal breach. You women are obsessed by it. Spend all your time trying to plug it, searching for reasons and explanations.”

Marie-Louise had a cat. We first got to know her when she asked us to feed the cat one time she went to a clinic to lose weight. I hated the cat, its litter, its smells. I mentioned toxoplasmosis.

“One always hates other people’s cats,” Bea said.

.

Marie-Louise was clearly obsessed about filling the causal breach, that void between an event and its explanation, something that fascinated me too, although I didn’t say so to Bea.

Marie-Louise had a selection of odd occurrences she brought up from time to time, as if requesting or hoping for an explanation. One story was the day she and her husband were traveling along somewhere in Europe in what she called Our Bug (a VW beetle), on a normal bright partly-cloudy day. The countryside was hilly but the road – an old coach road – instead of going round the hills went up and down each one as it came. This was fun. You could see she was reliving the experience each time she told it.

The climax was that they topped a hill and suddenly there was a line across the road where snow began and beyond it a winter world of white, with several trucks backed up at a service station surrounded by drifts. Her husband, who was driving, got such a fright he almost skidded, and had to slow down gradually before he was able to turn and go back.

Go back? Why? Where were they headed?

She couldn’t remember, and always closed up at this point.

Bea said it was a freak snowstorm, and nothing more.

.

Marie-Louise worked at the Post Office next door, along with what I considered to be a selection of other social cases, all swollen from a lack of exercise and the drugs they needed to regulate their serotonin. That was how I explained them to myself, although Bea just laughed. “You’re the one with the problem,” she’d say whenever I complained about their queuing system or the fact that they refused to sell me international reply coupons. “We don’t do them anymore,” they’d say firmly without even checking, and I’d have to lope off to another branch.

Marie-Louise and her husband had traveled the world, once: Russia, the east-bloc countries in their darkest days, southern Europe, the great outdoor spaces of the American West. She knew all the most beautiful spots, the have-to-see places in every country, although she often preferred to fix on something peculiar. Her favourite story was of the laughing clubs they’d visited in India. “They’d start with the vowels,” she’d say, then she’d shout: “He! Ha! Ho! Hi! Hu!” Sometimes it seemed to be the only thing they’d done or seen in India.

Those days we didn’t know exactly where the husband was, although Marie-Louise never mentioned being divorced, or referred to herself as a divorcee. Eventually it emerged that his name was Vlasta and that he had come from Eastern Europe and gotten rich, a long time ago. “Ah, Vlasta!” she would say with a despairing wave of her arm. In winter she gave Saturday theatre classes to small groups of people like herself, in an under-sized sitting room lined with cheap reproductions of old masterpieces. She pretended her family had known many of the most famous modern painters and reckoned that, as a young girl, she’d shown her bum to more than one of them. “Small girls do that, you know,” she said. She had gone on to being their model.

At 12 years of age, she had ceremoniously binned her very ancient and much-thumbed copy of Alice in Wonderland, illustrated by Tenniel, with its talking sheep and sinister cats. I thought this chain of events worthy of psychoanalysis, but Bea said she was just chatting. Bea sometimes made a cake and invited Marie-Louise to share it. I would come home and find two sets of big teeth grinning over tea and cake, sharing gossip about the building and its occupants.

Marie-Louise called our concierge The Queen of Hearts. “Queen of Hearts giving orders again?” she’d enquire when some directive appeared in our letterboxes. Residents must realize… Residents should note… The Queen of Hearts was a tiny dark Portuguese Catholic, trying to be a tall blond one. She had a small white poodle and a huge Rottweiler (these I referred to as her Manichean aspects). She took lunch with her parents every Sunday in a public-housing block to the west of Paris which had replaced the shanty town where they lived on their arrival in 1960s France, fleeing Salazar and all that. She was convinced that some saint or other had recently saved her kid from certain death in a scooter accident. She also reckoned we were in constant danger of our lives from local hooligans – hence the Rottweiler – and had organized teams of solemn young men in what looked like Ninja-turtle outfits to patrol the yard and gardens. When the details appeared on the annual charge bill at the beginning of the year, I almost had a fit.

“Get interested in your fellow man,” Bea advised. “This one has been coming at us for a while.”

As a teenager Marie-Louise had been propositioned, very correctly, by a painter friend of her parents. Politely, in his car, after school. When she refused, equally politely, he drove off and she never saw him again. The thing was she fancied him terribly and had cried when his wife died and he married a second time. “Wanting things to stay forever in one place,” she said, “that’s kids for you.”

On Sunday afternoons in winter she sometimes went to what she called a “thé dansant” in old-fashioned Paris ballrooms where tea and cakes were served and polite men asked her to dance dances you really had to know: “You can’t improvise a tango,” she’d say. She had some kind of regular dancing partner at these dancing teas, whom she called her “bon ami” and whose name we never learned.

“’Cos he doesn’t exist,” I said.

“You should cut down on philosophy and read more fiction,” said Bea, “they say it helps us empathize.”

.

Someone pinched my shoulder-bag one day in the metro when I was lost in a book. Bea wasn’t home when I got there, so I knocked on Marie-Louise’s door. I’d even contemplated asking our Vietnamese neighbour rather than getting involved with Marie-Louise. But I knew the Vietnamese woman would have her own story about a woman’s life in Vietnam, how she only ever went out on her own to go to Mass (our neighbours are Vietnamese Catholics) and how even their watches and wedding rings were taken from them as they left Vietnam. She’d told all this to Bea, who concluded they were terrified of anyone with administrative power over them. Rather than question any authority, they paid all bills without question, including the one for the Ninja turtles.

So I knocked and explained why I needed somewhere to wait till Bea arrived. Marie-Louise ushered me into the sitting room with the reproductions. I was halfway across the dark room when I realized there was someone else there.

“Vlasta,” she said simply.

“Get a glass for him,” Vlasta told Marie-Louise, as if he came every day, lived there, or even owned the place.

For a while he interviewed me like a prospective husband for a daughter, then settled into the story of his own life. He seemed to have a wife, although I couldn’t be sure, and he certainly had two teenage sons who seemed to cause him endless hassle. I presumed he’d made them with someone other than Marie-Louise.

“Bought them a 7-11,” he said, “and they’re about to run it into the ground as well – they’re too lazy even to sit at the till and take in the money.”

He launched into wider subjects. “The Americans organized the Twin Towers themselves. Did you see the way they came down?” – it wasn’t a question – “The plane only hit the corner of the building. Had to have explosives planted all over it. And the Americans didn’t care,” he said, “because the towers were full of foreigners.”

Glued to my chair in horror and fascination, all that seemed to be working was my tongue: I tried to move him on to other things, like the newly reduced Greater Serbia. “Yugoslavia was ruled by non-Serbs, but the Serbs got the blame,” he told me. The trouble now was the Albanians. “Import two of them Sheptar,” he said (I thought I saw Marie-Louise wince), “and in no time you have hundreds.”

According to him, Yugoslavia was made to fall apart eventually. “Stalin was a priest before he came to power. He got rid of the soutane and attacked religion. Tito wasn’t a Serb either, no one knows where he came from.”

“Wasn’t the man who killed the Archduke Ferdinand a Serb?” I ventured, glancing at my watch.

“Sure, but he lived in Bosnia,” he replied. So he wasn’t really a Serb either.

“If you meet a Sheptar” – Marie-Louise definitely winced – “on a country path, he marches towards you and you have to step off the path. Then he steps off the path too, to confront you again. Some people are always spoiling for a fight, like the man who comes up to a peaceful coffee drinker in a café and says, ‘Why did you fuck my wife?’ Coffee drinker says, ‘I didn’t go near your wife, what do I want to go fucking your wife for?’ And the belligerent one changes tack: ‘What’s wrong with my wife that you wouldn’t want to fuck her?’”

And so on. My ears were tuned to the bump of the lift, but there was still no sign of Bea. Vlasta couldn’t be stopped, now he had an audience. Marie-Louise busied herself with tea. “Marx and Engels had excellent ideas that were meant to be introduced gradually,” Vlasta continued. “But no, Lenin had to go and have his Revolution. Communism is a complete misnomer. It brought to power men who only knew how to herd sheep. Down they came from the mountains and found themselves addressing crowds. They didn’t know the difference between Communism and Capitalism. They were told that Communism meant if a man has two chairs you take one off him and give it to someone who has none. One of these former shepherds, before a crowd and stuck for words, saw a tramp go by at the back of the crowd with a sack on his back. ‘A capitalist!’ he cried. ‘There goes a capitalist! Take the sack off him and divide its contents among you!’”

Vlasta looked very pleased with himself. Marie-Louise winked at me surreptitiously.

Suddenly Vlasta glanced at a very expensive watch, leaped to his feet and said he couldn’t delay, as if we’d tried to hold onto him.

When he was gone, Marie-Louise opened the window and beckoned me over.

“Come and look,” she said. “He likes me to wave goodbye.”

We waved as Vlasta got into a Mercedes that was several generations old and roared off in a cloud of black fumes. Just then, Bea rounded the corner. We waved at her too.

“I must apologize for Vlasta’s behaviour,” Marie-Louise said. “It is part of why we are no longer together. A lot of things about Vlasta were masked by language and culture, from the start.”

She paused.

“The original and correct word is Shqiptar,” she said, “from the Albanian language. It’s related to the word for speak. The word Vlasta used is extremely pejorative, like ‘Barbarian’ once was for the Greeks, or ‘Welsh’ for the Germans.”

I’d had enough by then and was in no mood for linguistics. I made for the door in haste, but Marie-Louise caught me by the arm:

“How can you see something in a mirror that isn’t reflected in it directly?” she wanted to know.

She pointed out a rooftop opposite and then to its reflection in a mirror on her wall that lay at right angles to the window.

First I sighed. I could hear the lift. Then I went to a lot of trouble with paper and diagrams and angles and so on, but it was clear that she didn’t believe me. She was convinced it was some kind of magic.

“I had a dream,” she said. “I came into a room and saw a small man – tiny, really – dressed in bulky but shiny clothes, lying, obviously dead, on the floor near a chair. My first reflex was to reach out for it” – she definitely said ‘it’ – “more for tidiness than anything else. Just then a very large speckled bird – as big as the little man, anyhow – took him by the beak and pulled him under the chair out of my reach.”

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“So what’ve you been up to?” Bea challenged me as I burst into our apartment.

“Plugging the causal breach,” I said.

I kept it going for a while before telling her about Vlasta. Bea and I had reached that stage in our relationship where the lives of others filled a space between us that we couldn’t fill ourselves.

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That summer was the famous ‘canicule’, as they called it here (somehow a deadlier word than ‘heatwave’), during which France killed off some 15,000 of its old folks.

Early on, Bea and I enjoyed the weather, the city. One weekend we rolled out to watch the Queen of Hearts participate in a parade celebrating Portugal in all its aspects. I was truly astonished at the sheer numbers of them, their costumes, their faithfulness to regions and habits. There were groups from all over Paris with banners related to occupations, way of life and regions in Portugal. All in costume, there were brides and grooms, kids, people carrying peasant farming tools, playing music, dancing.

I said, “What, no tools for digging ditches?” I told Bea this was over-the-top folklore, a memory of the times before they all had to flee dictatorship and poverty and getting called up to fight wars in Angola and Mozambique.

The Queen of Hearts smiled and waved as she jigged by in a black and white outfit topped with a kind of lace mantilla.

When I said, “No sign of the concierge’s tools there,” Bea dragged me away.

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After that we fled south – “Because they know how to deal with heat down there,” Bea said – until it became too much there too. Then on to Morocco to friends, until I tired of seeing rich people in rich houses surrounded by the poor padding about them, cleaning, cooking, trying for invisibility.

“And they wonder why they want to come to Europe,” I said.

”Don’t start,” said Bea.

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Then I had a summer school in Ireland, where my temper improved immediately in the more modest temperatures. Things in Ireland had never been better: you could sit on the grass, swim every day, organize a picnic, all without having a Plan B. Demand was so brisk that every garage and supermarket in the country ran out of charcoal for barbecues.

Late one night after Bea went to sleep, I stuck in my earphone and switched on the radio on my cell phone. A scratchy French station was talking about hundreds of deaths all over Paris. The funeral parlours were overflowing, they said. They were requisitioning cold storage places to put the bodies, there were so many of them.

“What the hell is this?” I said, into the night.

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It was all over by the time we got back. Paris had settled into a sinister post-disaster calm. I bought the papers in the station. The media were down to the usual ding-dong about who was to blame: society was at fault, there was no respect for the old. One family, abroad on holidays (I think – perhaps they were only in the south on a beach) asked the authorities if they would hold on to the grandmother’s body till their holidays were over, “She’s dead, she’s going noplace anyway,” they were reputed to have said.

The big heat was over. Our building would be pretty well empty, we reckoned, which was normal for late August. However, when we punched in our code and the door opened stiffly, who should we find standing in the hall but the Queen of Hearts.

“Still here?” we said.

“What with all that happened,” she said.

She had opened the glass door on the notice board and was fumbling with a black-edged handwritten sign. She held it up to us.

It announced that Marie-Louise was dead.

“Family won’t do it,” she whispered.

Before I could ask why she was whispering, she hissed: “Body’s still up there.” She raised her eyes, “They haven’t even appeared once. No one to sit with the body. Think of it. No priest said the last prayers.”

“Left it all to the undertakers,” she concluded, folding her arms and studying us for reactions. “A civil funeral, they call it – they bury people like dogs in this country.”

It was Bea who said, “But she was far too young to die from the heat!”

“Not the heat,” said the Queen of Hearts. “The loneliness.”

Marie-Louise had even phoned Vlasta the night before she did it and asked him to come into town. He told her to take a sleeping pill and go to bed. How the Queen of Hearts knew all this is anyone’s guess. When Marie-Louise didn’t turn up at work the next day, the Post Office called around and it emerged that she hadn’t left her apartment.

I pictured the Queen of Hearts in full authoritative mode, a locksmith at her feet fumbling with instruments.

“She was lying on her right-hand side,” she hissed loudly, “The stuff she took was on the bedside table.”

In a way, I thought, the Queen of Hearts’ curiosity was healthier than any French attitude to family. Then, with considerable misgiving, I began to wonder if religion might not have a role to play after all. I was careful not to mention this to Bea.

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Later, as we lay in bed studying the cracks in the ceiling that needed redecorating, Bea said, “Just think of her going through that, and us on a white beach in the Aran Islands.”

“I’ve decided Marie-Louise wasn’t bonkers,” I said after a while. “Everything is so complicated, it simply has to have a cause,” I told her.

She sat up on one elbow and looked me straight in the eye.

“Don’t tell me you’re going to fall back on Intelligent Design and all that? After complaining for all these years about how even Descartes leaned on God, in the end?”

I realized it was too late to wrench the subject away from the possibility of supreme beings. It dawned on me that Bea’s was an anger built up over years of packing boxes and moving them with me and my philosophical career.

You were the one who wanted to come to France – because of ideas, because of the Enlightenment. You fled Ireland because of the priests! We moved here – lock, stock and barrel – because of Reason!”

By now Bea was yelling.

I tried to calm her by telling other stories by Marie Louise – her nightmare about being pursued into a room full of furnaces and another about lining up for punishment by burning. “I was always with other people, always accompanied,” Marie-Louise had said.

Bea rolled her eyes. “Please,” she said. “Don’t start.”

“We humans are hard-wired to want lies,” I plunged into ever deeper water. “Lies plug the breaches we find in causality. When we don’t have answers, we content ourselves with lies. Fictions and stories comfort us, where the truth – the absence of a cause, the lack of a reason – would disturb us.”

I warmed to my subject. Bea turned away from me and got out of bed.

“Cave paintings were stories people told themselves about themselves too,” I said, as she closed the bedroom door behind her.

—Mary Byrne

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Mary Byrne’s fiction has appeared in: six anthologies, including Faber Book of Best New Irish Short Stories, Phoenix Irish Short Stories and Queens Noir; in dozens of literary journals in Europe, North America and Australia, and broadcast on British and Irish radio. Her chapbook, A Parallel Life, was published in 2015 by Kore Press https://korepress.org/books/AParallelLife.htm.

Tweets @BrigitteLOignon

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May 102016
 

Nathan Currier

But since those first flutes were fashioned out of vulture bones several tens of thousands of years ago, all music has intrinsically spoken to our interaction with Nature around us, and our Anthropocene era is defined by a cataclysmic pulse signal being fed into the whole Earth System, caused by us – as stupid and dangerous an experiment as has ever been conducted. —Nathan Currier

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Nathan Currier (1960) is a contemporary composer whose work is both bracing and intimate. Talking to Currier, one is immediately captivated by the span of his attention, which takes in hundreds of years and generations of scholarly thought. The breadth of his intellectual passions would have been familiar to composers, musicians, writers and intellectuals of the late Romantic period. In our own time, one marked by rigid specialization across all professions that has many artists stuck in self-referential ironic loops, Currier is one of the relatively few artists addressing the issue of climate collapse in a thoughtful and serious manner. “Never before has classical music been so needed by humanity, and never before has it been deemed so superfluous,” he warns.

Currier has long studied the Gaian theory developed by James Lovelock and Lynn Margulis. This Earth Systems viewpoint is based in a holonic understanding that something is simultaneously a whole and a part of its system. His largest work to date is a full-scale oratorio, Gaian Variations, based in the Earth Systems perspective. Music is an holonic expression: individual tones (which each contain the full expression of harmonic overtones) and classical music, as a language in itself, offer the most effective medium by which to understand and transform our understanding of Earth Systems. Classical music is, Currier suggests, “a brilliant model and lesson for the human mind to better contemplate complex system dynamics …(one) which evolved almost as a continuous narrative expression of the inherent properties of the holonic harmonic series itself…”

In addition to Gaian Variations, Currier’s works include Hildegard’s Symphony a piano concerto, many works for solo instruments and chamber music. Currier is also a skilled pianist, awarded the Silver Medal in the International Piano Recording Competition in his early twenties for his performance of Bach’s Goldberg Variations. A long-term collaborative relationship with the harpist Marie-Pierre Langlamet, principal harpist of the Berlin Philharmonic, led to many chamber works written for harp, including Possum Wakes from Playing Dead, Thirty Little Pictures of Time Passing, and A Nursery Sleep. He’s also worked with the visual artist Suzan Woodruff; Looming Atmospheres takes the theme of Currier’s Gaian Variations and uses it as the basis for a painting-film. Currier studied at the Peabody School of Music, and the Juilliard School of Music, where he also taught for over ten years on their evening division faculty. His principal teachers have included David Diamond, Joseph Schwantner, Bernard Rands, Stephen Albert and Frederic Rzewski.

Currently, Currier (along with composers Samuel Zyman and Christopher James) is initiating a new concert series (The Orchard Circle series) that will take place in New York and Philadelphia, beginning Fall 2016. This series will highlight the music of early and mid-career classical musicians through work that Currier feels are too often overlooked. The core of the events will be a 90-minute performance held within a relaxed, convivial atmosphere.

Currier is the recipient of many prizes and awards, including the Rome Prize, a Guggenheim award, and the American Academy of Arts & Letters’ Academy Award, given for lifetime achievement in composition, as well as the National Endowment for the Arts, New York Foundation for the Arts, Fulbright, Fromm, Charles Ives, Barlow, and ASCAP awards.

I met Nathan around a decade ago, both of us attending a residency at the Virginia Center for Creative Arts in Amherst, VA. We struck up a friendship immediately, and it was with pleasure that I embarked upon this exchange of emails that resulted in the following interview.

Looming Atmospheres is a work of Nathan Currier and Suzan Woodruff that takes the theme of Currier’s Gaian Variations and uses it as the basis for a painting-film.

