2015 – Page 3 – Numéro Cinq

The Idea of a Collective Novel: Essay & Fiction — Larry Fondation

Sep 042015

Larry Fondation

Traditionally, novels tend to have a single central character, the focus of the action — the protagonist. All other players in the drama are ancillary, even peripheral. The trajectory happens to — and centers upon — a single person.

Yet in this quickened era — the epoch of text and email and social media — events affect many people simultaneously, en masse and all at once.

By and large, fiction has not kept up with the contemporary change of pace. Music and the visual arts have been more advanced in this regard. Since Marcel Duchamp and Cubism, painting and sculpture have sought to represent — and to not represent (e.g. abstraction, conceptual art, etc.) — the multiple cacophonies of the rapid world. As far back as 1952, John Cage’s “4’33″” represents the apotheosis of radical music, stemming from the dissonant and atonal movements of the earlier 20th Century, not to be outdone by jazz or rock.

Despite the radicalism of other art forms, most contemporary literature, especially American literature, remains rooted in the forms of the 19th Century. Seemingly skipping glibly by the advances of Beckett and Jean Genet, Donald Barthelme and Pierre Guyotat, Ron Sukenick or even John Dos Passos, writers such as Jonathan Franzen (and most others atop the literary bestseller lists) revert to the forms of Flaubert and Balzac and Henry James. Perfect perhaps for 1900; less fitting for 2015.

Meanwhile, many other current writers (usually published by the small presses) now seek a new form for new times, just as Alain Robbe-Grillet and others did more than 50 years ago with the nouveau roman.

I am by no means alone, but I am certainly among those writers looking for new ways and means to reflect our times.

I have published five books of fiction in the U.S. – three have been translated into French and published in France, with my 4^th due out there in 2016. Not a single one of my books has a single narrator or even a solo protagonist. I’m not sure this is on purpose, really; but a choral voice is what comes out of my pen.

Urban life seems to me to be marked by a multitude of occurrences, of discontinuous incidents and syncopated rhythms. Traditional narrative arc works well for certain kinds of portrayals. But not necessarily for the jumble of urban living, especially living on or close to the streets. Indeed there a lot of unintended consequences in contemporary life on both large and small scales. I try to approximate the discontinuity with short, stark vignettes that I hope, when taken together, add up to more than the sum of their parts.

I don’t want to write in a trendy way or to mimic social media conventions, but I do want to try to find new means to communicate.

In a French review of my first novel (Angry Nights in English; Sur Les Nerfs in French), critic Frederic Fontes called the book an “unidentifiable literary object.” The description was a compliment, and I took it to be so.

In English language reviews of my second book, Common Criminals, novelist Barry Graham wrote: “…this is not life as we normally read about it in books — this is life as we actually live it.” (Detroit Metro Times) …. and Matt Roberson, in an insightful essay for The American Book Review, called the texts: “… Shocking and shockingly strong pieces.”

Stories and pieces — but what is the book as a whole?

When pressed, I describe myself as an “experimental realist.”

What I mean by that term is that I try to write in the rhythm of my times — in the way that the gangster rap group NWA depicted Los Angeles and Compton in the late 1980s and early 1990s – in musical idiom that matched their reality.

In other words, I am trying to find new forms. In a sense, it harks back once again to Duchamp — the found object, objet trouvé. Now — in words, not pictures — that means hard, fast, and staccato.

In a Rain Taxi review of Unintended Consequences (my 4^th book), Canadian novelist Jeff Bursey wrote that the texts told the tale of Everyman, limning the stories of the seldom-heard, and often-neglected “Greek Chorus,” rather than the well-known stories of Oedipus or Antigone.

In yet another review of the (same) book, Tony Rodríguez wrote: “… (Fondation) doesn’t level the playing field with books found in a similar genre. Plainly stated, (he) aggressively razes the genre (crime writing, literary) and seemingly creates something new.” (East Bay Examiner)

In my view, these critics get it. Indeed they nail it dead on. I am not trying to write traditional — or even “postmodern” — novels, and I am not writing “short stories.”