Carolyn Ogburn: Would you say something about the way you see the value of exploring environmental themes through music? You wrote vividly about holonic structuring in your essay, “Classical Music in the Anthropocene”. Can you talk about how this might be interpreted, musically?

Nathan Currier: Pitched sound inherently bids us to engage with Natural design, even if it is unconscious: the harmonic series means that all music always consists of parts and wholes sounding together, as each tone contains all pitch, and this deeply holonic structuring of music parallels many inspiring and mysterious aspects of the natural world around us. For example, the Neo-Darwinists have often liked to make it seem as though life’s amazing evolution on Earth = genes + random mutations + natural selection, given enough time. But this view has begun to seem like something of a joke. We have recently learned that huge amounts of genetic material – perhaps as much as 50% of our own human genomes – have been horizontally transferred; a single unit of selection seems almost silly among the multi-leveled holonic processes of life; and, at the highest level of such processes, the Neo-Darwinists themselves strenuously maintained for decades that our Natural selection-run world could never lead to global scale self-regulation, yet the Amsterdam Declaration on Global Change (signed by more than 1,000 scientists in 2001 under the aegis of the United Nations) begins by stating just that – that our planet acts as a single self-regulating system. Going back to the Pythagorians, music was always seen as somehow depicting fundamental laws of the universe, and I am essentially saying that this still holds true. But this current form of the old metaphor is little known, however, because Earth System science is not yet widely known.

For holonic structuring, I’m suggesting above that this doesn’t need musical interpretation – that it is always there. But of course, one could also add in conscious interpretation. My Dorothy’s Dinner is all about the work of Lynn Margulis, who was the great modern master of the workings of symbiosis, and one might say that the holonic structure of all life – the cellular organelles like the mitochondria inside our cells; the variegated cells in multicellular organisms like ourselves; organisms inside ecosystems; and the range of these nested inside the biosphere – ultimately stems from the symbiotic behaviors forced upon all organisms, and which was shown to be the source of the complex cells we are made of (Eukaryotic cells), where a process of engulfment (i.e., phagocytosis) creates this multi-tiered holonic quality at the level of single cells. It was in Margolis’ lab that I first saw footage of D. Discoidium, one of the marvels of nature, where 100,000, sometimes even a million, individual, single-celled organisms (they are Eukaryotes, and Protista) can, under the environmental stress of starvation or drought, come together and form a single organism with fully differentiated cells, making a slug that can walk off and find a better environment. Dorothy’s Dinner is for four actors and string quartet, and melds theatrical and musical elements to such a degree that I hope they become fully entangled into a single narrative, where the music employs all kinds of techniques that I see as reflections of holonic structure (again, keep in mind, harmony is inherently holonic), and the narrative concerns four old friends getting together for the first time in decades, entraining issues of group behavior, and climaxing when Dorothy, a retired biologist, shows her old friends this same footage I had seen – the coalescing of the ‘fruiting body’ out of an army of individuals, and the slug then moving off as one single organism.

To deal more generally with environmental themes in music, I think it’s vital first to correctly characterize “environmentalism,” and then to get meaningfully inside music history. I think this is the problem with current ecomusicology – it doesn’t, to my mind, work hard enough yet on either of these things, and so one quickly ends up with breezy talk of John Cage, R. Murray Schaefer and acoustic ecology, things which I confess I don’t personally see as central to music, ecology, or the environment. My essay Classical Music in the Anthropocene begins by trying to show that the largest late works of common practice period music were far more ecologically significant and timely than any such material, since Mahler’s two largest scores (the Third and Eighth symphonies) were entirely wrapped up with Haeckel, who coined the term ecology and adumbrated aspects of Earth System science. And consider that the passage just before Mahler starts his Faust setting in the Eighth gyrates eerily around the subject of geoengineering, a topic likely to be one of the most significant and contentious of the 21st century, although this passage was written by Goethe 150 years before the term geoengineering was first used. What does it mean, then, when composers tack on their conscious thoughts and feelings about something like environmental destruction, to a language that has always been speaking to us, albeit mostly unawares, about Nature’s operations? It depends on how it is done. I have read articles about works in which, say, someone records their footsteps walking on a glacier, and then manipulates this sound to create a “statement” about climate change. A cellist’s video of himself “playing” a graph of global climate change was passed around online a couple of years ago, with the cellist going up in pitch whenever the temperature graph went up – a link to this video was even sent to me by the Artistic Director of the American Composers Orchestra, as though there would somehow be interest in it for me because I am educated in climatology. If one could create interesting sounding pieces this way, it should still go without saying that such things have nothing much to do with their subject. The squiggles in the climate graph represent the chaos of any complex system, and are relatively uninteresting in themselves, but there is fascinating order in the climate system behind its noisy chaos, just as there is behind your own body’s chaos (your body also exhibits randomness in its diurnal temperature shifts, for example, despite its extreme thermoregulation).

Such talk about geoengineering brings one to the need of correctly characterizing ‘environmentalism’, since the environmental community has taken great pains to portray all geoengineering as evil or even crazy (leading up to the Copenhagen COP, hundreds of environmental groups even signed a declaration against the use of biochar, which is quite benign). At the time of Mahler, our current notion of the environment barely existed. One spoke of Nature. Environmentalism has been hugely positive for society as a whole, but its weaknesses are sitting right there in the reductive word itself: by definition, you aren’t the environment that surrounds you, and this lack of inclusion breeds a lack of agency. Agency is lacking not just for humanity, but for life itself, in this mindset. Consider the opening sentences (after the initial fable) of Carson’s Silent Spring (my italics added):

The history of life on Earth has been a history of interaction between living things and their surroundings. To a large extent, the physical form and the habits of the Earth’s vegetation and its animal life have been molded by the environment. Considering the whole span of earthly time, the opposite effect, in which life actually modifies its surroundings, has been relatively slight.

Only three years after that was written, just one year after Carson’s own untimely death (in 1964), James Lovelock had the first intuition of what would become Gaia theory (commonly referred to as Earth System science today). Now we know that virtually everything present in our atmosphere is a direct product or strongly modulated by life. Lynn Margulis, who developed Gaia theory with Lovelock, would say that all organisms ineluctably alter their environments (through waste, respiration, etc.), and that the sum of those alterations is Gaia.

Gaia might have been able to provide the missing link between our actual current understanding of the planet, and our expressions concerning it through culture and the arts. Earth System science is a term that began to be used at NASA in the early 1980s (a NASA committee called ESSC, the Earth System Science Committee, was formed in 1983 and put out a couple of large reports) which takes the concepts of global scale self-regulation that Lovelock and Margulis had initiated a decade earlier (and which they had called the Gaia hypothesis), but using a more neutral language without any baggage of culture or metaphor. In a way, it has been a tragedy of public relations: the name Gaia was only too loved by New Age enthusiasts, as it still is, while being despised by the Neo-Darwinists, Richard Dawkins labeling it “bad poetic science.” Unsurprisingly, the language of Earth System science has not communicated itself to the broader public or impacted our culture at all. But the oldest musical instrument known was found a few feet from the earliest Goddess figurine, and perhaps there really is something deep about allowing those layers of metaphor to sit on top of the recent revolutions in the geo- and life sciences.

If Gaia theory had not been so disparaged, I suspect that environmentalism, the broader culture, and consequently the planet itself, would all be in a better state today. Of course, I was trying to counter these problems with my largest work, an oratorio called Gaian Variations, which aimed both to introduce people to Gaia theory and also to contextualize it, depicting it as a natural historical outgrowth of Darwinism and the Earth sciences. (CO: Currier’s Gaian Variations premiered in 2004 at Avery Fisher Hall by the Brooklyn Philharmonic, but was interrupted midway when the orchestra members walked out, claiming they were headed into overtime. The oratorio has yet to be performed in full.)

Heralding the Anthropocene by Nathan Currier

CO: How do you think about the structural framework of your craft? Do you think that a comparison might be made to the work you do as a composer to the conceptual work done by an architect? For both, it seems, rely on wordless language, deep understanding of structure (or, as it might be, theory) that goes beyond the individual “piece”…

NC: In musical structure, I feel as though much of what happens is far too sensitive to be likened to architectural structure, and such musical structure therefore needs to coalesce through iterative process, rather than come about through design and forethought. I am speaking from my own personal experience as a composer, but I also mean this as a general rule, both for the final form of a given composition, say Wagner’s Tristan, and for the slow evolution of musical structures themselves – take something like the gradual coalescing in classical music of what eventually became “sonata form”. So, it’s more like the emerging structure of a city, the result of iterative processes of daily life being lived, than like the planned architecture of a building.

Someone who was always very important to me from the standard repertory as concerns musical structure, right from the time that I started composing seriously, was Schumann, who I felt left many hanging threads for future composers. He was able to increase the narrative quality of musical language in his larger piano cycles, and a key part of his toolbox was, I believe, disunity. Charles Rosen wrote, that the return near the end of Davidsbundlertanze was, “a genuine return of the past – not a formal return, or a recapitulation, but a memory.” I would agree, but to me the most interesting thing is the means by which he achieved this new kind of return, which was a high degree of disunity in the variegated material between the first version of the b minor material its return. Growing up, I noticed how Schumann’s works were often considered structurally weak in the critical community, which I considered to show a lack of understanding. Needless to say, all this fit in neatly with my later scientific interests. Consider how in Lynn Margulis’ work symbiosis is elevated to a primary driving force of biological evolution. Remember that symbiosis means “living together”, in all its infinite shades of meaning, from the casual acquaintances of organisms that randomly hit up against each other, to the coalescing of the key elements of cellular structure through endosymbiosis, such that every cell with “your DNA” is itself a chimera made up of elements of what were various free-living bacteria billions of years ago. In any case, even in my teens many of my works were designed after Schumann’s, with series of interlinked short movements, perhaps in a way analogous to (Gyorgy) Kurtag, another living composer who also has written about Schumann as an inspiration for his many series of short interrelated movements.

CO: You grew up within a musical family (Currier is the son of Robert Currier, a violist and Marilyn Kind Currier, a composer; his brother is Sebastian Currier, also an acclaimed composer). What was that like, and how do you think it’s shaped your own work?

NC: There is no question but that it was vastly important to me to have grown up in a family full of composers, which I think has shaped me in all kinds of ways I am only partly aware of. One way in which I am different from many composers I know is that I am less interested in what I would call ‘productivity maximization’. Perhaps it is an outgrowth of having lived among other composers, that I see a moral responsibility to not over produce, a kind of compositional ‘Planned Parenthood.” Almost every “professional” composer I know has written far more than Mahler, although Mahler towers over the late common practice repertory…. That said, I confess that right now I would really like to be composing far more than I have for a while!

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CO: I know you’ve been excited about the upcoming launch of the Orchard Circle concert series, a kind of “midtown revival,” of the aesthetic middle. Can you talk to me more about that?

NC: I am currently involved in starting up a series of new music concerts in New York City (and Philadelphia) to be called Orchard Circle, starting this coming November. It has gotten me listening to a lot of my colleagues’ works again, and there is certainly no shortage of creativity of all kinds going on today. Yet the series represents only one slice of the whole aesthetic pie, focused on the middle of things, and we are particularly interested in eschewing predominant trends, things like so-called “post-classical” music, the current Brooklyn-based emphasis on pop culture, and other features that typify the current scene.

CO: How much do you think of how your work will be heard as you write? Do you actively seek to either to reflect existing perceptions, or to disrupt them, perhaps to disturb something fundamentally unquestioned in the listener? Or, do you think of it in some other way entirely?

NC: I don’t personally try to either reflect or defy common perceptions, and have to admit that I am not very good about keeping the listener in mind once I am involved in composing something, unless I could be considered “the listener”. But I am sure that time changes everything, including our perceptions, so I don’t see what the value is of thinking of current listeners as opposed to difficult-to-predict future ones. And I think that we need to be very future-oriented right now, about our planet, our society, and our aesthetics. When I ask other composers about the future, I realize that most have rather little concern for it, and for some that is even a matter of pride, after a century of modernists claiming that someday, “the milkman would whistle Webern’s tunes.” Personally, regardless of the errors of the modernists, I see it as a matter of morality to work and live as though still believing in some future, perhaps akin to Mahler’s “my time will come!” attitude. This despite the fact that I know far more climatology than colleagues, and so know with certainty that New York City, where I am now living, is already doomed (the West Antarctic Ice Sheet has begun its slow collapse, the grounding line around the chief Amundsen Sea outlet glaciers have reached the so-called ‘retrograde bed’, and this will be an unstoppable process) along with all the world’s other vulnerable coastal cities.

It is hard to fathom what perceptions of us and our creations will be, given the utterly unprecedented nature of what is underway, and at times it all feels so overwhelming that I wonder if I will be able to continue, and at such moments I often feel an immense envy of those happy colleagues who are able to ignorantly concentrate on their personal “careers”.

The Simon Bolivar Orchestra playing Mvt. 1, Of Moisture and Greenness, from Hildegard’s Symphony by Nathan Currier, with Marie-Pierre Langlamet, harp solo, and Cesar Ivan Lara conducting. Premiered in Caracas, Venezuela, June 1, 2012.

CO: Earlier, you were talking about the misunderstandings of environmentalism. Can you say more about how this interacts with how you see classical music as a medium for thinking about our climate, um, challenges?

NC: Classical music is unique in the degree to which it injects a non-repetitive, one-way arrow of narrative time, and this is of supreme value if people are to contemplate time and the future. Further, counterpoint is an invention of classical music, and its complex multi-temporality is exactly what one needs to consider something like the climate system, so I do see classical music as a perfect cultural object through which to consider the irreversible large-scale climate changes underway.

Unfortunately, traditional environmentalism is still stuck in its old pre-Gaian mode, with real consequences, and anything that could shake up this situation through music would probably be good for music, and would certainly be good for the planet. Think of how today an issue like nuclear energy plays an important role in peoples’ voting – take the German election of 2011, or Bernie Sanders’ call for a U.S. moratorium on nuclear plants – but people have no adequate way of making intelligent energy choices until they begin to understand the Earth System in time. For example, wind energy manipulates a vitally active part of the Earth System – atmospheric circulation – and leaves an imprint upon it, changing the vertical mixing of the lower atmosphere, and warming the surface downwind of turbines. That does not mean we should disparage wind energy. I suspect that wind farming, however, will end up like fishing: there is a huge amount of protein in the sea, but you just can’t sustainably harvest much of it, and we have begun to learn this the hard way, with the global oceans already in a dire state. We can greatly expand our use of wind energy over the present, of course, but that doesn’t mean that it can or should supply a very large part of global energy, and the issue with wind probably won’t be whether you can get 10TW, 60TW or even 200TW out of it, as some argue: rather, I suspect it will be whether the overharvesting of wind resources offshore of California will further stress the storm tracks coming to the Sierra Nevada, imperiling U.S. agriculture, or whether lots of turbines around the UK and Scotland could actually start to impact the “tip jets” around southern Greenland, probably vital for the descending plumes of dense saline water needed for Atlantic meridional overturning circulation, which will already be under increasing stress from Greenland freshwater input and warming generally. Indeed, in the end, large scale wind harvesting will be akin to geoengineering, and indeed is a form of it, one which counteracts changes in atmospheric chemistry wrought by prior forms of energy, substituting them with a different form of energy that alters atmospheric dynamics instead. I think that wind power (along with other mild forms of geoengineering) needs to be part of the mix, but my guess is that it won’t reach much beyond 10% of total global energy before economic/environmental considerations halt its growth. That implies, of course, vast hypocrisy on the part of the environmental movement, which scorns both geoengineering and nuclear energy while advocating for wind. And today more and more ‘Big Green’ groups embrace Mark Jacobson’s plans for powering the world with >50% of all energy coming from wind turbines, which could well prove highly problematic (some peer reviewed material from Harvard and the Max Plank Institute, published by PNAS, suggests Jacobson’s way of calculating wake turbulence produce wind density figures that might be 400% of practically achievable levels), and in the end will just prolong dependence on fossil fuels for decades more than necessary, with terrible consequences.

Thus, when one considers the Earth System viewpoint and the huge price we will pay for not following it, in part because of erroneously framed “environmentalist” perceptions, and when one also considers how a brilliant model and lesson for the human mind to better contemplate complex system dynamics is classical music – which evolved almost as a continuous narrative expression of the inherent properties of the holonic harmonic series itself – it brings one to a surprising conclusion: never before has classical music been so needed by humanity, and never before has it been deemed so superfluous, with many claiming it already dead amid today’s pop culture triumphalism.

But since those first flutes were fashioned out of vulture bones several tens of thousands of years ago, all music has intrinsically spoken to our interaction with Nature around us, and our Anthropocene era is defined by a cataclysmic pulse signal being fed into the whole Earth System, caused by us – as stupid and dangerous an experiment as has ever been conducted. So I think there primarily needs to be a vast increase in education about what the “environment” really is and how it really works, and then both conscious and unconscious applications of all that to the art of music in its totality.

—Nathan Currier & Carolyn Ogburn

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Carolyn Ogburn

Carolyn Ogburn lives in the mountains of Western North Carolina where she takes on a variety of worldly topics from the quiet comfort of her porch. Her writing can be found in the Asheville Poetry Review, the Potomac Review, the Indiana Review, and more. A graduate of Oberlin Conservatory and NC School of the Arts, she writes on literature, autism, music, and disability rights. She is completing an MFA at Vermont College of Fine Arts, and is at work on her first novel.

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May 092016
 

solie

When I read Karen Solie, I’m reminded of my first encounters with Berryman’s Dream Songs, Lowell’s Life Studies, or Vallejo’s posthumously published poetry. The books seemed unrelentingly astonishing, had a skewed but insistent sense of moral gravitas, and demanded a response that was as physical as it was intellectual. —David Wojahn

the road

living
The Road in is Not the Same as The Road Out
Farrar, Straus and Giroux, 2015, 104 pp.
Hardcover, $25.00

The Living Option: Selected Poems
Bloodaxe Books, 2014, 160 pp.
Paperback, $9.95

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In 2014, upon the British publication of The Living Option, a volume of Karen Solie’s new and selected poems, the poet-critic Michael Hofmann, writing in The London Review of Books, lauded the collection in a manner that surely surpasses any poet’s most delicious fantasies about what constitutes a positive review. Hofmann heaped on the tributes so thickly that a reader unfamiliar with Solie’s work could easily have been lead to wonder if Hofmann had written the piece under the influence of some sort prescription mood enhancer so appealing that you’d love to get your hands on some of it—though perhaps not for the sake of writing about a poetry collection. By the end of the second paragraph of the review Solie was seen by Hofmann as the peer not only of well-regarded contemporary poets such as Frederick Seidel, Les Murray, and Lawrence Joseph, but also Big Shots from the pantheon—Brecht, Brodksy, Whitman, and Stevens got namechecked as well. That Hofmann would lavish such praise on a writer who had published only three collections before her Selected, all from small presses in her native Canada—she was born in on a farm near Moose Jaw, Saskatchewan, in 1966, and now resides in Toronto—made the review all the more remarkable. Solie’s nationality also offered Hofmann an opportunity to tartly disparage the chauvinism of the UK and US literary establishments, who tend to regard other Anglophone literatures as what he witheringly characterized as “apocrypha or appendix, the province of specialists or pity.” Reviews of such unabashed ardor are exceedingly rare in the world of poetry, particularly when they arise from the subculture of Pavlovian snarkiness that passes for poetry reviewing in the UK. And when such reviews do appear, their claims tend to be hyperbolic or just plain wrong. But about Solie Hofmann was for the most part spot on. I’ll refrain from the Whitman, Brecht, and Stevens comparisons here, but I have no hesitation in saying that Solie is one of the most exciting poets at work today. And with the US publication of The Road in is Not the Same as the Road Out, a volume of Solie’s recent work, readers in the States can see something of the breadth of Solie’s accomplishment.