The idea that animates my work is the notion of a “collective novel” — in French, “un roman du collectif.” From my vantage point — in the inner city of Los Angeles — the “new, new novel” should not be the story of a single protagonist, not the tale of one man or woman — but rather the fictional “biography of a place,” a tale of a tribe, the Iliad more so than the Odyssey — Las Meninas, by both Velasquez AND Picasso. Not either/or; rather both/and.

In my view, the post-realist book of fiction is an “ensemble novel” — a collage, owing more to Alberto Burri and Robert Rauschenberg than to Henry James.

Twentieth century French novelist Raymond Queneau opined that all Western literature was derived from either The Iliad or The Odyssey. Despite the fact that we are so clearly now living in an Iliad world, our literature largely ignores the vast number of ordinary men and woman playing at the corners of the stage.

The contemporary British poet Alice Oswald has written a book of poems based on The Iliad – only she has removed the central conflict between Achilles and Agamemnon and retained only the stories of the lives and deaths of the bit players. In The Guardian (U.K.) review of Oswald’s book (Memorial: An Excavation of The Iliad), critic Sarah Crown writes: “In [Oswald’s] version, the absence of the monolithic main characters leaves the histories of the foot soldiers who died in their shadows exposed and gleaming, like rocks at low tide.”

In a time of historic economic inequality and the deaths of countless poor people in worldwide wars, both civil and international, it is indeed time for the chorus to have its say. To paraphrase Barry Graham, it’s life as we live it now.

—Larry Fondation

Mass Migration of the Homeless (Novel Excerpt)

They packed up their tents and their cardboard boxes and everything they owned, all now and all at once, and they began to move. They put their things in shopping carts and in backpacks and in anything else mobile and nothing else changed except they were on a march. The dirt brown smog still blocked the San Gabriel Mountains and there was of course still no way to see the sea.

“Who said for us to go?”

“It is time to go.”

Later, no one could say where those voices came from.

Yet no one ceased to follow the sourceless command.

Dare is an awkward word, one destined to ambiguity and the ash heap. Doubt fares better. Nonetheless doubt in complete abeyance causes stirrings still.

At each step something was left behind: a shoe, a blanket, a memento mori, gravestones at Old Granary. Samuel Sewall is my hero.

From ashes to ashes, from dust to dust is no more than the 1st Law of Thermodynamics and vice versa.

But the shopping carts continue to roll.

The Army of the Ragged crosses Central Avenue and soon approaches Main, barricades at the gates, barbarians hard to find.

The trucks full of immigrants dispatched to gather back the stolen shopping carts meet resistance around Broadway and have no choice but to turn around.

The dreadlocked blonde girl is cuter than most. We stop along the route, pause along the pathway.

“What prompted this march?” I ask stiffly.

Through one bend of earshot and through the same refraction of the honeybee’s eye, she says, “We must move on.”

Another listen, ears bent 90 degrees, and she says, “I don’t know.”

Either way, the caravan approaches Main Street.

People are drinking Veuve Cliquot at Pete’s Café. The widow watches warily.

Time stops.

The LAPD intervenes.

But there is no time to go home, no turning back.

Godel is triumphant.

The parking meters are full of remnants, stuffed with memorabilia.

Soon to be capped, the contents captured for all time.

The migrants do not get to Flower Street, let alone Figueroa. They magically turn up at MacArthur Park.

Shopping carts are unpacked, tents are reassembled.

Police presence vacates as the sun sets, officers off to greener pastures.

We de-camp.

Clara Bow dances at the Park Pavilion.

We fuck in the dark hotel. Nobody’s paid the electric bill, nor for running water. Darkness is so romantic, candlelight hard to find. Moonlight is scarce. Her thighs are so pale they shine.

Nothing changes.

Little changes.

Everything changes.

The tent I pitch is not my own.

Though not studied by Darwin to my knowledge, crows are said to be the smartest birds. I rarely fear the ravens that gather on the electric wires and perch on the telephone lines. O’Casey’s crows steal hen-house eggs with impunity. Is it blue or rose, Picasso’s “Woman with a Crow” of 1904? Or right in between? Crows crack open nuts using traffic, deploying signals — stop, go, walk, don’t walk. This in Sendai, Japan. While across a thousand seas, Betty bends a wire. Not to mention New Caledonia.