I hasten to add that something, for neither The Road in…. nor the perplexingly skimpy selection of Solie’s poetry included in The Living Option allows a reader to accurately assess the niceties of Solie’s development, nor to appreciate the remarkable consistency of the quality of her work. The Solie of The Road in… is a garrulous and impishly meditative poet. The poems start with oddball but tangible subject matter (with titles such as “Roof Repair and Squirrel Control,” and “A Good Hotel in Rotterdam”), but then immediately grow loopily digressive (or darkly sardonic) and tend to wander about engagingly (or scathingly) for several pages. Solie’s earlier work, however, is somewhat different from this later style: many of the poems are short, acerbic lyrics—and in subject matter they are deeply reflective of the flatness, vastness and desolation of Canada’s prairie provinces. The work is regional in the best, Wordsworthian, sense, always keen to give itself “a local habitation and a name.” In Solie’s case, this fidelity to the local means a preponderance of poems that take place during stultifyingly long car rides, in strip malls, in barely half-star roadside motels, in dive bars, or on those scary puddle-jumper jet flights from one unremarkable city to another, where determining the right mixture of Xanax and vial-sized booze bottles becomes a kind of survival skill. Some of these poems appear in The Living Option, but not enough of them. One really has to seek out her early Canadian collections, Short Haul Engine (2001), Modern and Normal (2005) and 2009’s magisterial Pigeon to get a complete picture of Solie’s accomplishment.[1]

The only reasonably priced copy of Short Haul Engine I could find on Amazon when I was composing this essay has a very large stamp on its inner cover that reads, “WITHDRAWN FROM THE COLLECTION / WINDSOR PUBLIC LIBRARY BUDIMIR BRANCH.” And in my library copy of Modern and Normal, a reader has used a pink highlighter pen to single out poems that she especially likes, along with handwritten notes in the margins, set down with the careful but shaky penmanship of someone more skilled with keyboards than with writing implements. Still, Ms. Highlighter Pen is some places a fairly astute critic. Here are the margin notes which accompany a characteristic early Solie poem, entitled “Nice”:
disconnected
mundane
fleeting thoughts
calm, shrug

And here is the poem itself, complete with its epigraph from Diane Arbus:

Nice

“I think I’m kind of two-faced. I’m very ingratiating. It
really annoys me. I’m just sort of a little too nice. Everything
is Oooo”   –Diane Arbus

Still dark, but just. The alarm
kicks on. A voice like a nice hairdo
squeaks People get ready
for another nice one, Low 20s,
soft breeze, ridge of high pressure
settling nicely. Songbirds swallowing, ruffling,
starting in. Does anyone curse
the winter wren, calling in Christ’s name
for one bloody minute of silence?
Of course not. They sound nice.
I pull away and he asks why I can’t
be nicer to him. Well,
I have work, I say, and wouldn’t it be nice
if someone made some money today?
Very nice, he quavers, rolling
his face to the wall. A nice face.
A nice wall. We agreed on the green
down to hue and shade right away.
That was a very nice day.

Quite an acrid little meditation, this, and not an unfamiliar one if you’re conversant with what we’ve now come to reductively call post-modern style. And Ms. Pink Highlighter Pen has unwittingly listed many of the rudiments of that style, with its discontinuity, its irony, its offhanded critiques of the vapid platitudes of media and consumerist culture (“…get ready/ for another nice one…:” “We agreed on the green/down to hue and shade right away”); its associative slipperiness. And yet, although “Nice” shows us how skillfully Solie can walk the po-mo walk, she shows just as strong an allegiance to more traditional poetic devices. There’s the Hopkinsian linguistic tour de force of “Songbirds swallowing, ruffling,/starting in,” and the Eliotic diction of “Does anyone curse the winter wren?” as well as the loose tetrameter of the poem’s key lines. Furthermore, “Nice” is quite cunningly structured, seeming to free associate in its opening, before ending with an old-fangled narrative description of domestic discord and regret. Although Solie has almost bludgeoned us with her examples of how the word “nice” has been debased in our vernacular, the poem’s final line asks to be read with pathos rather than irony. This realignment does not come without warning. The ambivalence and self-criticism of the Arbus quote has prepared us for it. Like Philip Larkin at his best, Solie here—and in many other poems as well—begins with dyspepsia, but slowly and methodically turns her bile into something bracing. The poem closes not with a calm shrug (or “calm, shrug”), but with a gesture of guarded epiphany.

Solie is, above all, a voice-driven poet. Of course, so are countless numbers of her peers. But she differs from her peers in no small measure because she has found that voice through a hybridization of a very unlikely pairing of masters. She has obviously learned much from John Ashbery, and has cited him as an influence. You see this in her abrupt shifts of tone and diction, in her use of found poetry and goofy titles (among my favorites are “Your Premiums Will Never Increase,” “Self-Portrait in a Series of Professional Evaluations,” and “When Asked Why He Was Talking To Himself, Pryrrho Replied He Was Practicing to be a Nice Fellow”); in the ways in which her whimsy often gives way to dread, and in her delight in mixing high and low culture references. This latter quality is especially appealing. On the one hand she offers us poems with titles such as “Meeting Walter Benjamin” and “Sleeping with Wittgenstein,” while on other she relentlessly samples lyrics and song titles from classic and post-punk rock, sometimes with attribution, but mostly not. There are nods to the Band, John Lee Hooker, X, REM, Nick Cave, Paul Kelly, and the Jesus and Mary Chain, among others. But Solie also understands that the effete cosmopolitanism of Ashbery doesn’t in the long run speak to her milieu. A poem such as “Medicine Hat Calgary One Way” takes places about as far from New York and the New York School as one can get, both geographically and aesthetically—the speaker is on a bus, passing “Strip malls and big box stores whose/ faces regard with solemn appreciation/the shifting congress of late model vehicles/ who attend them” and a “downtown deserted as the coda/ to a biological disaster.”

You need an entirely different model to describe this sort of landscape and the particular melancholy which attends it. And Solie has found that model in another poet she has cited in an interview as an abiding influence, and evokes in an epigraph to a section of Short Haul Engine. Regrettably, he is a figure who has fallen out of fashion—Richard Hugo, known today, if he is known at all, as the author of a classic creative writing textbook, The Triggering Town. But Hugo is among the most significant poets to have emerged from the North American West. He is also in almost every conceivable way the opposite of Ashbery: he is baldly confessional where Ashbery is self-concealing; he is largely narrative in his approach where Ashbery is militantly non-linear. And his allegiance to the Romantic tradition is a far cry from Ashbery’s Duchampian nihilism. Hugo doggedly adheres to the Wordsworthian notion that nature is a metaphor for the self—and vice versa. But Hugo is also a wounded Romantic: for Hugo, whatever natural grandeur the West once had has been despoiled. It is now a quietly dystopian realm of half-deserted mining towns, crummy roadside bars, long unvarying drives on the Interstates, and unhappy and impoverished childhoods that morph into similarly unhappy (and usually alcoholic) adulthoods. And it often seems as though Hugo is constitutionally (rather than merely aesthetically) unable to distinguish self from landscape, identity from setting. In “Degrees of Gray in Philipsburg,” his best-known poem, after offering a brutal tour of a nearly deserted mining town, Hugo makes the connection unequivocally clear: “Isn’t this your life?…../ Isn’t this defeat/ so accurate the church bell simply seems/ a pure announcement: ring and no one comes?” What saves Hugo’s work from too frequently succumbing to the maudlin—and what saves Solie’s poetry from this as well—is a kind of laconic humor that leavens even his most disconsolate efforts, offhanded observations along the lines of “George played rotten trombone/ Easters when they flew the flag.” I think it’s safe to say that Hugo’s West is strikingly similar to Solie’s West, and her move to Toronto has not significantly diminished her preoccupation with her prairie province upbringing. And her particular command of tone, of a biting wit that barely conceals a deeper distress, derives in no small part from Hugo as well. At the start of a grimly ironic Solie poem entitled “Possibility,” she and Hugo might as well be traveling in the same rental car, and checking into the same Day’s Inn:

A rented late-model car, Strewn gear. Clothes,
books, liquor, one good knife for slicing
limes. Motel the orange of an old rind. Bud green
and remaindered blue for trim. Some schemes

shouldn’t work, but do. A square room
with balcony two floors above the strip. Real
keys. A man sleeping on the bed,
or pretending to. It will be alright. It’s not

too late. We left on the sly and nothing bad
happened….

I hasten to add that Solie has been influenced by a number of other figures, though none as profoundly as Ashbery and Hugo. You can detect a debt to Symborska in her use of tone, and one to Transtromer in her approach to imagery. And—although I may be presumptive in thinking she reads, or has needed to read, a great many poets residing south of the 49th Parallel—you can also discern a smidgen of Dean Young and Tony Hoagland in her associative see-sawing, although she never succumbs to Hoagland’s curdled misanthropy.

But I should also hasten to add that no poet as good as Solie is the mere product of her influences. And I must confess that by spending so much time tracing her various aesthetic pedigrees, however interesting that investigation may have been, I’ve been derelict in what should have been my primary intention—of trying to define what makes her an original. So allow me to make a tentative attempt to reach that goal. Canadian poet Jim Johnstone, in an otherwise rather stilted assessment of Solie printed last year in Poetry, astutely praises what he calls her “carefully controlled unpredictability.” Despite her tendency to pursue quirky associative tangents, despite her wise-cracking persona, her poems possess a rich lyric and narrative precision. More importantly, they possess what Adam Zagajewski calls a “moral seriousness,” a stance that both reflects the bewildering complexity of contemporary culture and sternly condemns the ethical lassitude that arises from it. In this respect her poems are much like the work of Auden in his great period of the late 1930s: we are initially so impressed by the technical brilliance and wit of his writing that it takes some time for us to recognize the intensity of its moral outrage. And Solie, subtly but insistently, reminds us that there is plenty to be outraged about. The poems touch upon social injustice, ecological destruction, political chicanery (take a look at a merciless little poem entitled “The Prime Minister” and you can see why Hofmann likens Solie to Brecht), and our ADHD-addled addiction to the web—a realm of limitless data, factoids, and nattering, much of it pernicious and trivial. Solie is not so ideological a poet that she cares to posit solutions to these dilemmas. Her desire is instead to console us, and to allow us to draw some insights from her unflappable example. She is our cultural tour guide, fulfilling the role that Mandelstam tells us Vergil plays in The Inferno, always striving to “amend and redirect the course [of our seeing].” These are high claims, I know, but I make them without hyperbole. If you want evidence, allow me to look more closely at two fairly recent poems. One, “Life Is a Carnival,” is included in The Road in is Not the Same as the Road Out. The second, “Cave Bear,” appeared in the 2009’s Pigeon.

“Life Is a Carnival,” uses as its title another of Solie’s musical samplings—in this case she co-opts the name of a song by the Band, one with lyrics that decidedly belie the title’s apparent breeziness. Life may be a carnival, but for the Band this also means our masters are unscrupulous carnies. (My favorite lines in the song could have come from Solie’s own pen—“We’re all in the same boat ready to float off the edge of the world,” and “Hey buddy, would you like to buy a watch real cheap?”). The song is not so much about self-deception as it is about our puzzling nonplussed willingness to be conned. The poem commences innocently enough, but the subject of delusion soon becomes its controlling motif:

Dinner finished, wine in hand, in a vaguely competitive spirit
of disclosure, we trail Google Earth’s invisible pervert
through the streets of our hometowns, but find them shabbier, or grossly

contemporized, denuded of childhood’s native flora,
stuccoed or in some other way hostile
to the historical reenactments we expect of or former

settings. What sadness in the disused curling rinks, their illegal
basement bars imploding, in the seed of a Wal-Mart
sprouting in the demographic, in Street View’s perpetual noon. With pale

and bloated production values, hits of AM radio rise
to the surface of a network of social relations long obsolete. We sense
a loss of rapport. But how sweet the persistence

of angle parking!

As dramatic situations go, this one is priceless. “Dinner finished, wine in hand” leads us to suspect that the couple in the poem are readying for a tryst, or at the very least are snuggling up to a night with Netflix, but instead they tour their respective childhoods, courtesy of “Google Earth’s invisible pervert,” a characteristically inventive Solie trope—clever, but at the same time disconcerting. The couple is quickly disbursed of that quintessential human desire to see the past nostalgically. We’re offered “shabby” hometowns “denuded of childhood’s native fauna.” It’s all Wal-Marts and “disused curling rinks.” “Angle parking” may persist unchanged—but nothing else will. Yet the dose of reality which the couple is offered “in Street View’s perpetual noon” is too mediated and abstracted to register as realistic. (I’m also lead to wonder if Solie had Elizabeth Bishop as well as the Band in mind during the composition of this poem: the disconnect between a couple’s idealized wistfulness and an accurate perception of their past is examined in a fashion almost identical to that of Bishop’s “Over 2,000 Illustrations and a Complete Concordance.”) As the poem continues to unfold, the couple’s anxiety only intensifies:

Would we burn those places rather than see them
change? , or simply burn them, the sites of wreckage
from which we staggered from our formative injuries into the rest

of our lives. They cannot be consigned to the fourfold.
Though the age we were belongs to someone else. Like our old
house. Look what they’ve done to it. Who thought this would be fun?

This passage also offers us one of those shifts in diction that are a hallmark of Solie’s style. “The age we were belongs to someone else,” with its precise iambs and charged rhetoric, is immediately undercut by the vernacular (and pyrric-laden) “Who thought this would be fun?” This contrast, with its admixture of abjection and absurdity, is a perfect culmination of what the poem has been working toward all along. A lesser writer would have been tempted to end the poem here—but Solie carries on, and brilliantly. Here’s the conclusion:

A concert then. YouTube from those inconceivable days before
YouTube, an era boarded over like a bankrupt country store,
cans on its shelves, so hastily did we leave it. How beautiful

they are in their pouncey clothes, their youthful higher
registers, fullscreen, two of them dead now. Is this
eternity? Encore, applause, encore; it’s almost like being there.

This ending manages to be both cautionary and revelatory. The web is addictive in no small measure because it allows us to instantaneously dispel discomfort. A couple of clicks, and we can move from uncomfortable reckonings with our pasts to pure escapism. And it goes without saying that the web enables more monstrous segues to take place as well—were you so inclined, you could watch an Isis beheading video and immediately follow it with grainy footage of a pet doing something cute. Solie is canny enough to admit that she is as complicit in this state of affairs as any of the rest of us. But she also knows, as Pound would have said, “that what thou lovest well remains”—remains in this case through majesty of the Band during their final performance in 1976, as captured by Martin Scorsese in The Last Waltz, a film that has been rightly called the best rock documentary of all time. Never mind that this performance is being seen by a disgruntled couple peering into a tiny laptop screen, that the version of the film they are watching is likely a pirated one, that the Band are quaintly dressed in bellbottoms, flouncy shirts, and other cringe-worthy ‘70s regalia, or that two of the figures occupying the Winterland Ballroom stage on which they perform are now in their graves. (Sadly, with the death of Levon Helm, the number now stands at three.) And let’s remember that Solie is not a callow millennial who takes the clutter, benumbing over-stimulation, and maniacal web-surfing of the digital era for granted. No, to witness the abiding art of the past through a medium that the speaker is old enough to find estranging and compromised is not really “almost like being there.” But, on the other hand, it is as close to being there as we can venture. However fractured and debased, an aura persists, a rightness. It’s hard to read Solie’s closure as embittered. The poem’s final gesturer—and forgive me if I keep seeing so many overt literary homages in Solie’s work—is not so far removed from the closing of Frank O’Hara’s great elegy for Billie Holiday, “The Day Lady Died.” The couple may be sipping cheap chardonnay and watching ghostly figures on a 13-inch Mac, but the moment they experience is one in which, as O’Hara puts it, “everyone and I stopped breathing.”

If “The Last Waltz” is ultimately about what we preserve from the past, against all odds, “Cave Bear” is about extinction and the paucity of historical memory. Yet the poem also insists that nothing is so extinct or so forgotten that it cannot be exploited and commodified. (Tellingly, we eventually discover that the poem is set in Alberta, the site of those behemoth, stygian and ecologically toxic strip mines that turn tar sands into crude: the land not of drill, baby, drill, but of gouge, baby, gouge.) The poem’s opening reads like a send-up of a motivational speaker’s Power Point presentation, but then, in typical Solie fashion, everything soon gets wiggier:

The longer dead, the more expensive.
Extinction adds value.
Value appreciates.
This may demonstrate a complex cultural mechanism
but in any case, buyers get interested.
And nothing’s worth anything without the buyers.
No one knows that better than the United Mine Workers of America.

A hired team catalogued the skeleton,
took it from its cave to put on the open market.
retail bought it, flew it over to reassemble
and sell again. Imagine him
foraging low Croatian mountains in the Pleistocene.
And now he’s flying. Now propped at an aggressive posture
in the foyer of a tourist shop in the Canadian Rockies
and going for roughly forty.

One could hardly imagine a more bizarre journey than that of the skeleton from a cave floor in Eastern Europe to a high-end tourist shop in Alberta. This is cutthroat capitalism at its strangest, and a writer as erudite as Solie would likely know that the commodification of a cave bear skeleton is also a kind of spiritual profanation: mounted cave bear skulls are often found in the painted caves of Paleolithic Europe, among them Chauvet, site of the oldest cave art yet to be discovered.

The poem takes an even weirder and more surprising turn in its final stanza:

The pit extends its undivided attention.
When the gas ignited off the slant at Hillcrest
Old Level One, 93 years ago
June, they were carried out by the hundreds,
alive or dead, the bratticemen, carpenters,
timbermen, rope-riders, hoistmen,
labourers, miners, all but me, Stanley Bainbridge,
the one man never found.

Although the poem has suddenly swerved to a detailed description of a little-known historical disaster—in this case the Hillcrest, Alberta, mine explosion of 1914, which killed 189—I doubt if anyone encountering this passage for the first time would stop reading in order to do a web search on this event. As with Milton’s “On the Late Massacre in Piemont,” the impact of the description is so acute and visceral that we really don’t care about the historical circumstances—not at first, at least. Nor are we especially puzzled when Solie tells us, in the poem’s very last lines, that its speaker is one of the dead miners. As with “The Last Waltz,” Solie is unafraid to make a radical associative leap just as the poem seems ready to wind down. It is also a perfectly fitting gesture, yoking the Brechtian social satire of the opening to a specific human tragedy, and managing to link the demise the cave bear to the death of Stanley Bainbridge. The latter is an especially risky analogy. But Solie brings it off, and without willfulness or bathos.

When I read Karen Solie, I’m reminded of my first encounters with Berryman’s Dream Songs, Lowell’s Life Studies, or Vallejo’s posthumously published poetry. The books seemed unrelentingly astonishing, had a skewed but insistent sense of moral gravitas, and demanded a response that was as physical as it was intellectual. Just as importantly, the work immediately prompted a dumbfounded question—how did the writer do that? I look forward to asking that last question about Solie’s work for as long as she continues to write poetry. I see that I have now matched Michael Hofmann in extravagant comparisons, but so be it.

—David Wojahn

 

wojahn_david-photo-5-2013

David Wojahn‘s ninth collection of poetry FOR THE SCRIBE, will be issued by The University of Pittsburgh Press in 2017. His FROM THE VALLEY OF MAKING; ESSAYS ON CONTEMPORARY POETRY was recently published by the University of Michigan Press. He teaches at Virginia Commonwealth University and in the MFA in Writing Program of Vermont College of Fine Arts.”

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Footnotes    (↵ returns to text)

  1. Editor’s Note: Solie’s first two collections Short Haul Engine (2001) and Modern and Normal (2005) have always been available since their publication and available through Brick Books and through Amazon – Short Haul Engine is in its 6th printing while Modern and Normal in its 8th printing.
May 082016
 

MetanoiaClick on the image to go to the publisher’s page.

I am a little slow on this. Putting the magazine out is one thing. But then there is keeping up with the GOOD NEWS.

Sharon McCartney is probably the poet (along with Sydney Lea) we have  published most often in NC. McCartney poems published here were picked for Best Canadian Poetry in both 2012 and 2013. Then in November, 2014, we published a long poetic sequence called Metanoia, which has just now (April) been turned into a gorgeous, small book and published by Biblioasis.

Here’s a teaser from the Biblioasis book description:

T.S. Eliot and Tennessee Ernie Ford, Buddha and Jesus, Jung and Heidegger. Love, solitude, obliteration, the ocean and a sad neighbor who feeds pigeons. Metanoia is an aphoristically narrative poem that engages all of these, a book-length meditation on transformation, enlightenment, on opening one’s eyes. McCartney’s work evinces that journey, the junket into the self.

PRAISE FOR METANOIA

“So much is revealed in so few words … It’s a book that feels light, but its delivery is heavy, and worthy of contemplation … McCartney is merciless in exposing vulnerability, but also builds an intimacy integral to Metanoia’s achievement.”—Quill & Quire, starred review

The book includes a lovely acknowledgement:

Metanoia originally appeared, in a slightly different version, in the November 2014 issue of Numéro Cinq. Sincere thanks to Douglas Glover and everyone at Numéro Cinq.

A couple of informal observations:

  1. This isn’t the first book we’ve published in the magazine. We just did Sam Savage’s Collected Poems last month. We also published a complete novel by Robert Day as a serial. And Pat Keane’s essay (also last month) is essentially a book-length piece.
  2. Sharon McCartney is something else, a poet with a personal vision who, in work after work, digs deeper into the exposed tissue of her own soul.
  3. The best news of all: We have more Sharon McCartney poems coming in the June issue.

dg

May 072016
 
Ingrid Ruthig (photo: Iwona Dufaj)

Ingrid Ruthig (photo: Iwona Dufaj)

Layout 1

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Sprung

Crow goes off, a gravelgullet.
An exit wound beyond the pane.
What day? Fuck fuckmonday.
Fivefifteen a.m. Wrong time.
Unholy hour. Rollover, ah—
Squawksquawk! Notetoself:
fellthatdamnedtree where crow
now Everests exhilarated as
Hillary. Here, radio goes off.
Gawd. Pop song’s off. Sloppy,
not in time or tune. My ears.
Brain’s gone off. Altered state.
Not quite sprung. Ungodly March.
Note to Nature: keep your sex
to a dull roar. SQUAWK! Right.
No sleep now. Stare at where
roof apparently is. Conjure
a silent reveal of stars. Far off.

.

Pangnirtung Arrivals

Never spied a white pine up here.
But time was when monster-gods
appeared to ancestors, real as fact,
to restock the story banks with fear.

Grandfathers spoke of ghostmen
with snow-bitten skin, with eyes
of a queer light, and their vessels
lodged tight in the hardfloe.

Visions now, for those not flown
to less-cloistered lives, are as strange.
Red char’s turned white, meltwater
floods out the permafrost bridge,

while north-straying jays and robins
telltale an arrival, and a departure.
Another shard of icecap cracks,
tips and, now loose, strays south

to shrink from view, while I try to
imagine how this story might end –
pines with a future here, seeding new
tales to relay beneath the Aurora sphere.

.

That Summer in Paris

the streets sweltered, people
prostrated nude on the floor,
prayed for release from the heat
that seized them, off guard –
privacy thrown to an awol wind
they cast the nets of windows, doors
to snag even gossip of a breeze
in Haussmann’s suffocating dream
instead had to listen to each other
bicker, suck ice chips, dissolve
like desire in hell-fired beds,
sweat, shrivel in misery,
speak of death on the phone –
given no reprieve they listened
and listened to limestone walls
heat-seek air, pavement yield,
potted plants sag, Gallic tempers
on mercurial rise, the Seine drag
its sluggish wake to the sea –
listened till they could no longer
hear a final gasp mimic a sigh
or imagine the hush of a river
slipping unnoticed into ocean.

.

Skin

This sombre supplicant to the whims
of living, age, genetics, and weather,

this thin fortress, the stronghold of I,
is a tension network of sensation.

On ossified scaffold, it’s a flexible
wrapping we’re packaged inside.

A billboard, too, it instills, as ads do,
desire, a bid for a genome meet-and-greet.

At night, shifting across sleep’s dunes,
with luck it’s an oasis from strain.

Shield. Splash page. A porous balloon
loosed to time’s slow deflation, it sinks

to earth. In the border and creases of
its map, hints of where we’ve been appear,

and of where from here we might still go,
charting the trip to Terra incognita.

.

Southbound Out

Itching to hitch a ride at Kaladar,
the old guy’s all gums and grin –
a portrait no one’s thought to paint.
He hovers at the road’s shoulder,
thumb out, dusty, trying again.
The cardinal splash of his cap
and suspenders flag his intentions
as sure as a sign would, and south
is the only direction on his map.
He blind-eyes the campers
who tail-wind the opposite way.
Leans instead into their turbulence,
a middle distance he’s set sight on,
away from blueberries, marshes,
the isolating fuss of visitors and
a fickleness that tricks them
into thinking they are at one with
this blasted nature. He’s moving on
before the hibernation sets in up here,
where earth’s a skim coat on rock,
roots creep varicose near the surface,
and shadows in a slippage
of daylight will soon enough
recoil and disappear.

—Ingrid Ruthig

Excerpted with permission from This Being by Ingrid Ruthig © 2016, published by Fitzhenry & Whiteside.

.

Ingrid Ruthig earned a Bachelor of Architecture at the University of Toronto in the 1980s and practised the profession for more than a decade. Her work as a writer, editor, and artist (read the Numéro Cinq interview) has appeared widely, with poems published in The Best Canadian Poetry 2012, The Malahat Review, Descant, and many other publications across Canada and abroad. She is the author of the poem sequence & artist’s book Slipstream, the chapbook Synesthete II, and editor of The Essential Anne Wilkinson, Richard Outram: Essays on His Works, and a forthcoming volume on the work of David Helwig. Her poetry collection This Being was published by Fitzhenry & Whiteside in March 2016. Ingrid lives near Toronto.

..

.

May 072016
 
FullSizeRender-8

Photo by Jill Jennings

Eoin McNamee is well regarded as a master of noir literary fiction. Fictionalising real life violent events, his language is stark and brooding but ultimately complex and illuminating – shedding light on the human capacity to conspire with corruption and violent wrong-doing. His Blue Trilogy, focused around Lancelot Curran (a Northern Irish judge, attorney general and parliamentarian), being considered one of his best works: “Eoin McNamee may well be one of the finest writers at work anywhere; sentence for sentence, he is superb – the Blue trilogy is a poised, artistic achievement of compelling menace” – Eileen Battersby (Literary correspondent, The Irish Times). The Blue Tango (2001) was nominated for The Booker Prize and Blue Is the Night won the 2015 Kerry Group Irish Novel of the Year.

The extract below is from his forthcoming novel with Faber and Faber, The Vogue. As Eoin writes, “The finding of a woman’s body in an illegal dump on a disused runway uncovers other wrongs. New lies compound old untruths that have held sway since GI’s were billeted on the windblown aerodrome. Darkness descends on a small town.”

—Gerard Beirne

.
Cranfield Aerodrome, November 16th, 2014

The sand pit had been opened. A yellow excavator stood by the side of the opening, its bucket raised. Swags of unfurled bandage hung from the bucket tangs, filthy and dripping. An articulated Scania with a covered trailer was backed up to the opening in the ground, its hydraulic rams half-extended. A fluorescent works light hung on jack chain from a corroded derrick. Three men rendered into silhouettes stood between the pit and the light. They stood without moving, their heads bent towards the opening at their feet, functionaries to the merciless night.

The bottom of the pit was half-filled with water. Syringes. Wound dressings rank with old blood and human tissue. Rusted scalpel blades and theatre gowns bundled and discarded. Used drug vials and transfusion sacs floated in the water. A woman’s skeletal remains clad in vile rags lay half-way up the pit wall as though she had crawled from it, matter adhering to her hair and clothes.As though she had looked for mercy and found there none. Across the sandy fen to the north of the darkened aerodrome chapel bells rang for the ascension.

.

One

The Negro

17th January, 1945, Shepton Mallet Prison, Sussex.

The negro sits without moving. In the execution shed the apparatus is being made ready.The hood. The rope. The pinnings. Coir matting has been placed on the floor and against the walls to deaden sound but the prisoners can hear the hammering and tool work.

In his 1956 autobiography the hangman Albert Pierrepoint states his dislike for the American hanging method. Pierrepoint likes to have his prisoner sitting with his back to the door so that he can be taken by surprise and pinioned. Pierrepoint says he can get the prisoner from the cell to the drop in ninety seconds. He prides himself on it. The Americans insist that the prisoner wear full dress uniform with all marks of rank and insignia removed. The charges and sentence must be read to the condemned man at the foot of the scaffold. The Americans wanted the execution to be procedural, ornate. The prisoner must be reminded of his guilt. The executioners must be reminded of their duty. They imagine the antechamber of death to be a place of drama, laconic asides, last minute admissions.

‘Pierrepoint won’t sneak up on me,’ Martinez said, ‘I’m going out the American way.’

Martinez had been sentenced to death in August for the murder of a military policeman.

‘Kind of justice I like,’ Martinez said, ‘court martial took a day. No appeal. Straight and to the point. I got no complaints. Except the bastard Redcap had it coming.’

Martinez said he was going to stand facing the door of the death cell so that Pierrepoint could not take him by surprise.

‘Full dress kit. I’ll be standing to attention. Walk out of there like a man.’

There are other Americans in the cells. The prison has been under United States military jurisdiction since 1942. The men call to each other softly from the windows. They are not normally permitted to communicate but on the eve of an execution the Guards are lenient.

‘Hooper,’ Davis said, ‘you there?’

‘I’m here.’

‘I seen Pierrepoint go into the Governors house when they brought me down.’

‘What’d he look like?’

‘Ordinary man. Owns a pub in Oldham. He hanged one of his own customers, gentleman by the name of Corbitt. Corbitt killed his girlfriend and wrote Whore on her forehead.’

‘Man deserved to hang then.’

Hooper had been shackled to Davis in the back of the Utility truck that brought them to the prison. Davis was from Chicago, a thin, talkative man. He said he was doubled-jointed. He could slip his hands out of the cuffs any time he wanted, he said. All you had to do was give the word, They passed through Bristol at dead of night, the town under blackout. Driving through the Mendip hills. Stubble fields, gold and red as though the moonlight burned them. Passing through the towns of Clifton and Winterbourne. Passing through Evercreech and Frome.

‘Where you from, son?’ Davis said,

‘Near New York. Oxford, New Jersey.’

‘Your first time out of the States?’

‘First time out of Oxford, New Jersey.’

Davis spat over the tailgate of the truck.

‘And dearly you wish you had never left it.’

‘You got that right.’

‘Likely you won’t be going any further than Shepton Mallet. Last stop on the line.’

The negro asked where they were and the MP escort said they were close to Glastonbury. Davis told him about Glastonbury tor. He said that ley lines ran under the front gate of Shepton Mallet.

‘What are ley lines?

‘Lines that connect places of power. The ancient people knew them.’

‘Boy is all caught up by the the ancient stuff.’ The MP said.

‘Caught up by it til he’s caught up by the neck hisself.’

‘Reckon the negro here believes in that voodoo stuff?’ Davis said.

‘Voodoo’s from Haiti,’ Hooper said.

‘Same difference. Nothing godly in any of it.’

The Negro says nothing. There are demons out there. He seen it himself. The devourer of souls.

If he stood on his bed the negro could see the execution shed. The execution shed was a windowless red brick two story extension attached to the limestone wall of the old prison. An internal door opened from the main body of the prison into the execution chamber. The trapdoor opened onto a downstairs room with an external door. The external door faced the steel door of the morgue in the next building. October. Early frost on the ground at first light. Fifty minutes after dawn the ground floor door opened. Two men carried Martinez body on a stretcher like something they had stolen. He could hear the sound of their boots on the loose clinker on the ground as though they struck iron there. His grandmother had told stories of graves opened by night and bodies thieved. She said the darkness claimed its own. The two men laboured under their burden.

The negro turned away from the window and lay down on his bed. He closed his eyes. He had left Oxford, New Jersey, two years earlier. He had come into New York by bus through the Jersey turnpike. The suburban city lost in dusk, snow flurries blowing through the grid of clapboard houses. America looking lost in a wintry dream of itself. He could see the towers of Manhatten in the distance but he was more aware of the cracked road surface, rubbish piled in the freeway margins, caught in broken chain-link fences. He had expected more. A city that was striven for, epic, rising out of the historic swamplands. Passing road signs. Newark. Idlewild. The lost townships.

He stayed in a Negro hotel on the margins of the wholesale district. There were braziers burning on the street. The night was loud with stoop-talk, negroid gutterals. The streets smelt of rotting fruit. Crates of vegetables piled high on the sidewalk. He looked into warehouses and stores, the massive girdered interiors, feeling that he was getting a grasp on the inner matter of the city, the iron-joisted substance of it. It was cold and he saw steam rising from the pavement grilles. It surprised him again that the city was gritty, earthbound. On a street corner a prostitute offered him sexual favours. She was a remnant of the night before, a carnal leftover, the rouged leavings of the night.

.

Two

The Brethern

Cranfield Aerodrome, Kilkeel, 16th November, 2014

Early morning. Gray skies. You could see a long way across the aerodrome. The block plant. The remnants of some spent industry. Overworked resources, seeping pollutants exhausted. Machinery dented and rusted. A dumper truck with flat tyres. Machine parts leaked diesel sludge onto the concrete apron. You started to wonder what had led to this abandonment. What catastrophe had come to pass.

Cole imagined the malign traffic that had flowed through this yard. Customs, police, tax inspectors. The administrative weather set at steady rain. Cole looked in the largest shed. A door creaked somewhere at the back, the noise amplified in the girdered ceiling. The place reeked of secret histories, illicit commerce.

He got out of the car. A man was waiting for him under the sand hopper. An elderly man in a white shirt with blood spots on the collar. He looked like a lone survivalist, edgy, spooked. He kept looking past Cole. As if he knew what was out there. As if he knew it would come again.

‘John Uel?’

‘You’re from the Ministry,’ John Uel said, ‘Sergeant Corrigan said you were coming.’

‘James Cole from the MOD.’

‘There was never any luck in this land,’ John Uel said.

‘No luck for this girl anyhow.’

‘Any word of her identity?’

‘No.’

‘Nor any word how long shes been in the ground. The sand will hold you down there until its good and ready to let you go.’

‘How long has the illegal dumping been going on?’

‘I know nothing about no dumping.’

‘They had to cross your land to get to it.’

‘That land is nobodies.’

‘It can’t belong to nobody.’

‘Then maybe it’s the devils.’

‘My information is that this portion of it belongs to the MOD.’

‘That’s what I told the polic..’

‘They’ll want to talk to you.’

‘They already talked.’

‘They’ll want a formal statement.’

‘I have nothing for them.’

‘People always have something.’

‘And what do you have, Mr Ministry of Defence?’

‘I have the right to inspect all documentation in relation to the freehold, leasehold, transfers and otherwise.’

‘You think one of yours done her. A soldier? Is that why you’re here?’

‘We don’t know what happened to her.’

‘The sands not like right ground.’

‘What do you mean?’

‘The sands shift. Things travel down there. You found her here doesn’t mean she was put in the ground here.’

Cole looked out over the tailings pond beside the block yard. A crust of dried sand on top and underneath the liquid tonnage. Deep tectonic movement. The land shifting beneath your feet.

‘The police will have questions for you. Did you not see lights down there? Who owns the excavator? Those kind of questions.’

‘They can question away. I have no answers for them.She should have stayed down there.’

‘I don’t think she had a choice in the matter.’

‘She should have stayed down there until she was called.’

‘Called?’

‘On the day of resurrection.’

A woman watched from the window of the Portakabin. Cole trying to make out her face behind the window streaked with wet sand and blown concrete dust. Dark hair, the features unresolved.

‘Who’s that?’

‘She does the books.’

‘Do you have land maps here, Mr Uel, deeds, anything like that?’

‘I won’t do your job for you Cole.’

‘I can just look them up in the land registry.’

‘Then you better do that.’

‘I need to find Sergeant Corrigan.’

‘Try the Legion at the harbour. Its the kind of place you might find a sporting man.’

.

British Legion, Kilkeel Harbour, 16th November 2014

There was racing on the television with the sound turned down, jockeys in muted silk turning into the home straight. Kempton Park, Chepstow. Labouring towards the line in rain-blown provincial race tracks. Rain blowing against the Legion windows . The girl behind the bar was Latvian, product of some gritty baltic seaport. Her small dissatisfied-looking mouth turned down at the corners suggested a mean-spirited sensuality.

‘I was told Sergeant Corrigan was here?’ She shook her head. Cole looked at the other drinkers but they kept their heads down. There was a bar room atmosphere of low-key duplicity and letting things go for the general good. Cole lifted a copy of the Racing Post, set himself to studying the form. The door opened behind him and he saw the bar girl look up as the door opened. Corrigan. The policeman was mid-fifties, his face covered in old acne scars like a mask of affliction.

‘John Cole. Ministry of Defence. We talked on the phone.’

‘I hear tell you’re looking into the body.’

‘You hear well. The body and the dumping.’

‘Whats your interest?’

‘Two crimes on MOD land.’

‘There’s no evidence so far that the girl was the victim of a crime. Can you confirm that the land belongs to the MOD?’

‘I intend to.’

‘Your car was at John Uel’s this morning.’

‘It was. Has the body been identified?’

‘Female between ages of twelve and twenty. Doesn’t fit any listed missing person. We’re looking at historic.’

‘Where is she?’

‘Who?’

‘The dead girl.’

‘Where do they put dead people?’

‘The morgue.’

‘Then that’s where she is.’

‘Is it open?’

‘Only if you’re dead.’

‘Who’s in charge?’

The pathologist is Morgan. If I was you I’d stay away from John Uel.’

‘He looks like a religious man.’

‘The good-living are always the worst. An autopsy is scheduled for next Monday.’

‘Why wait so long?’

‘She’s been down there long enough. She’ll wait awhile. Morgan has samples took. He’ll wait for them to come back from the lab. He wants to establish how long she’s been in the ground before he uses the knife on her.’
Shes been down there long enough. The girl lost in the strata, the deep undertow of the sand.

‘What about the lorries doing the dumping?’

‘They’ve been coming in on the Ro-Ro ferry, going straight back out again. There’s no way to track them down.’

‘Somebody must have seen them.’

‘Theres a widow lives on her own out the Limekiln road,’ Corrigan said. ‘She made a complaint about lorries at night. Artics. Putting the hammer down. No lights. No-one paid her any heed.’

The Limekiln road. No place for a widow to live on her own. No place for anyone to live on their own. The road running along the seas edge, the salt water littoral.At night the east wind rattles the dry stems in the reed beds. In the dark there is the call of seabirds from the mudflats, eerie pipings carried across the shifting channels and dark tide races. Brackish drains carry run-off into the shallows. Dead alder trees on the verges. People come out from the town to dump on the scrublands.

‘We thought she was dreaming,’ Corrigan said.

‘I’ll take you up to the hospital ,’ Corrigan said. ‘You can view the body, if that’s want you want.’