Gleb returns home, to Dasha, but all is gone, all has changed, everything gone to shit. Livestock roam the streets, factories barren, most men dead, all life ravaged. I want to live in Pleasant Colony. I know what I am talking about, dammit!

The Eviction (Short Story)

The house
It’s the last night
She has a bottle of wine
Helicopters fly above us
Overhead
Let’s fuck
She says
I worry and struggle to respond
The bank and the realtor
Lawn signs
Elections and evictions
No difference
Candidates
Revolution deferred
Sand scrapes my face
In the last night in my backyard
I love her
Tonight is different
Divorce shows on TV
Watching intently
Looking at the news
I hear your point
Earlier she’d gone to the salon
Nails sharp
The Exodus from Saigon
Better than now
She comes close to me
The Abbot in full control
We did not prepare
The Marshals arrive in the morning
I cannot get hard
Monks and morning
Stars require night
She persists
We will not live here anymore
Limits approach zero
I drink her wine
Light dawns over darkness
No reason the night should end
She has my cock in her mouth
I try to prolong
Not the moment but the history
My mother says we can stay with her
Mother’s nails are long
She has her price
Sequester is approaching
I can pay her bill
The Borgias didn’t last
Real estate in the desert
Bankruptcy
Value lost
I love my mother
I love my wife
The Ganges is an end game
I stagger to the stereo
Lou Reed, the Gap Band, Tame Impala, Cody Chrdnutt
Will the pawn shop pay?
She pulls her pants down
She takes off her bra
She talks dirty about my mothers fingernails
I cannot help myself
The truck comes in the morning
Eight o’clock
I can’t come prematurely
A Catalogue of deaths in the desert
I’ve always hated sand
Sleeping in the truck
Both looking at the sky
The stars invisible
Streetlights blurring light
Next steps
Unsure
Is she mine?
Flatbed
I have books and plants
I’m sad about the Children’s Crusade
Savanrola was not all bad
History sucks
She makes love to me
We have a home no more.

Mistaken, misbegotten (Short Story)

Mistaken, misbegotten —
They gather in the parking lot.

The streetlights flicker on and off,
The power almost gone.

She looks at me like Circe;
I chew the plant leaves of my own accord.

She tells me the victory at Plataea still weighs heavily on her mind;
I let her know that I have stopped thinking about it .

The flavors are all pungent now;
Everybody here has wished for adoption —

At one time or another,
Or evermore.

We move inside to darkness,
Then some lights turn on, though darkly, dimly.

I once was lost at sea, she says;
“Can I buy you a drink?” I ask.

As a soldier, I never surrendered.
Perhaps my time has come.

She will drink with me but I can never touch her;
I tap her glass with mine.

Out there: the sounds of gunfire;
Here it seems quiet perhaps.

The band begins to play.
She pulls out a knife.

“Will you die for me?”
“Yes,” I say.

We are not in Spain or France, but the music is basque:
Alboka, Txistu and tambourine.

She motions me to stand and I do;
She dances beside me without touching me, and I follow her lead.

Time is decades earlier;
I don’t want to know where I am.

Her dark hair is much shorter than mine;
Her long nails glisten in the inconsistent light.

I believe in infinite divisibility, the definition of atom notwithstanding —
She has me now.

I try to find things to say;
We order another bottle of wine.

“You know that you’re remanded to me tonight?” She says.
“I know,” I say.

I pay our bill;
We leave into darkness and night.

Larry Fondation is the author of five books of fiction, all set primarily in the Los Angeles inner city. Three of his books are illustrated by London-based artist Kate Ruth. He has written for publications as diverse as Flaunt Magazine, the Los Angeles Times, Fiction International and the Harvard Business Review. He is a recipient of a Christopher Isherwood Fiction Fellowship. In French translation, his work was nominated for SNCF’s 2013 Prix du Polar.