Cole followed Corrigan out onto the quay. A north-east wind blew up the boat channel. Hanks of net twine blew through the harbour margins, caught on discarded trawl cable. There were scattered fish scales, marine diesel spills on the harbour margins. A white box van was parked at the inner basin. A group of women stood in the lee of the ice plant. They each held a leatherbound hymnal. Men in black suits took speakers dressed in black cloth from the rear of the van and set them on tripods. A portable harmonium was handed over the wall and placed between the speakers. The men moved deliberately. They were elect. A girl stood apart from the women with her back to the outer basin. She wore a floral skirt which touched the ground. She had on a white cap. Her hair was gathered under it and fell to her waist.

The women wore long dresses buttoned to the throat. They wore no make-up. They seemed to have come from a latter century, pilgrim wives. An elder sat down to the harmonium.

They reached Corrigan’s car. The voices of the women came across the harbour. This was the hymnal of the town, the voices cadenced, God-haunted. Rural sects who practiced in corrugated gospel halls. The girl stood with the other women, her back half-turned. The oldest man motioned to her to step closer. His eyes rested on her hair loose under her cap, unchaste livery of the fallen.

.

Kilkeel Hospital, 16th November, 2014

The hospital stood on the high ground above the river. Built on the site of the Workhouse. Ungraven stone markers beneath the scrub grass. Coffins brought in a handcart down a sunken pathway after dark. The grave opened by lamplight. A paupers moon hidden by the scrub pines growing on the slope. The bottom of the coffin was bracketed with brass hinges screwed to the coffin base plate so that it could be re-used. Other inmates filled in the grave. The corpses stripped naked so that the clothes could be re-used. All surrendered before they entered the workhouse. They died of typhoid, pneumonia, tuberculosis. What prayers the dead got were lost in the boreal darkness.

The hospital building was closed save for the morgue. Wartime Nissen huts in the hospital grounds housed the elderly and infirm of the town and its hinterland. Cole could see residents in wing back chairs in the closed-in glass porch. Bone-thin, palsied.

‘They act like bloody royalty, Corrigan said, ‘and them the leavings of the town.’

‘You know them?’

‘Put names to every one of them, seed breed and generation.

They think they’re on the brink of salvation but they’re not. My own fathers in it.’

Cole looked at him. ‘I should visit more often.’

The old people seemed imperious to Cole, a peerage of their kind. One of them lifted a hand to the car.

‘After the war the hospital was all sorts. A pharmacy. A children’s home. Then they parked the geriatrics in it.’

They entered the hospital building by a side door. Part of the plaster had fallen away from the inside wall to show the granite rubble construction behind.

The morgue was in the basement. Corrigan led Cole down a stairwell. He feels himself part of the workhouse complex. He can feel himself deep in the ground. He can feel its fastness all around him, the earthhold. The basement corridors stored the hospital files. Dented grey filing cabinets against the wall. Medical records. Psychiatric records. The death-trove of the town.

Corrigan unlocked the morgue door. Cole saw chipped tiling to waist level. Above that the walls were distempered, the paint peeling and flaked, the ground-damp seeping upwards. There was rubber matting on the floor worn through to the concrete in places. Theatre lights from long ago were switched on over the autopsy bench. The fittings were stiff and tarnished and Corrigan adjusted the nearest so that its brass pivot squealed.

Corrigan opened the cadaver drawer. The body was chilled but Cole could smell the ground from which it had been taken. The stench of the opened pit.

‘Do you want to come back when she’s opened up? She’s well preserved. Pathologist says she might have found herself in a pool of some preservative liquid. They’re a fucker to get rid of, preservatives. You can’t just tip them down the drain.’

‘Did you test the ground water?’

‘Who would pay for that for some long-dead girl?’

‘You have a point. Where is the clothing?’

‘Over there. I bagged it.’

Cole crossed the room to the stainless steel shelving units. There were jars and stainless steel dishes on the shelves. You thought of them filled with viscera, the organs stored for journey as they might be for a pharaoh or his queen. He did not look again at what lay in the cadaver drawer. The figure seemed wizened and hag-like, come to him from some dream of corruption and he wished not to know her.

Corrigan took sterile gloves from a clinical pack. He used scissors to cut the cable tie on the evidence bag. He laid the clothing on the sterile surface, the odour of ground toxins rising from the fabrics. The material starting to stiffen. He placed the clothes as she would have worn them, stained beyond recognition and shrunken by long immersion to a child’s proportions.

‘A child?’

‘The size on the garment label. It’s a twelve. Stockings, suspender belt. Shoes size five. No child was wearing this outfit.’

‘Teenager maybe.’

Cole leaned over the body.

‘Odour of formalin.’

‘What’s that?’

‘Dilute formaldehyde. It may be that the formalin was part of the hospital waste.’

‘Formalin?’

‘Its used as a preservative and bactericide. Histology labs used it for keeping organ samples. Undertakers keep gallon flagons.’

‘If some of that has been dumped on top of her the body would keep.’

‘Complicates the autopsy process.’

‘How soon will you know how long the body has been there?’

‘I don’t know. John Uel is anxious to know as well.’

‘He owns part of the land. Wants us to own the rest of it. Lets him off the hook.’

‘It lets him off the hook with regard to having a recent corpse on his rotten property. Doesn’t absolve him of anything else.’

‘John Uel will have figured the odds. You can’t be liable for waste dumped on somebody else’s land.’

‘What about a body?’

‘That might be a different matter.’

The smell of formalin getting stronger now, the chemical stink working its way into the neural pathways. Cole felt as if cold nineteen year old hands were dragging him down into some elaborate devising of the underworld.

.

The Hollow, Kilkeel, 10th December, 2015

Cole parked in the Hollow behind the Kilmorey Hotel. The river in flood. Debris on the margins. Water in choked drains, the sucking darkness. The far bank in blackness. Slum clearances here thirty years ago, the site levelled. Children with diptheria. His room was at the rear of the building, looking out over the hollow and beyond that the roofs of the town, the streetlights glowing like naptha, giving way to the shadows of old entryways, back yards, the towns unslept gothic. A rain squall blown in from the sea darkened the town.

He walked across the car park. Two girls were outside the off licence. They wore coloured blouses in pink and blue which stood out like damask in the stark yard. Two boys stood in the lee of the dance hall gable shoulders hunched against the driven blast. Cole wondered what they waited on for there seemed no prospect of anything other than more rain, more night.

—Eoin McNamee

.
mcnamee, eoin

Eoin McNamee has written seventeen novels, including Resurrection Man and The Ultras. His latest novel is Blue Is The Night, the third book of the Blue Trilogy. He lives in Co Sligo.

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.

May 052016
 

Denise LowDenise Low

 

Watermarks
xxxxxxx(Kenneth Lee Irby, 30 July 2015)

You no longer “care” for anything to eat
except sweet brandy

xxxxxxA last bottle,
xxxxxxyes, I bought it,
xxxxxxand I’m not sorry

You sip
slumped sideways on the sofa
xxxxxxbracket of spine tilting
fever-red cheeks
xxxxxxthe marionette lines barely
xxxxxxXXXxxholding you up

long-sleeved denim shirt
xxxxxxover skin so thin
blue veins shine
xxxxxxXXXxxbones jut the collar

xxxxxxsoon will come the morphine angel

*

Like a fool I bring
Japanese fairy tales—
xxxxxxmy father’s book
xxxxxxrich slick mildewy paper

Your overgrown thumbnail slits pages open

Through your hands tumble bright
xxxxxxpersimmons
xxxxxxred foxes
xxxxxxyellow-lantern moons

You tell me your mother’s last words
xxxxxx“Are the plants watered?”

And you breathe to me,
yes the breath labored,
xxxxxx“This is, as they say, a last gasp”

*

A round moon rises overhead
Scorpio-red.

The bloody mud knot of your heart
xxxxxxloosens jagged dithyrambs.

For good-bye I lay hands
on your blanket-swaddled chest
xxxxxxfeel it, that swell
measure unspindling

§

Eskimo Curlew, 1891

xxxxxxxAfter a photograph by Terry Evans
xxxxxxx“I ask the curlew for cinnamon-barred feathers”

“Eskimo Curlew”
crossed legs Arctic blue, bound.

“Field Columbian Museum.
Shot over Emporia, Kansas.”

Tender down molds
the throat. The sharp-spear

beak pierces vanilla-white
wood-fiber backdrop.

A wisp of shadow
half-moons the body:

curve of lunar eclipse, folded wing,
curve of expired breath.

Past tense before I was born:
“They nested in Arctic tundra,”

says my dead father’s
Field Guide to the Birds,

the voice: “an oft repeated, soft,
mellow, though clear whistle”

or “the wind whistling
through a ship’s rigging.”

“Flocks migrated through the Plains”
when he was a young man holding

his Peterson’s and sighting “under-
wings conspicuously cinnamon buff.”

§

Labels from The Field Museum:  Cardinals

xxxxxxxxAfter photographs by Terry Evans

9 July 1881
xxxxxBush on this day: collector
xxxxxat Blue Island, Cook Co.
xxxxx
one female buff-
xxxxxand tangerine-feathered

December 11, 1883
xxxxxwithin the specimen drawer
xxxxxone iridescent crimson male
xxxxx
neck twisted to uncertain sight

September 16, 1893
xxxxx
Museum founded
xxxxx
to house collections assembled

25 February 1907
xxxxx
Mound City, Ill.
xxxxx
♀ female still plump
xxxxxpeach streaks across sky-gray breast

Unmarked date:
xxxxx
Wright at Dane Co., Ill.
xxxxx
another ♂ male
xxxxxwith the finest head crest

Undated
xxxxx
♀ female fell from nest
xxxxx
at Orrington and Garrett Ave.:
xxxxx
desiccated, ashy brown,
xxxxxa solid ghost collapsed

December 27, 1913
xxxxx
♂ male caught at Salamonia, Indiana
xxxxx
now a pressed faded feather rose

Indecipherable dates:
xxxxx
47 Cardinalis cardinalis specimens
xxxxxeyes sightless behind
xxxxxwhite-cotton eye sockets

July 2002
xxxxx“The loss of these living
xxxxx
things is tempered
xxxxx
by a quiet tenderness”

—Denise Low

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Denise Low, 2nd Kansas Poet Laureate, is award-winning author of 25 books of prose and poetry, including The Turtle’s Beating Heart: One Family’s Story of Delaware Survival (forthcoming from Univesity of Nebraska Press), Jackalope (short fiction, Red Mountain Press); Mélange Block (poetry, Red Mountain Press); Ghost Stories (Woodley Press, a Ks. Notable Book; The Circle -Best Native American Books); and Natural Theologies: Essays (The Backwaters Press). Low is past board president of the Associated Writers and Writing Programs. She blogs, reviews, and co-publishes Mammoth Publications. She teaches professional workshops nationally as well as classes for Baker University’s School of Professional and Graduate Studies. Her MFA is from Wichita State University and PhD is from the University of Kansas. She has British Isles, German, Delaware (Lenape/Munsee), and Cherokee heritage.

http://www.poetryfoundation.org/bio/denise-low

http://deniselow.blogspot.com

 

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May 032016
 

 

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Leaving Eden

I have been
The virgin you were promised
for good behaviour,
And a sizeable body count.
But I have left Eden (some of us do get out)
Beyond unwanted pregnancies, the Sharia police,
I have finally found,
My own little patch of apple grass. The eunuchs sing
Of ancient harems and cultural constructs, while I,
Who have traded her hijab for a scandal, climax
thinking of god.

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Contagion

We’ve embraced the silence of the Third World,
And multiply viciously in cardboard settlements.
Our kind is unappeasable, we spread out
Like contagion, a flurry of headscarves
And religion. We’re quite popular,
And desperate for attention, you see,
There are mouths to feed, we are, after all,
Your Other. We’re necessary.
Slowly, quite unnoticed, we’ll take over the world.
A race of Frankenstein monsters,
We’ve already begun.

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To Pakistan

prologue

I have wept on the cobbled floors of Lahore,
looking for the Pakistani Dream.
Furrowing through an endless trail of paper
in dimly-lit halls of alien embassies.
(My kingdom for a way out, if you please.)
Our history for a better accent
of a language we do not speak.
In plastic whorehouses, I sing
of foreign invasions, exploding lilacs,
unwanted refugees. In the arms of a dying race
peddling religion and pornography
(Whatever works, you see)
We laugh over the sound of children
coupling, drawing graffiti
of a generation’s collective unease
by the canal where the city ends
into more dust and traffic police.

We have moved on from visionaries, and opium,
to a militant sense of clarity.
Welcome to the land of the ideologically free!
Our beautiful postcoloniality.

epilogue

With strawberry flesh in my teeth,
I smile up to the sky.
We have learnt to crane our necks
above the stink and the plastic,
to where Baba’s finger
draws silver triangles in the dark.
That’s the North Star, he says,
and we choose together
different cobbled floors
brighter neon signs.
We choose the possibility, Baba and I.
Our necks growing longer by the minute,
till we reach Heaven,
or fall off from the edge of the world,
or break and scatter
flushed off in the entrails of Hell,
with wailing children, and senile grandmothers.
The muezzin shrieks and the stars go out
in reverence to dead gods and false idols.
Baba tells me a story as we clasp hands under the breaking firmament,
and the weight of the dead we inherit.
We are the Magi of a brave new world, he tells me,
laced with rubber bullets and selfie sticks,
the looming towers of the metropolis, our only gifts
to the blood-soaked child, washed on seashores,
exploding endlessly, perpetually, into a sticky mass of blood and hair.
(We are ever so sorry!)
Yet we are redeemed as we stand, naked and sweaty,
looking for the North Star, for

we have learnt, after all, my dear
to crane our necks, beautifully
above the rot and the fish smell
of sins and human longing.
that might be as utopian as it gets,
for the lot of us.
The Magi stranded on a colossal waste,
chasing the sound of gunfire, the trails
of arms and outstretched fingers
pointing to an unreachable beyond.

—Momina Masood

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Momina Masood is a literature graduate whose work has previously appeared in 3:AM Magazine, The Missing Slate, The Bombay Review and The Bombay Literary Magazine. She is 23, lives in Pakistan, and writes for the absolute necessity of it.

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May 022016
 

gabriel-josipoviciGabriel Josipovici

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1

My brother!

I wait, holding my breath, for him to find me. But for the moment the flat is silent.

So silent that high up though we are the sounds of the street drift up to me.

Where is he? What is he up to?

I strain to hear if he is on the move, in search of me.

Patience. I always tell myself I must have patience in situations like these. After all, it’s not as if we have something else to do when this is over. We have all day and every day. So what are ten minutes here or there? Or an hour. Or even two.

Was that a sound? I stiffen in my corner between the wardrobe and the wall. I listen, but everything is still. Then I hear it again. A board has creaked. My brother is approaching.

But then the silence returns.

How long should I wait? For it sometimes happens that he forgets that we are playing and lies down somewhere and falls asleep. Or opens the fridge and makes himself a sandwich, then sits down with a magazine to eat it. And when I finally come across him and ask him what has happened he looks at me blankly. Don’t you remember? I say. We were playing. You were supposed to find me.

That was yesterday, he says.

No, I say. It was now. I went to hide and you were supposed to find me.

That was yesterday, he says again, munching his sandwich, gazing into my face.

It may have been yesterday, I concede, but it was also now.

Clearly, though, it has ceased to interest him. He’s like that, my brother. One minute pestering me to play with him, the next indifferent. He seems to inhabit many different worlds, all with complete equanimity, and each one as though it were the only one, but they are hermetically sealed off the one from the other and often in total contradiction the one to the other. Thus sometimes he will stand for hours behind some piece of furniture, or at the window. Nothing will budge him. Not the mention of food or  a walk or even a game, And then he will run through the flat as though pursued by a demon, screaming and whimpering and begging whatever he feels to be pursuing him to desist, to call off the chase. At first I was afraid the neighbours would hear and either come and complain or call the police. But when neither of these things happened I realised that the walls, floors and ceilings of these old apartments are marvellously soundproof and that we could make as much noise as we wanted and no-one would hear.

Then he will beg me to take him out and in the street he will either walk alongside me, nodding occasionally as I speak, like any respectable citizen, or run round me like a dog, dart up alleys or into half-open doors, so that I have to chase him and grab him and then hold him tightly until I sense that the fit of restlessness has passed.

He does not seem aware of these sudden changes of mood, inhabits, as I say, each of them as though that was where he had always lived. Sometimes he will eat up everything that is in the fridge and at other times go for days without food. At first I thought this would make him ill and I tried to remonstrate with him and force him either to desist from eating or, on the contrary, to eat. But he is as stubborn as he is strong, and anyway I soon realised that he must also have a remarkable constitution, for nothing seems to upset his stomach, neither excessive eating nor quasi-starvation.

I look at my watch. Surely it is time to go and look for him myself. If he was still playing he would have found me long ago, Yet I hesitate, knowing how upset he gets if I don’t play ‘properly’, as he puts it, and come looking for him without having given him time to search for me himself. On the other hand I don’t want to go on standing in my corner between the wardrobe and the wall if he has forgotten that we are meant to be playing and is lying down on one of the beds and sleeping, or flicking through one of the innumerable magazines that lie scattered about the flat where, barely opened, he has left them. If I come upon him like that and challenge him, reminding him that we had agreed to play and that I had spent the last hour hiding under one of the beds or squeezed behind the sacks of rotting potatoes in the pantry, he pretends he has not heard and goes on sleeping or turning over the pages of his book. I think he does not understand what I am saying. He turns his face towards me and looks at me, not as one looks at a person but rather as one scans the sky, searching for a cloud.

Ah! That was definitely him, creeping through the flat, approaching my hiding-place. He does not like me to hide too well, he has sometimes got into a state when he could not find me. So I crouch under tables or stand behind doors, so that I appear to be hiding but can in fact easily be found. I have often stood here, in one of the spare bedrooms, in the narrow space between the wardrobe and the wall. He comes into the room, spots me, but pretends he has not seen me, and goes out again. He thinks I imagine I have not been noticed. He goes on along the corridor, entering various rooms, walking round them cursorily, then makes his way back to the room where I am, comes straight up to me and pulls me out into the middle of the room, where he proceeds to embrace me, his soft wet lips making an uncomfortable impression on my cheek. Then he drags me to the nearest bed and we lie down in each other’s arms and often go to sleep like that, only to wake up cold and confused to discover that the sun has set and we are in the dark.

I must have made a mistake. The flat is silent as the grave. If a board did creak it was probably only caused by the central heating coming on. I step out of my corner and strain again to hear. What is he doing? Sometimes he is the most methodical of men, slowly working his way through each of the rooms, and in each room looking behind every sofa and every curtain, under every bed and every table. At others he flies through the flat, hurling doors open, glancing round and rushing out again, banging the doors behind him. But then he will suddenly lose interest and go out onto the balcony and immerse himself in the spectacle of the street below. If I come out and find him there, though, he will, as often as not, berate me for having broken the rules, or burst into tears and wail inconsolably, so that I have to drag him inside for fear the neighbours will see or hear. But at others he will look up surprised and welcome me, and we will stand side by side, leaning over the balcony, looking down into the street below.

He must have gone to sleep. He seems to have this capacity to lie down at any time of the day and immediately fall asleep, like a puppy or a kitten. But it’s a light sleep and if I enter the room he will, as often as not, open his eyes and turn his head, until he can see me. He will give no sign of recognition but watch me carefully. If I leave the room he will simply close his eyes and drift off again. Rarely can I come right up to him without his waking up. And that is usually after one of his bouts of hyper-animation, when he will sometimes sleep, dead to the world, for two or even three days and nights. This, however, has not happened for some time.

I leave my corner and go to the door. If I hear him I still have time to get back to my so-called hiding-place. But the flat is silent as a tomb. One might almost imagine that I was alone in it, and that it had been sealed off from the world forever. I put my head round the door. Silence. Should I give him another few minutes or is that simply condemning myself to anxiety and frustration? I step out into the corridor and the loose board creaks loudly beneath my feet. I freeze. If he is looking for me he will approach, without a doubt, and I will still have time to dart back into the room. I wait, straining my ears, but the flat remains silent. I resume my advance. The door of the next room is closed. I cannot remember if it was closed when I ran past it to reach my hiding-place. I have the feeling that it was. But then again, it might not have been. Try as I may, I cannot remember for certain. Should I open it or simply creep past it? If I open it I risk making a noise and if he is still looking for me he will be alerted and it will be too late for me to retreat to my original hiding-place. On the other hand he may have gone in and fallen asleep on the bed, if it is one of the rooms with a bed in it, and then my search for him will be over.

Surely if he had gone in and lain down I would have heard as I stood hiding and listening? On the other hand for the first half hour or so I was lost in my own thoughts and might perhaps have failed to hear him. He can, when he wants, be remarkably quiet when he comes looking for me in the course of our games. Sometimes he has given me quite a shock, jumping suddenly out at me and shouting to show he has found me.

I decide to leave the door closed and move on towards his room. Though he will lie down on any bed he finds if the fancy takes him, most often he returns to his room, or at least to the room that was originally his, for we both of us change rooms, and beds, as the mood takes us.

The door to the bathroom is shut and I stop for a while and listen, pressing my ear to it. Unless he has fallen asleep in the bath, and that has been known to happen, he is not inside. Beyond it, the kitchen door is open, but one glance is enough to show that he is not there.

Beyond the kitchen the corridor turns at a right angle. I dread this corner, for he sometimes likes to lie in wait for me there and leap out with a howl, and however much I prepare myself, it is nearly always a shock. I literally feel frightened out of my skin – as if my body had leapt into the air and my skin had stayed behind. It takes me a considerable time to recover. My heart beats so wildly I think I am going to have a heart attack. I have to lie down on the nearest bed, which is that of our parents, and in some instances I have fallen asleep there and not woken up for several hours, once even for a whole day.

I stand on my side of the corner and listen. However much of an effort my brother makes to try to breathe quietly, or even to hold his breath altogether, a little rasping noise always escapes him, which alerts me to his presence. It is sometimes difficult, though, to distinguish this noise from that of the water in the pipes. I close my eyes in order to hear better. The corridor is very dark here, for no window lights it and the bulbs are weak in the flat and anyway there is none near the corner.

I stand then and listen. Nothing.

I wait. Still nothing.

I advance again slowly, taking care to make no noise. I stop again, straining my ears. Perhaps my brother is in his room, listening to music. He may have forgotten all about our game, and have settled down with his music. His door is shut. Should I open it and risk disturbing him? Or simply let him be? After all, this might be an opportunity for me to read something or listen to a bit of music myself.

I decide to leave his door unopened but to go on with my search through the flat. If I do not find him anywhere else I can always come back to his room and open the door and see. I have reached what used to be the living room in the days of our parents, but it is now just another room, in which we sometimes sleep, on one of the large sofas, or in which we eat when we don’t want to eat in the kitchen because it feels too squalid, and we don’t want to eat in the dining-room because it feels too stuffy.

It is empty.

I walk round it, nevertheless, looking behind the curtains, though since it is I who was meant to be hiding I don’t know why he should be there. And of course he isn’t. I sit down on the sofa in front of the television and look at the white screen and at my pale reflection in it. Much as I dislike looking at myself in the mirror, I like seeing my shadowy reflection in the milky screen. Perhaps because it reassures me that I am really there while not forcing me to contemplate my features. And it might not be me, it might be someone else, all I can tell is that there is someone there, in the room. The television confirms that. Someone who is most likely to be me, since I sense that I am in the room, sitting on the sofa, looking at the screen.

All of a sudden I see, on the screen, something moving behind me. I turn round. It is my brother. He comes towards me, his mouth open, his face purple with anger. I stand up and take hold of his wrists. I know what he is trying to say. I should have been hiding, I have spoilt the game by my lack of patience, I am never prepared to play properly. I hold his wrists, and though he is a good deal stronger than me he does not seem to know how to use his strength to best effect. He spits at me and then begins to cry. I let go his wrists and draw him to me. His face is wet and when I seek to comfort him I taste the salt of his tears on my tongue. I want him to sit down beside me on the sofa, but he drags me out of the room and across the corridor. He pushes open another door and pulls me to the bed. We lie down on it together and very soon he is asleep.

—Gabriel Josipovici

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Gabriel Josipovici was born in Nice in 1940 of Russo-Italian, Romano-Levantine Jewish parents. He lived in Egypt from 1945 to 1956, when he came to England. He read English at St. Edmund Hall, Oxford and from 1963 to 1998 taught in the School of European Studies at the University of Sussex. He is the author of eighteen novels, four books of short stories, eight critical books, a memoir of his mother, the poet and translator Sacha Rabinovitch, and of many plays for stage and radio.

Read Numéro Cinq‘s interview with Gabriel Josipovici here.

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May 012016
 

Tomoe HillTomoé Hill

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IF THIS FEELS like a flood that flows from my fingertips, it is: I have gone for so long without this kind of communication—I am thirsty, I am hungry, I am ravenous in mind and body. I wonder if there is anyone who feels the same.

*

I am leaving my period of hibernation. Or is it stagnation? It has felt the same, at times. I must re-enter the world, alone, and I am frightened. Looking at rental properties online bewilders me—brand new riverfront towers, chrome and glass boxes—then I spot a place hidden away. When I go to see it—a tiny annexe of an oast house—it is set on wooded land, a small bright stream running through it, something out of a fairy tale. It is late January, and a light dusting of snow drapes the dark green moss-covered shelter to park the car, the lighter green of the grass. It silvers the white snowdrops that cover the grounds like a carpet. Driving there, the lanes are narrow and the car brushes against tangled holly, waxen green and needle-edged. You would have your own section of garden, says the landlord. Apple and pear trees. I touch one of the trunks: cold, gnarled and waiting again for its branches to explode with leaves and fruit, and suddenly remember how Demeter rendered the earth barren in the months Persephone was bound to the underworld.

He tells me a charming anecdote about the property: that if the owner cuts off the supply of water from the stream to the nearby castle, he can still be beheaded. The peculiar charm of a violent past gives these places their character. There is a high, weather stained brick wall that hides me away, an old wooden gate with a metal latch that needs kicking open when it rains and causes it to swell. A large old-fashioned bell with a small strap is mounted on the white painted brick of the entry alcove. Will anyone ever ring it? I think to myself. The inside of the annexe is smaller than I thought, but then, it will be just myself and all of my books, and that is enough. Part of me, I think, needs to be tightly enclosed for some time to come—coccooned. With a shaking voice I place a deposit on the phone that afternoon and start packing in the evening. I am haphazard about everything but books and perfume; these are packed carefully, lovingly—swathed in bubble wrap and cotton wool. Words and scents, the only precious things these past long years, the ones that still made me feel alive.

A drop of Le Labo Benjoin 19 spills on my fingers as I pack: it smells of warm animal fur—memories of a tiny black and grey kitten that liked to sleep inside in the bed when it was cold—fall, winter and smoldering wood. It scents my dreams, where sex still permeates everything, even though I turn in my bed and there is no other, even though my body generates the heat of passion in the depths of sleep.

Myth is steeped in sex: how it transforms us, in both wonder and fear. We pursue and are pursued. How would a lover now come to me? Not in a shower of gold or the guise of a swan, but in those languorous hours where my mind, restless in a sleeping body, imagines the softness of sheets as skin, my heat creating the ghost of past lovers, future ones next to me.

I awake: secretly wet and aching, not just muscles, but also flesh—with longing, with loneliness. My hair brushes my back and feels like a lover’s fingertips in the morning; that slow arousal that makes the eyes flicker open and the mouth form words of almost inaudible want. I smell animal heat and embers: it hangs in the room, the heavy draperies of lust.

*

One bitterly cold evening I move out, leave my old life. I am paralysed by fear as I stand outside my new threshold. The movers are still at the annexe, so I bring in the remaining boxes from the car and move about the kitchen mechanically, cleaning and pretending that everything will be alright, that I have made the right decision. Once they have gone, I set to work: I pour a large glass of whisky, light candles, set about moving bookcases and methodically filling them. I open box after heavy white box and gently take each one out, remembering how they were ordered on the shelves before. Anatomy, art, philosophy, Roman and Greek history, classical novels, modern ones. Ballard and Bradbury, Davis and Joyce, Benjamin and Barthes. I murmur titles under my breath like some healing mantra. I don’t really believe in much of anything, but books are at the top of the small list of what I do.

I work steadily, late into the night, stopping briefly to eat, unable to taste anything but the whisky that I refill my glass with. When the most important things are finished—the bookcases and the bed—I sink exhausted into a hot bath and stare at the ceiling. I need to be surrounded in scent right now, more than any other time, and so the water is perfumed with Ormonde Jayne’s Ta’if: rich red roses, dates, and orange blossom. Of course it is frowned upon now to consider such imagery, but I cannot help but think of Ingres: The Turkish Bath, pale peach and pink-tinted flesh, curved bodies resting against one another—when time is nothing but pleasure or the anticipation of it. On top of the bookcase in a corner of the small bedroom is a tray filled with my perfumes. The bedside table is stacked with a few of my comfort books: Ulysses, Metamorphoses, The Arcades Project, and something by P.G. Wodehouse. Perhaps that seems odd, the last choice, but I need to remember to laugh now. Nevertheless, I fall asleep that night listening to the owl in the trees outside, tears staining fresh linen.

*

I am a solitary person by nature, but this new silence is hard to get used to. I fill it with Mozart and Puccini’s operas and read voraciously to make up for lost time. The person I left felt ignored when I read too much—as he was not a reader himself—and so my compromise for years was to watch television while thinking of the things I wanted to read, visualising turning the pages. I would end up devouring books when he wasn’t around, one perpetually in my hand as I went about the house doing chores. But as any reader knows, half the pleasure of reading is talking about it with a like-minded person. I knew no like-minded people. I knew people who read grocery-store bestsellers: sports and celebrity biographies, the latest popular trilogy turned movie, but no one who delved below the surface into the wild literary deep, the tangles of words and thoughts that capture and drag you back down into the depths, barely letting you breathe. In the month before I moved out, when things were in the last throes of finality and it didn’t matter what I did, I stayed up late into the night, reading Ancient Medicine, Lucretius’ The Nature of Things or Foucault’s History of Sexuality.

I no longer draw my bedroom curtains at night. I like that there are no eyes to watch me like there would be in the city, save the ones of the nocturnal animals and birds—and what do they care about me? I am the stranger here. When the night is stripped of its sodium lights, its intrusive concrete structures, when all that is left is trees and undergrowth, stars and the noises of the ones to whom the earth belongs, I feel accepted. I turn off my light and stand by the open window—it is always open, even on the coldest nights, because when I shiver, it reminds me that I am still alive, that something can touch me. I breathe in the scent of the water from the nearby stream. Fresh-running water has a metallic scent, ozonic. It speaks to you of purity and the places that are still relatively untouched by our interference. The water that flows down the mountains in the Alpes-Maritimes region of France is like this: it may be sultry and hot in the cities by the sea, but drive a half-hour or so upwards along the windy rocky road, and the air becomes crisp and icy. I was amused the first time I was in England and saw a Pimm’s, full of herbs and fruit and vegetables: the air in the mountains is a version of that. The icy breeze carries with it the scents of hyssop, rosemary, lavender and thyme; dried grasses and overripe fruits that fall in the shade by the roadsides, figs, mainly. Beautiful purple-black figs that split almost when you touch them—the most sensual of fruits. White milky sap that oozes out, inviting you to dig your fingers in and tear it apart: reddish-pink seeded flesh that you can do nothing else with but sink your mouth onto and devour, juices dripping from your lips and chin. At the small cafés that are in every village in the mountains, I was always intrigued by the tall, ice-filled glasses of green effervescent liquid that everyone sipped under striped umbrellas. I asked in my halting French for one, and when the cool liquid ran down my throat, I understood: it was mint sirop with sparkling water, the romanticised taste of the icy liquid that poured forth from the mountains.

But the animals: there are many foxes here. They seem unafraid of people, because here we leave them alone. Coming home in the still winter evenings, they walk close enough by to unnerve me, although they have always seemed indifferent to my presence. But their noise first startled me as I lay in bed: it sounded like a child screaming, a high pitched broken wail, over and over. They are either fighting or fucking, I think. Does it matter which? Both bring a certain degree of agony to the noises that emanate from the body, whether woman or animal. Now I listen to them and it is a kind of lullaby: a violent, lonely one that matches how I feel. Some nights, when the landlord is away and I am at my lowest point, I lean out of the window and wail with them. It does not make me feel better, but for that night, less alone.

*

I can’t get used to my new home. Logically, then, it is not a home. It is a house—but not even a house, an annex. Somewhere I come after a day of arguing to wander about, restless, up and down the small flight of stairs; staring at the bookcases; taking long eucalyptus or rose-scented baths in order to let the water take away some of the invisible weight. I decide I will plant flowers. Walking the outdoor rows and through the greenhouses at the garden centre, I choose rosemary and hellebore, two of each and wait in the open doorway looking at the idyllic Kent countryside as they are potted. Rosemary will flank my door, hellebore will sit in the wooden alcoves. In the mornings and evenings I take to rubbing sprigs of the herb as I leave and come back. Never having been one for ritual, I find my actions both strange and comforting. Rosemary has a clearing, energising scent: a combination of mint, pine and camphor. Its oil is strong—so much so that only lightly running a fingertip across it leaves you scented for hours. I like to be marked in that way, because it reminds me of my skin being anointed by a lover’s fluids. Rosemary… remembrance, as Shakespeare’s line goes. Memory is sometimes punishment. Plants have taken the place of flesh now.

*

I finally tell my mother that I have left: something I could not bring myself to do until now. As much as the silence has screamed, I did not want, did not know how to tell anyone what had happened. All I told her in the end was brief: I’ve left. I don’t really want to talk about it. I’ll be fine. I was lying, of course. I don’t think there was much truth in those words at all, bar the part about having left, and that too was a sort of lie: You see, we had divorced years ago. We just stayed together. Why? That is a rope so long, that even holding it for all these years, I am not quite sure where its beginning is. I never told her we divorced. Why? That, at least, I can answer simply. It happened around the time my father got ill and then later died. I didn’t want to burden her. My sister had her own marriage problems at the same time, which everyone knew about. My instinct has always been to withdraw at bad times where hers is to amplify. But to pile one child’s troubles onto another seemed unforgivable to me.

Physically, my mother is slight—a child’s body: only 4’9”, the weight of a sparrow. And yet, like most mothers, she has shouldered mountains without complaint. But I knew that I would have been the proverbial straw, and would have died rather than uttered a word. There never seemed a good time to tell her, later on. After my father’s death, I was trying to make sure, as best I could across an ocean, that she was functioning as well as she could, grieving, but not too much: I didn’t want her to sink into a death-reverie that some fall into, the reverie that swallows lives whole. Those are sinkholes that dot the road of our family; we see them miles off yet some of us have been hypnotically drawn by them: choosing to stare into that small abyss, then jump in without a backwards glance.

*

Lily of the valley grows creamy white, en masse along the shadows of the moss-patched brick wall, and the roses are blooming early: there is a tangle of them outside the downstairs windows. Mixed pale pink and yellow, I can reach out and draw them to me. I tweet pictures of the grounds and the flowers. I get the impression people think I live an idyllic sort of lifestyle, although I quickly dispel notions that I somehow own this property. Sometimes I am too poetic with the accompanying things I write with photos. They come out of me in melancholy but I think they are read as romantic—something like pastoral isolation. Other people’s perspectives are such a curious thing.

I hate the word reclaim. I am supposed to reclaim my life, my power as if it were a suitcase waiting at an airline’s lost items office, or a piece of dusty furniture in the attic that just needs a clean and some new paint. An action is sometimes just as hollow as words can be empty. There is an elusive something beyond the writing and the doing that restores us to something more or less whole in the world.

I receive an email for an acceptance, a short memory piece about how I used to walk the London streets at night. This was in my university days, when I couldn’t sleep, from too much reading. There is a fine line between recalling memory and creating false ones when you spend a lot of time trawling through the archives of your mind. It is how people go mad, I imagine—slip from one to another. When the mind and body are under stress, attack from that rush of adrenaline, some people strangely grow tired and need to sleep—hide in the safety of the unconscious, like losing yourself in the rows of a vast library.

I am finding that I lose myself like this while I am awake.

The same place previously accepted a fiction piece of mine that had the same dreamlike feel. There was a line about muscle memory: how when you have not had physical—sexual—contact for a long time, your body expresses its frustration by acting out pleasurable motions. Sometimes I find my legs in the act of wrapping as if they were reaching to pull a lover close, a hand in mid-air caressing. Often now, I am awakened by my body betraying me in the ultimate way: dripping with sweat, in the midst of full orgasm, back arching away from the mattress. I don’t remember what I was dreaming of.

More than the geographical isolation, more than not knowing anyone, this is the thing that makes me feel like some sort of ghost among the living. I remember sex vividly, I think of it—want it constantly, and yet it feels like a country I visited a very long time ago, one that I don’t know if I will ever return to. My body knows, and fights—fights the idea that one day I could forget completely. I am touched by its determination.

Over the Easter weekend I order two large turquoise ceramic planters, to be filled with as much lavender as they can hold. I have envisioned where they will sit in the alcove, fragrant on the breeze and bringing bees. When I go to pick them up, I realise I have been a bit too romantic: they are easily over 30 kilos each, filled. I can’t manoeuvre them myself. One of the men that works at the garden centre lifts them into my car, managing to scratch the side of it in the process, to which I stay silent, more concerned about the folly of my purchase. One goes in the boot, the other is lifted into the back seat. When I arrive home, it takes me about twenty minutes just to partially lever out the one in the boot. I have parked next to the gate, but it is still a struggle—admittedly a comic one to look at—to get it to the alcove without dropping it and shattering all the bones in my feet. I swear at the bees that have already arrived in greeting, then go back to the car, where I spend the next hour crying and cursing and spilling soil everywhere. The landlord is gone, and I refuse to call my ex-husband to come and help me. I think wildly for a moment that I will dig the soil out, handful by handful into another container so that I can move it. I end up leaving it there the entire long weekend, and whenever I leave the house to go to the shops or exercise, I am hit with a dizzying and humiliating wave of fragrant incapability.

*

I have been asked out on a date. This takes me by surprise. I have been speaking to someone online, a friend of another online acquaintance. He offers to come down from where he lives if I would honour him with a date. I agree, and we meet at the National Gallery. I am wearing a black Helmut Lang dress, wide-brimmed grosgrain-trimmed olive-green hat, high leopard-print suede Saint Laurent heels—relics from a past life. My wardrobe is a reliquary, and occasionally I open the doors and silently contemplate the stack of expensive shoes, row of fitted dresses, silk shirts, brocade pencil skirts and pile of cashmere jumpers piled in a wicker basket. Am I praying? No, but I am wishing for something—maybe that is the same. “They’re just so beautiful” Daisy sobs into Gatsby’s colourful stacks of thick silk and flannel shirts in The Great Gatsby. A similar type of worship, perhaps. Worshipping a person she knows but doesn’t, in the way I recognise myself, yet at the same time do not. I ask the cabbie who drops me off to wish me luck. Good luck, love, he says heartily. When I arrive at our meeting place and touch his shoulder lightly in greeting, he shakes. The shaking extends to his voice, which quivers very audibly, and I don’t know if he is just terribly nervous, or if I am somehow displeasing. I can dress and apply my makeup, but I have no idea what looks back at me in the mirror. In my head it is still the shape of the woman who could not get off the sofa a year and a half ago, held down by a body slipping out of normal function in the extreme; preventing any form of living, such as it was.