Taxol: Poems — Fleda Brown

Sep 032015

Hair

Like light from the stars, all’s been decided,
nothing to do now but watch.
The time between stars is vast,
but the sky shows them all at once,
an impression, the spirit of the thing,
like a field of frail hair-stubs on the plain
urn of the head. An impression
of an ancient vessel with its slight fault-lines.
I peeled a golf ball, in the days
when it was rubber-bands all the way,
not gel in the center, down to
a marble-size ball near the end made of
only itself, fiercely spirited.
My golf-ball head, my memento mori.
Stay, I say to my head, looking back at me
in silence. Stay, I say to my love,
who runs his hand across his memories.
Always, he says, even though I am inside-out,
pink and surprising, burning
with the residue of past civilizations.

Rain

It is raining here. If we flew to Vegas
it might not be raining, but everything
would be so different, rain would be
the least of it. Water is dripping off
the roof right in front of our eyes,
repeating, as if we were idiots, “See,
it’s raining.” If it’s not raining where you
are, you can imagine our rain, individual
drops coming so fast they merge into
a pale roaring through the downspout.
While you’re at it, you might imagine
sheep in the field, wet but not soaking,
because of oil in the wool. Happy enough.
And lots of scattered rocks, because we’re
in Grasmere, in a B & B called “Raise View,”
with blue hills through the rain. We
don’t care if it’s raining because we’re in
Grasmere, and that’s part of the ambiance.
How nice that we’ve gone there, if only
for the moment: that morning with
the delicate teacups and scones, and rain.

Taxol

I was just thinking about the paradox of the word chemotherapy–that it’s healing/curing: therapy, a word whose root has very much to do with care also–ministering; in the Iliad and Odyssey even a squire could be called a therapon–
the one who administered to the hero, putting on and taking off his armor, etc…

And chemo is chemistry, potentially substances that aren’t normally
encountered in the body…But you know what? I thought a little further in my
nerdy little etymological brain, and I believe the “chem” part, taken from
alchemy, is originally the Egyptian [khem], which is the precious fertile earth
from the Nile flood, the black gold from which alchemists tried to derive the
metal gold.

So, that may be something. “Ministering to the body with precious black-gold
earth?”
…………………………………..–my student Ela

The molecule that oddly binds to a cell’s
hollow tubes, that holds them in paralysis, that stops
…………..their wild replication.

That requires all the bark from one rare yew
in the old-growth forests of the Pacific Northwest to save
…………..one person. Also the home

of the rare northern spotted owl.
Now you’re up against the press of need, of cost.
………….The bloody essence, the drug-war

of it. Everyone’s stake. Don’t sleep under the yew
if you don’t want bad dreams. In ancient English graveyards,
………….where the yew’s planted

over graves, rats die. Let the roots
talk to the dead, as the Druids did. There was the woman
…………..who only touched

the hem of Jesus’s robe and was cured.
Likewise, it turns out that simple needle-cells grown
……………in fermentation tanks,

a brew, an essence, is enough. But will this
life be saved? Won’t it? I ask this with reverent earnestness,
………….as the complicated foreignness

enters my small vein, chilly as a stream
through underbrush: Taxol, making a pressure, an ache
…………..farther down my arm,

where the nurse places a warm pack
to loosen the valves, the barriers, to keep death’s molecules
………….going where they’re meant,

into the deep forest of the body,
mine, mine, only one of me in existence. Who touched me?
…………..Jesus asked, so subtle the solution.

Blue Angels

………….When, for example, you’re running
the lint roller all over your black dress
before the party, up and down to the hem,
you may notice the grace in this preparation,
its turning and gathering,
the tiny flecks that look black against
the white but looked white against the black,
and that strangeness may make you smile,
a small thing, but it’s as if the sky cracked
open a bit, the sky that all your life
keeps trying to draw close,
like bedcovers.

Angels can come from anywhere,
a host from inscrutably high tearing straight down
toward your ice cream, your partially
melted scoops, one Dutch chocolate, one salted
caramel, before they turn and climb, leaving
the sky split open in their wake.

Angels can also nose-up and slide
as if they had no care in the world down
before they slowly right themselves, a sign
to you that righting is the proper
thing, really—the mundane engines, right to left,
left to right—the other an aberration.
Still, the one you cheer for. The steep climb,
the riotous splitting away
into a sky-flower of vapor trail.