He has brought me a gift: a bag full of Anne Carson books. Most have inscriptions to me on the first page, a very hopeful and premature wish for coupled longevity. We walk around the museum, I holding onto his arm lightly, which I think he likes, although part of the reason for this is because my heels are damnably painful since I am not used to walking in them anymore. I try to make him comfortable, but he trembles throughout. He says that he was that nervous all the way down on the train. I am nervous, but I don’t think it has ever manifested itself quite so visibly, drastically. He is intelligent and charming, but seems afraid of things. He doesn’t seem to like London at all, the people, the heat of the day—which isn’t even that hot. Afterwards, we walk to a nearby expensive hotel and have a champagne afternoon tea. Or rather, I do, because he doesn’t eat those sorts of things. At least he drinks. We sip our champagne and have a rather technical conversation about sex, which reminds me of The Bell Jar, where Esther has a long, serious talk about sex with a young man from another college, after which he deliberates and then announces he would like to have sex with her, because she would be the right kind of girl. It all felt mechanical and cold. I kiss him goodbye as a test. I want to know if I feel anything, if my body registers something my brain doesn’t. His lips are soft but I feel nothing. As I sit on the train home, I feel relieved, frustrated and also guilty.

We have a few conversations on the phone. They are long, but again, feel mechanical to me. Sex is discussed at more length. He admits he is squeamish. He doesn’t know if he can give me what I want, but he says he would like to try. The problem is, I want everything. I don’t want someone who is afraid or timid. I don’t want to have to teach anyone. The person who touches me next needs to grasp me in a way that shows they understand. Within the boundaries we create for ourselves, we need to roam free. I have never understood why this is so difficult for some people.

Sometimes you get an innate sense of a person—nothing they say specifically, but a reading between the lines. You feel that they feel about these things the way you do. Something about sex exudes from their pores, and you want to get under the skin and explore. Maybe your body just smells pheromones. We like to think it is a more cerebral connection. But even through a screen, although of course you can’t smell, you can still sense. Something animal still translates, distantly.

*

I have been invited to my first literary event. I am unsure why, maybe it is because I talk about and post pictures of my books all the time. But I accept, and then spend terrible amounts of time wondering who might be there, if they will think I am a fraud or interloper because I have not written a novel and I work in a completely different area. I envision worldly authors discussing literature I haven’t read and discussing people I don’t know. When the day comes, I take the train, a growing knot in my stomach. Since I am early, I find a bar and proceed to drink Manhattans and worry further, nervously folding and unfolding the corner of the page of a book I have brought, Silvina Ocampo’s Thus Were Their Faces. I listen to the chatter that combines into one indistinguishable voice, thinking how some people take these conversations for granted, how others talk because they can’t bear silence in their heads or around them—how it is a kind of death to be alone with only their thoughts. I come close to turning around and going back to the annex, to the lavender and rosemary, to the foxes. But as I sit there, chatting to people online, someone says they understand, they probably wouldn’t have the nerve to go, either, easier to stay home. For some reason that makes me determined to see it through. I pay, leave and turn up late—walking into the room, one foot forced in front of the other. Faced by the prospect of having to introduce myself to this crowd of strangers, I feel my lips go numb. One of the hosts says hello and introduces themselves, I stammer a pleasantry back. Then someone else recognises me from online, someone I talk to a bit more on and off. I say hello, admit to being petrified, and find myself mumbling I can’t do this and walking swiftly out. I’ve already made it around the corner and down the street when he catches up to me. Hey. Hey! You walk really fast. Where are you going? I slump against the wall of a building. I don’t belong there, I explain. I don’t know anyone either, he says. A lot of us don’t, except from online. You’re the same as us. The same as us, I think. Come on, he says. X is there. You know, who writes _______. You’d like him. I’ll introduce you. I find myself surprisingly drained, but willing. I let him humorously march me back in, and end up spending the couple hours left talking, much more easily than I would have thought possible. It feels like coming back to a language you haven’t spoken in a long time.

*

It is my birthday. I stay at home, because I can’t face the idea of going to work and having my ex-husband wish me a happy birthday. Happy what, exactly? I wake up and spend a lot of the day on the sofa reading in silence, the windows open wide throughout the annex to let in the warm breeze. The landlord is on the grounds tending to a great bonfire—the smoke, scent of flames, smouldering wood and ashes drift in and cover everything, including my skin. I have a fanciful idea that this is somehow a kind of purification, a burning of the past—but not quite rising up from the clichéd ashes. I think the embers will continue to burn for some time. On television people who have terrible lonely birthdays always seem to open a bottle of champagne and toast themselves ironically—this seems to me an awful waste. I drink whisky instead and think about how it burns going down my throat, the taste of smoke and peat and salt air. It reminds me of walking along cliff edges in Skye—how isolated it felt, and wondering if it settled in the blood and bones of people who lived here. Perhaps it lies dormant, waiting for a person, a place to trigger it back to melancholy life. Or does it grow on you like moss, covering you until you become indistinguishable from your landscape?

*

In Sex and Terror, Pascal Quignard says, “What the world is: the traces the wave leaves when the sea slowly withdraws.” He was, appropriately enough, speaking of sexual melancholia. This is what I continue to feel. In my last experience, to put it brutally and bluntly, I was fucked enough to feel guilty, but not enough to come. I can’t give any eloquence to the moment our bodies broke free, animal scent heavy in the room, all-too-human emotions leaving us wild-eyed.

*

There is a book by the name of Pond, where at one point the protagonist—also isolated, although less so than I am—speaks at length of her discontinued cooker, almost at the end of its life as she cannot source a required control knob. It is a faithful appliance, one that has helped sustain her, and so it takes on an almost mythic quality. When I moved in, and even now, the one thing I hated about the annexe was the cooker: no strange, far-off brand, but a standard old white Belling. Old, because as pleasant as my landlord is, he does not wish to or cannot afford to have new appliances put in. These things were really of the least importance in my mind (it was also after I moved in that I discovered there were no kitchen drawers), but in the life I had come from there was a kitchen I was especially proud of: ash countertops stained to look like oak (we were told oak itself was not practical), pale grey-green rustic wooden cabinets with dark silvered handles, even cabinet doors that hid the washing machine and refrigerator/freezer fronts. A large, pristine white double farmhouse sink, although I only ever seemed to use one side—the kitten we had liked to occupy the other, watching contentedly as I washed vegetables. A microwave built into an alcove. A large oak table and matching wine cubby. A set-apart shelf above the sink that held tins of expensive exotic teas: Mariage Frères Earl Grey French Blue and Sultane, Fortnum & Mason Russian Caravan and Irish Breakfast, Kusmi Samovar and Thé Vert à la Menthe Nanah. While all this seems posh and aloof, it was not without humour. There were glass chopping boards scattered on the countertops, a matching green to the cabinets. They had botanical prints of fruit and herbs with their Latin names below, which I glimpsed in a shop and had to have immediately. It was only as I was washing one months later that I realised the small scripts in full were Biblical references: where in the Bible the fig appeared, etc. We were not religious, and then it dawned on me why visitors—close acquaintances—who happened to glance at them gave us strange looks, but never said anything than oh… nice. I just thought they didn’t like botanical prints. After that, whenever we used them, we said we were chopping for Jesus.

The cooker is the one thing that best symbolises the chasm between my old life and new. I use it very little as a result: I find it depressing the way it produces memories—not because I miss that life, but only because they persist—alongside the foil-wrapped salmon for one or the roasted vegetables I made way too many of once, automatically calculating for two. I can afford to buy something new, but the thought of the hassle of having to disconnect and move it when I eventually leave (will I eventually leave? This seems wildly optimistic) makes me tired. And I wonder how often I would use it anyway, if it would just be a superficial thing to try and make me feel better, that in the end, wouldn’t.

*

I had braced myself for that period of a week and a half when the office was closed for the holidays. Said that I would stay in and read, write. It is true that I had enough to occupy me in daylight hours, but once the sun set too early, I would find myself staring out of the window into the dark, seeing nothing but my own reflection from the candlelight behind me. I could have flown back home, true, but I couldn’t bear to face the rest of my family outside of my mother. You see, it would have been the first time I had gone home since I left—it would have felt like failure, not homecoming. I am sure most of my relatives would have been outwardly kind, but I would know that inside their heads, unasked questions would be buzzing like angry wasps.

I had one relation in particular: an aunt who gave me conflicting advice over the years—I must be better and more clever than the men. I must be independent. But at the same time, the first questions regarding a boyfriend would be: How much does he earn? What does he do? What kind of gifts does he buy you? Even when I was younger, I tolerated it with a laugh, although secretly I was appalled. When I became engaged, I grudgingly told her what she wanted to hear. She happened to be in London on 9/11. My then-fiance was in America, trying to get a flight out. He ended up on one of the first commercial flights they allowed, and he recalled how thick and heavy the silence was the whole eleven or so hours. This relation phoned to arrange a visit whilst I was watching coverage on television, my neighbours vague and not terribly interested in what was happening—it wasn’t here, after all, it was there. Sometimes there is the same thing as not existing at all. Get your ass to London, she said laughingly down the line. Fuck you, don’t ever speak to me again, I said, slamming down the receiver. The famous family temper rearing its head (You’re descended from Samurai and Vikings, my father said mildly, after one of my youthful outbursts. You shouldn’t be surprised by this). Now, I wonder how much of my decision to marry him was a knee-jerk reaction based on her. Rebelling against her approval of him by convincing myself I was more in love than I really was. I was relieved when he came back safely, but not as much as I should have been.

*

Christmas Eve/Christmas Day: in those early hours that straddle both, I am in bed, books scattered on the duvet. I can’t stop crying, but I don’t know why. I am frustrated and perplexed at my inability to stop. The person I wish would send a few words by email or message is silent, busy doing what people do at this time of year. But very kindly two people who know my situation—at least part of it—send me emails. I am grateful for the acknowledgement, and that they don’t do that thing some do of trying too hard to make a person feel better. The few words are more than enough.

*

This is not therapy, nor is it cathartic. It exorcises nothing. I have always found it curious that people consider writing about experiences—mainly terrible—as such. In my mind I always pictured it, perhaps cruelly, like those travelling spiritual healers who claim to be able to cast out sin or sickness. Get thee out, Satan. A white tent with other people’s memories sitting on benches crying Hallelujah. What is this, then? I am not entirely sure. What it feels like is a bottle of champagne (how strange to think of it in terms of such a celebratory drink) that has been shaken: you understand the pressure building inside, and although the glass can withstand it, to remove the cork and let the agitated contents flood out is preferable to letting it settle and not know if you will be met with an explosion or lifeless liquid later on.

— Tomoé Hill

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Tomoé Hill was born in Wisconsin and after escaping to London, now lives and writes in the South of England. Her pieces have been in The Stockholm Review of Literatureminor literature[s]Open Pen, and LossLit. She is deputy and reviews editor at minor literature[s]. @CuriosoTheGreat.

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Apr 232016
 

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All good at Numéro Cinq Magazine. We’re still at zero for security issues on the Google Search Console. I have updated the magazine security software and we have a new caching engine.

The new security software delivers email alerts when someone tries to sign into the site, and so I see all the IP addresses for people who don’t have a correct username. It’s a bit chilling sometimes. My username was pretty generic and somehow someone guessed it or found it out. And last night there were over a hundred attempts to log in with that username (now defunct) without the correct password, of course. These attempts came from all over the world (so you know it’s a bot, not likely a real person). They started in Saint Petersburg, Russia, thence to Uruguay, then South Korea. Then they just came up everywhere. I am told that this is what’s called a brute force attack and is part of the background noise of the Internet.

Pretty soon I am going to turn off the email alerts. They are a bit too unnerving to watch. Truth is this has been happening all along and I just never noticed.

The good news is that the security software locks each one of these IP addresses out.

dg

Apr 202016
 

Looks like we might be clear. The site redirect malware is gone. And the Google security alert now reads:

Security Issues

Currently, we haven’t detected any security issues with your site’s content.

I am redoing our internal security setup and that also includes changing the site’s caching software. So please bear with us if the site seems a little slow. We should have everything ironed out by next week.

dg

Apr 192016
 

Sam-Savage-author-photo1-923x1024 Sam Savage

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It is not a bad fate for a poet to instead survive thanks to a small but impassioned readership, and it is my sincere hope that Sam Savage finds such a readership. His poems abundantly deserve their afterlife. —David Wojahn

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Zero Gravity: Collected Poems (1981-2015) — Sam Savage
Numéro Cinq, Vol. VII, No. 3, March 2016

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The poems of Sam Savage are quietly revelatory and informed by a certain oddness of perception that derives in some respects from surrealism—but to link his poems to any literary movement does them a disservice. Savage is a party of one, and it is baffling that his poetry has not found the readership that his fiction has enjoyed. His poems have a fictionist’s command of narrative, but his story lines are always implicit, and always compliment an astringent lyric acuity. Above all, his verse reminds me of something Stanley Kunitz observed about the poetry of James Wright, in which “things are capable of changing into their opposites, as suffering into joy, despair into radiance.”

As often as not, Savage’s poems emerge from the experience of uncertainty and pain, of the body in rebellion. Here is a characteristic passage, a description of patient being x-rayed: “Oh yes, says someone/ you don’t know, pointing to a bird-wing-like/ blur behind the white bars,/…………There’s this.” Yet Savage’s pervasive awareness of mortality almost invariably gives way to buoyancy, even to a kind of whimsy. We see this latter quality in especially satisfying fashion in his poems about an alter-ego named Kiffler, a character in the mode of Zbigniew Herbert’s indispensable creation, Mr. Cogito. That Savage can forge a poetry of such emotive complexity within the confines of a decidedly spare and minimalist style is a very significant accomplishment indeed. Witness the epigrammatic concision of the following poem, which I quote in full:   

My Father’s Death

The sun had just come up
when all the light of my father died.

A lizard in its crept place opened one eye.
Ants climbed in spiral motion a stem of tall grass.

In that instant an instant was given.
It was shining as on the first day.

Birds sang brightly from the trees
and nothing was left that was obscure.

God is in the details, quipped LeCorbusier, and that is certainly the case here. I adore the description of the “lizard in its crept place,” and the grimly playful conundrum of “in that instant an instant was given.” And, above all, there’s the exquisite and pained epiphany of the poem’s final line.

Literary reputation, as we all know, is fickle. And to even employ a term such as “literary reputation” in respect to contemporary poetry seems more than a little absurd. Yes, a handful of poets at work today will be remembered, but that handful is not likely to include those figures who are currently at the top of the food chain. It is not a bad fate for a poet to instead survive thanks to a small but impassioned readership, and it is my sincere hope that Sam Savage finds such a readership. His poems abundantly deserve their afterlife.

—David Wojahn

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David Wojahn‘s ninth collection of poetry  FOR THE SCRIBE, will be issued by The University of Pittsburgh Press in 2017. His FROM THE VALLEY OF MAKING; ESSAYS ON CONTEMPORARY POETRY was recently published by the University of Michigan Press. He teaches at Virginia Commonwealth University, and in the MFA in Writing Program of Vermont College of Fine Arts.”

 

 

 

Apr 172016
 

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The bad news is that NC is still hacked. Google Search security is showing three infected pages; Jonah (our tech team) has found another suspicious file.

My moment of bravado yesterday was misplaced. We found one piece of malicious code, not the whole lot.

It’s detective work. Funding the infected spots in the code and also finding out how they got there.

Jonah is our Hercule Poirot.

On the other hand, we can go nuclear. The good news is that we pay for daily backups. Our latest hunch is that the infections started April 5 when I got horribly efficient and updated three plugins. I could roll the site back to April 1 or so and get rid of all the infections in one fell swoop. We would lose the April issue, but we can reconstruct that.

Apr 152016
 

NC Masthead LogoClick on the image to go to the Masthead.

 

Ever since we started listing all the writers, translators, artists, & musicians who have contributed to NC on the masthead page, I’ve been curious about the numbers. So this morning in an OCD fit, I counted them. I think I miscounted, but it’s something over 625 contributors. A small town! Just take a look at the page. It’s a VERY LONG LIST.

Also take a moment to reflect upon the brilliant collection of brilliant writers who makes up our vast collection of  editors and contributors. Many have their own NC Archive Pages, which list all their contributions to the magazine. Click on their names on the Masthead to see their pages.

The sheer mass, the accumulation, should give you pause. It’s quite amazing.

Apr 142016
 

 

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In James W. Griffiths’s “Room 8,” a prisoner finds a box with a dark, intriguing secret in his new jail cell. A psychological Escher painting of a film, it thrums with claustrophobia as we watch the protagonist step into the undertow of his own curiosity.

Griffiths’s film is one of five different films from the same script, created as part of Bombay Sapphire’s Imagination Series. Oscar winner Geoffrey Fletcher (Precious) was selected to provide the source text and wrote a script stripped of any stage direction or character names, then the contest asked people to imagine their version of a film around that simple script.

Five films were developed from the winning scripts. The five embrace the imaginative exercise, each striving to tell distinctly different stories: in “The Mrs,” the malaise of a long term relationship finds sudden criminal excitement;

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“Water Song,” tells the story of a hearing impaired competitive swimmer and a secret;

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the animated film “Crab” has two crabs collide over what to do with a magic bottle on the beach, their curiosity having fatal consequences for the entire universe;

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and in “Concrete,” a cleaning lady and business man face off over a magic box.

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The films incorporate some small dialogue changes but these are, for the most part, cosmetic and Fletcher’s original text is at the foundation of each of the diverse stories.

“Room 8” takes that simple scenario and applies it to a perfectly small premise: two men in a jail cell and a small, horrific warning against curiosity. The loop of the plot here is in itself particularly satisfying: this happened and will continue to happen after the film ends, due to the nature of human curiosity and the desire to be, externally at least, free.

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The most marvelous shot is also the most nihilistic perhaps: the Michaelangelo-esque Adam touching the hand of God moment, a sense that we are our only chance for divine intervention; there is no God, which, in this world, means we are left to our own flawed devices, our own horrible choices, the world turning in on itself as we hurl ourselves into awful endings.

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I did find myself wanting a little more from this iteration of the script. In its present form I am not entirely clear what the man in the cell gets from the loop. If, for instance, he wanted the cell to himself, or found others too noisy, then he would have a personal stake in this peculiar collaboration with his jailers. As it stands his stake is unclear so he remains perhaps too simple an antagonist. Regardless, that doesn’t take away from the horror of what is in the drawer and the pleasure of a vertiginous window into possibility that then torques into a narrow hell.

Bombay Sapphire’s Imagination Series seems to be ongoing: in 2014 the second series of films premiered at the Tribeca Film Festival, these built from a new script by Geoffrey Fletcher. “Room 8” is Griffiths’s third short film and it went on to win the Bafta for Best British Short Film.

—R. W. Gray

 

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Apr 122016
 

Pierre Joris

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Luxembourg Findel Airport

old Findel airport in LuxembourgOld Findel airport in Luxembourg.

Findel: To find. Who? Alone, no longer here, not yet there. A threshold. Am I coming or am I going? As in Findelkind? Lost? No. Airport: a door in & through the air. I find myself at the airport. For years it meant yearning: watching the planes leave, wanting to leave. Hardly able to see over the balustrade of the old Findel’s flight deck. Later, walking over the warm tarmac to the first plane: Madrid via Bruxelles. Then London. Then New York. Departures. Arrivals. Returns. Systole/Diastole of exile. Circling a receding childhood from high above: farms, fields, cattle, fences. An expanding city. From above: the Grund – der Abgrund, the abyss. Off-rhyme with the Grand Canyon. Airplane dreams. Portage of plain paper reams of writing ferried between continents. Nothing to declare. But this: I love to arrive. I love to leave. It is the same. It is different. The continents no longer drift, therefore we have to. Dérive. Départ. Décollage.

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Remembrance Day In Patton-Town

I had just returned from New York, was still jet-lagged, when my mother sent me to buy four pork chops at the butcher’s on Main Street. Despite the tiredness I had not objected, indeed, I was looking forward to stroll through the town of my youth, hungry to hear the mamaloshen, Letzeburgesch, and get a sense of what may or may not have changed in Ettelbrück. I walked down the Avenue Salentiny, hung a right at the Grand-rue, turning my back to the now decrepit and desolate Klinik Dr. Charles Marx where my father had worked for many years, crossed the street, passed the Pensionat de Jeunes Filles and a little further on, just where the grand-rue was at its narrowest, I found the butcher shop and entered.

 It was shortly before noon and a long line of housewives waited to be served, so I overheard much small talk, mainly about the warm and sunny weather, a good omen for the festive weekend ahead. I eventually got to the counter, ordered my chops and watched absent-mindedly as the butcher’s wife wrapped them expertly. I had been distracted by a noise, a low rumble coming from outside, but thinking that it was some bulldozer or other construction machine, I paid it no further heed until I stepped outside, saw many people gawking and heard the noise getting louder. I too stopped to listen and watch.

It was a deep metallic rumble that came from the east, the direction of Diekirch, or, closer by, from the curve in the road where the Patton monument stood high up by the edge of the bridge that crossed the river Sauer. For a second I flashed back to a day in 1956 when I was walking to grade school with my friend, the baker’s son, and we were gloomy for having overheard the news our fathers had listened to the night before: Russian tanks had invaded Hungary, were fighting in Budapest crushing resistance to the Soviet government. We two ten year-olds knew that it would take those tanks only 3 weeks to cross over from Hungary and invade Luxembourg. What I saw coming from the East and making such a clattering racket (instantly familiar from the movies) were indeed tanks — but these were American tanks, as the flags they sported told us, and the people along the streets were waving in that most friendly manner used to welcome liberators.

And then it came back to me: this must be the preparations for “Remembrance Day,” the yearly celebration of General Patton and his army who liberated Luxembourg from the Nazi yoke during the Rundstedt offensive! As a kid this had been one of the great yearly treats, better for us boys even than the Schueberfouer, as we could clamber up on those tanks, slip behind the steering wheel of jeeps and armored personnel carriers, slide down the barrels of long canons and handle various automatic machine guns with the required respect and awe. On the main day of the event, a Sunday, we’d watch the spectacle of a fake battle in the Deischwiesen with paratroopers jumping out of helicopters, storming “enemy positions,” a circus re-enacting of their assault on our town in 1944. During those days we’d try out our high school or movie-learned English on the American G.I.s to buy used copies of Playboy, a magazine our bishopric had banned from the country.

But this was a different time. This was 1968 and I had just come back from a year in the USA, a year in college in upstate New York, a year in which I had seen and taken part in my first anti-Vietnam war demonstrations, a year where some of my friends had been drafted into the army while others had fled to Canada to escape the draft. That spring the biggest and most murderous battles to date had taken place, and President Johnson had ordered the resumption of the full-scale bombing of North Vietnam.

What I saw that day in the Grand-rue in Ettelbrück felt like a complete disconnect, something out of an old black and white movie, a twisted rerun of World War II victory scenes watched in my grand-mother’s “Cinéma de la Paix” a few houses up from the butcher’s on the other side of the street: the same troops my fellow citizens were feasting in the streets of Ettelbrück for having liberated us, were raining down destruction and death on a people in the Far East. Someone’s liberators will eventually turn into someone else’s oppressors? That day the myth that the armies that had liberated us were the incarnation of heroic, selfless good — and could therefore do no wrong — took a deep dent. Not so much the actual fact that Patton’s troops stopped the Germans from capturing the fuel stock-piled near Bastogne and drove them back through the Ardennes. Not those facts — but the mythology that had been made out of those facts. But what is mythology, how do (chosen) facts become a mythology, and why?

Myth, I had learned that very year upon encountering the work and the person of the American poet Robert Duncan — who was to write one of greatest anti-Vietnam war poems the very next year —, the word “myth,” “mythos,” is akin to “mouth,” i.e. myth is the story told, the story that accompanies the ritual action, some action that starts out as, or wants to turn itself into, exemplary ritual. But maybe it is the retelling of the story — whatever it is — that recreates the action that turns the story into ritual and thus self-reflectively creates the myth. Repetition compulsion, running off at the mouth, or maybe more usefully, as another American poet, Robert Kelly, put it: “Saying makes it so.” All too often then, myth without the ritual action, is nothing but the post facto late words retelling, retooling and all too often tempted to beautify, simplify, purify a past action, and becomes thus empty words, alibis, cover-ups. It may not even always be a question of voluntary deceit.

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My father was weary when my young curiosity wanted to know “what did you do during the war?” He, like so many of those who had lived through it, didn’t like to talk about those days. But he would eventually relent and tell me, us, the family around the dinner table, some fragments of what befell him during “the last war” (which, of course, wasn’t the last war at all, just as the “Great War” was not great at all, as no war ever is — war is a solitary noun, never trust any adjective that is added to it, except the one already embedded in the noun, read widdershins: raw). He would tell how during the war I was born just after (me, my generation, thus, war’s afterbirth?), he, the young intrepid surgeon, used to operate on “résistants” or freedom fighters wounded in skirmishes with the occupying Wehrmacht, late at night and in secret, deep in the bowels of the Klinik Dr. Charles Marx, in the coal room, on the coal heap. A black and white image that has stayed with me, the black coals & the white medical garments and sheets, the image a frozen scene as they stop what they are doing because upstairs or outside a German patrol is heard strutting by.  Is this my mythology or my father’s? I hear the marching boots of the German soldiers in a 100 war movies watched in grandmother’s “Cinéma de la Paix.” Not one good German in all those movies, and not one less-then-heroic American GI.

Map of von Rundstedt offensive in Joris areaMap of the von Rundstedt offensive.

But my father’s favorite story was the one where he is out late at night in the forest south of the town. It is a cold and snowy midwinter, and he is looking to score for much needed medical supplies off the Americans. He has stopped and is now sitting around a campfire on the periphery of the US army zone with a few GI’s spooning up their K-rations, when a rather burly uniformed man comes out of the night, clearly a high ranking officer, and greets the soldiers who don’t move from their seats around the fire but greet the apparition back with a quick, laconic hand to the helmet. The tall figure stalks on and disappears into the night, a flash of white briefly visible around the hips, toward where the main body of the army is bivouacked. When my father asks the soldiers who this apparition was, the answer is a single word: “Patton.”

What so fascinated my father was the easy, not to say democratic relationship between soldiers and general: no jumping to attention with mechanically extended arms and a loud “Heil Hitler,” but a nearly egalitarian greeting between soldiers and a commander most recognizable not by insignia, epaulettes, decorations or well-tailored uniform, but by those pearl-handled revolvers flashing at his hips (he probably wore only one, but myth-making memory compounded the figure of the general with that of the gunslinger hero from Western movies usually packing two guns — the famous “peacemaker” colts, no doubt).

No wonder a very few years later the town of Ettelbrück erected a larger than life monument to the hero of the Lundstedt offensive, now safely dead in a car accident, and proceeded to institute the yearly ritual known as “Remembrance Day” described above.

Remembrance Day in EttelbruckRemembrance Day in Ettelbruck.

But, as I think back on all this, another event springs to mind — unrelated on the surface — and yet…. One day — I was in 4th grade — during break, we were on the playground in front of the Ettelbrück primary school. I had recently moved to town and was standing by myself — clearly marked as an outsider, and thus not integrated into any of the groups — when I heard a cry and a song behind me. I turned around and saw 3 or 4 older boys, who had thrown a young kid to the ground and were dragging him along the asphalt, singing: “Eent, zwee, dräi, et as e Judd kapott, huelt e mat de Been a schleeft e fort — One, two, three, a Jew has croaked, grab him by the legs and away with him.” The boy who was the victim of this brutal “game” was indeed a Jewish boy, the son of one of the few Jewish families left in town, Kahn by name. I was horrified, and that nasty little show of stupid, unthinking, petit-bourgeois anti-Semitism, played out by 10 to 12 year old boys less than ten years after the horrors of Auschwitz became public knowledge, has always remained with me as a strange vaccination against the mythology of the good, innocent little Luxembourgers oppressed for years by the a vicious Jew-hating Nazi regime they were unable to resist because of the smallness of the country until brave American armies arrived in extremis to liberate them. And all the (American) flag-waving our good citizens were doing on those ritual “Remembrance Days” looked all of a sudden like a ritual cover-up for their own unacknowledged mistakes, misjudgments and omissions.

—Pierre Joris

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Pierre Joris

Pierre Joris—2011 saw the publication of Pierre Joris: Cartographies of the In-between, edited by Peter Cockelbergh, with essays on Joris’ work by, among others, Mohamed Bennis, Charles Bernstein, Nicole Brossard, Clayton Eshleman, Allen Fisher, Christine Hume, Robert Kelly, Abdelwahab Meddeb, Jennifer Moxley, Jean Portante, Carrie Noland, Alice Notley, Marjorie Perloff & Nicole Peyrafitte (Litteraria Pragensia, Charles University, Prague, 2011). Pierre Joris, while raised in Luxembourg, has moved between Europe, the US & North Africa for half a century years, publishing close 50 books of poetry, essays, translations and anthologies. In 2014 he published Barzakh — Poems 2000-2012 (Black Widow Press), Breathturn into Timestead: The Collected Later Poems of Paul Celan (Farrar, Straus & Giroux), A Voice full of Cities: The Collected Essays of Robert Kelly (co-edited with Peter Cockelbergh, Contra Mundum Press) and Bernat Manciet’s Ode to James Dean (co-translated from Occitan with Nicole Peyrafitte; mindmade books). 2013 had brought Meditations on the Stations of Mansur al-Hallaj (poems) from Chax Press & The University of California Book of North African Literature (vol. 4 in the Poems for the Millennium series), coedited with Habib Tengour (UCP).

Other recent books include Exile is My Trade: A Habib Tengour Reader edited, introduced & translated by Pierre Joris (Black Widow Press, 2012); The Meridian: Final Version—Drafts—Materials by Paul Celan (Stanford U.P. 2011) which received the 2012 MLA Aldo and Jeanne Scaglione Prize for a Translation of a Literary Work; Justifying the Margins: Essays 1990-2006 (Salt Books); Aljibar I & II (Poems, Editions PHI). Further translations include Paul Celan: Selections (UC Press) & Lightduress by Paul Celan which received the 2005 PEN Poetry Translation Award. With Jerome Rothenberg he edited Poems for the Millennium, vol. 1 & 2: The University of California Books of Modern & Postmodern Poetry.

Pierre Joris lives in Bay Ridge, Brooklyn with his wife, performance artist Nicole Peyrafitte. Check out his website & Nomadics Blog.

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Apr 102016
 

creation

The ceiling of the Sistine Chapel — most of us know what it looks like: God divides light from dark and land from water; God creates the Heavens, the sun, the moon; God holds his hand out to Adam’s hand and their index fingers almost touch; God creates Eve from Adam’s rib; the Snake, wrapped around The Tree of the Knowledge of Good and Evil, tempts Adam and Eve with an apple; God expels Adam and Eve from the Garden of Eden; eventually, after familiar stories of Old-Testament misbehavior, God sends a Flood. Meanwhile, sibyls and prophets sit at the edges, distracted by their own concerns. We know when the frescoes on the ceiling were painted: between 1508 and 1512. We know who the painter was: Michelangelo Buonarroti, born in  1475, died in 1564 (the year Shakespeare was born) – Italian painter, sculptor, architect, and engineer.

Michelangelo - Daniele da Volterra, 1533, Florence ItalySketch of Michelangelo by Daniele da Volterra, 1533

But do we know how the artist felt, lying on his back painting that ceiling month after month and year after year? I mean, do we know much about it beyond the imaginative retelling of it by a Hollywood director? We do, since Michelangelo himself gave us a poem about it:

A goiter it seems I got from this backward craning
like the cats get there in Lombardy, or wherever
–bad water, they say, from lapping their fetid river.
My belly, tugged under my chin, ‘s all out of whack.
Beard points like a finger at heaven. Near the back
of my neck, skull scrapes where a hunchback’s hump would be.
I’m pigeon-breasted, a harpy! Face dribbled-see?
like a Byzantine floor, mosaic. From all this straining
my guts and my hambones tangle, pretty near.
Thank God I can swivel my butt about for ballast.
Feet are out of sight; they just scuffle round, erratic.
Up front my hide’s tight elastic; in the rear
it’s slack and droopy, except where crimps have callused.
I’m bent like a bow, half-round, type Asiatic.
Not odd that what’s on my mind,
when expressed, comes out weird, jumbled. Don’t berate;
no gun with its barrel screwy can shoot straight.
Giovanni, come agitate
for my pride, my poor dead art! I don’t belong!
Who’s a painter? Me? No way! They’ve got me wrong.

Not many people know that Michelangelo was a prolific and accomplished poet, writing more than three hundred poems across the entire span of his creative life. He tried, near the end, to organize one hundred of his poems for publication. But one of the two friends involved in helping him with this project died before it was completed, and a first edition of the poems was not published until sixty years after the artist’s death, under the supervision (and high-minded tinkering and “sanitizing”) of Michelangelo’s grandnephew.  “Sanitizing,” according to the translator John Frederick Nims, meant taking out “anything that might have reflected discreditably on the family or fame of Michelangelo: “Love poems addressed to a signor were revamped to fit the madonna of tradition; dubious political or religious views were amended.” His poems, to put it bluntly, were “made respectable.”

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

What we recognize, as we read through The Complete Poems of Michelangelo is the unique physicality of the artist. He brings his knowledge of the body – it’s outer curves and inner musculature – with him, from the three-dimensional sphere into the verbal. Known to have reduced his skill at sculpting the human body to these instructive lines, “Carving is easy. You just go down to the skin and stop,” he also gave us these thoughts about sculpting, comparing what he sees as his simple talents (calling his own hammer “botched”) to the “heavenly hammer” of God:

….If my rough hammer shapes the obdurate stone
to a human figure, this or that one, say,
it’s the wielder’s fist, vision, and mind at play
that gives it momentum – another’s, not its own.
….But the heavenly hammer working by God’s throne
by itself makes others and self as well. We know
it takes a hammer to make a hammer. So
the rest derive from that primal tool alone.
….Since any stroke is mightier the higher
it’s launched from over the forge, one kind and wise
lately flown from mine to a loftier sphere.
….My hammer is botched, unfinished in the fire
until God’s workshop help him supervise
the tool of my craft, that alone he trued, down here.

david-full-front …………Michelangelo’s David
Carving is easy. You just go down to the skin and stop.

According to Nims, the originals were written on “whatever [Michelangelo] had at hand”: the backs of letters, records of expenses, receipts, and sketches for his buildings and for his paintings. The artist was known for his sloppy personal habits – Paolo Giovio, one of his many biographers, wrote, “His nature was so rough and uncouth that his domestic habits were incredibly squalid and deprived posterity of any pupils who might have followed him…he had a reputation for being bizzarro e fantastico.” He felt no particular restraints when he was young about criticizing the profit- and violence-driven culture that surrounded him in Rome:

….Chalices hammered into sword and helmet!
Christ’s blood sold, slopped in palmfuls. With the yields
from commerce of cross and thorns, more lances, shields.
Still His long suffering mercy falls like dew?
….These lands are lands He’d better not come through.
If He did, his blood would boil, seething sky-high,
what with His flesh on sale, in good supply.
Virtue? Cast out. NO ENTRY signs repel it.

Later in his life, he became more cautious about expressing his political views in public. But his love poems remained vital; he is described over the years by many poets, including Italy’s own Nobel laureate, Eugenio Montale, as one of the great lyrical poets of the High Renaissance.

No one translates Michelangelo’s poetry as well as John Frederick Nims – in fact, Nims’s essay about his translations engage the reader almost as much as the poems themselves. Nims had this to say about his own efforts:

I intended, at first, to [translate] only a few…. But when I had finished those few, the momentum carried me on through all eighty. Those done, there were the hundred or so madrigals, which showed another side of the poet’s temperament. They came next. Then there remained another hundred poems in various meters -but it seemed too late to turn back….What had kept me going, for a year or more, was the fun of it. “Fun” is a word that Robert Frost often used of poetry. If it offends anyone when used in the aura of the divine Michelangelo, as Vasari called him, we could retrieve from ancient Greece the favorite motto of Valery…which he translates as pour le plaisir. I kept translating for the pleasure of it.

Not all translation is word~for~word “literal,” rich in the pleasure we call “fun.” Dictionary~scavenging can be dreary work, like a piece of assigned homework we resent having to do. The fun comes in when, by imposing obstacles, we introduce the element of sport or game, with its hurdles, wickets, sand traps, baselines, strike zones, bull’s~eyes. So, in translating poetry, we have to cope with such tricky features as rhythm, sound, wordplay, connotation, and all the other enrichments that lift prose to a resonant and more allusive level. Incorporating as many of these features as the terrain allows is the goal of the translator: born of such fun is what we call fidelity.

Nims chooses a modern voice (“I don’t belong! / Who’s a painter? Me? No way! They’ve got me wrong”) which some critics object to. The poet Mark Jarman, in his review of the book for The Kenyon Review (Summer/Fall 2001) says that, as a translator, Nims “tends to heat up Michelangelo’s poetry, making it more inventive and slangier than it appears in Italian, closer respectively to the poetry of Gerard Manley Hopkins and Nims himself.” But in his introduction to the book, Nims points out the unappealing high diction of previous translators  such as Wordsworth, Longfellow, Emerson, Santayana, Symonds and Rilke, all of whom overloaded the “rough language” of Michelangelo’s youth with too much elevated diction. He goes on to explain that previous translations had “a totally different effect on our ear today than Michelangelo’s would have had on the Italian ear of his time.” Despite their “complexity of content” the poems contain language that shows Michelangelo “spoke and wrote like the Florentine he was.”

The poems of Michelangelo surprise us. They do just what surprises should do: they wake us up and keep us marveling. To the list of his accomplishments – painter, sculptor, architect, engineer –  we need to add the words “and poet.” Though publicly arrogant at times, in the privacy of his own poems Michelangelo doubted his own worthiness, his own talent, and he struggled with the uncomfortable fit between his creative energies and his more spiritual existence. Not only his back ached – so did his soul. The poems often sound like they come from a worried, tempestuous modern mind. See if you can get a copy of The Complete Poems of Michelangelo (translated by Nims) and read it through. And while you do, keep this image in mind:

laocoonMichelangelo’s Laocoon

—Julie Larios

.May 2011 - Jackson Fishing at Lake Commonwealth

Julie Larios  has contributed several Undersung essays to Numéro Cinq over the last few years. She is the recipient of an Academy of American Poets Prize and a Pushcart Prize, and her work has been chosen twice for inclusion in The Best American Poetry series.

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Apr 092016
 

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

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Fielding Dawson Portrait of Cy Twombly

your chair looks kinda wobbly
cy twombly

I think you’re an anomaly

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

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

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

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

a black button
on a worn blue jacket

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

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

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

the wood floor is what you were
born for

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

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

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

remaining unnoticed you were happy

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

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

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

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

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

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

eyes closed or just looking down

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

your shoes shaped and colored violins

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

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

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

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

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

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

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

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

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

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

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

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

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

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

—Ruth Lepson

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Ruth_Web

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

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