Fawn

A fawn the size of a cat with long legs was left
in the tall grass in her yard. Mothers do that
until the fawns can keep up—they come back
and get them in early evening. M— knew it was there
because it stood up once. So sweet!
She waited all evening for the mother to come,
the reunion, the way they nuzzle and the baby nurses.
Around 9:30 a doe came and left. Then two more
came and sniffed. The fawn has no smell.
Usually it stands and they spot each other.
It got dark and then cold, cold rain,
even lightning. M— was in agony, truly.
She lived so far out of town, each event was hers,
only. How was the fawn to survive
without the mother’s warmth?
She felt she was in charge of life,
……………………..no, it was the weight
of watching, the inability to look away.
It was her country that had abandoned its delicate
balance, the armored tanks, the night-vision
goggles. Nothing but window-glass between her
and foreclosing darkness. Should she try
to warm the fawn in her studio?
What if the mother came? All night she lay,
worrying. She almost got up several times, as if
stirring and pacing would solve this.
At 6:30 a.m. she went out. The fawn was gone.
Mother? Coyotes? Then she saw
the mother’s hoof-prints with the tiniest hoof-
prints beside. For a moment she felt
shallow-rooted, with nothing, nothing in sight,
to show her how to withstand
such violent alternations, such grace.

— Fleda Brown

Fleda Brown’s eighth collection of poems, No Need of Sympathy, (BOA Editions, LTD) and her collection of essays, Growing Old in Poetry, with Sydney Lea (Autumn House Press) came out in 2013. Her memoir is Driving With Dvorak, (University of Nebraska Press, 2010). Professor emerita at the University of Delaware, past poet laureate of Delaware, she lives in Traverse City, Michigan, and is on the faculty of the Rainier Writing Workshop, a low-residency MFA program in Tacoma, Washington.

Gravity’s Box: Short Story — Mark Jay Mirsky

Sep 022015

A: THE FIRST PERSON.

I WOKE UP DISLIKING MYSELF.

I was going to say, “hating” but that sounds grandiloquent, as if there was something massive, majestic, in the weight of who I have been.

No such luck.

Gravity was not holding me down in the bed.

No.

Nor the thought of those perfect round twin globes of yours.

Above, below.

I have been watching the energy level drop lately, the bounce of electrons, so that it’s hard to roll out of the sheets and rise up. Science tells us that this may be a general phenomenon. It’s not just me. It means the critical mass has dissipated further, passed out of the universe, space, in a loss of gravity that is accelerating our expansion towards nothing, absolutely nothing—Einstein’s “Cosmological constant” which became his nightmare.

We aren’t made of much anyhow it seems. More of that later, but the statistics shows that everything we know about and identify as “matter,” every bit, is only a possible paltry five percent of the universe. And this together with all manner of whatever else makes up everything we know for sure of, or can postulate with any assurance might exist, according to the physicists, is rushing. It can’t get away from itself fast enough, every moment faster and faster through the vast space of the galaxies. Yes, the negligible five percent of the universe that Science in the year 2004 thought we were made up of (who knows what the future will bring?) together with the rest of all of space and time’s normal matter; protons, neutrons, electrons, our bodies, minds, thoughts; everything we can touch and feel—sand, rock, water, the swell of your belly (no matter how much I want to stop and stroke it) was expanding faster and faster like the skin of a repulsive balloon into emptiness from which there is no return.

This is our birthday card from Science, with a capital S

On a more intimate level, a former student writes that her new teacher is, a light unto the universe. This latest professor, predictably “a brilliant woman,” has taught my student finally to “feel, express herself,” explicated texts that “make everything obvious,” and promises to make my former charge’s life “worthwhile.”

After this last, my student adds—a barb to points just scored—a meager phrase in which she acknowledges my “brave effort” a year ago to help her.

Why did she do this?

I never touched her belly. Never even thought about it. Not seriously.

Negative gravity, repulsive gravity, in some intricate flip-flop Science tells us is going to do us in.

Science, which is supposed to make things clearer, has concentrated on Dark Matter in the past few years. Dark matter! O Massa! Words like these are sheer metaphor. They say everything.

Science, which is supposed to shine light into darkness, tell us what lies in there, or out there, be a lamp unto the universe, speaks “darkly.” The best it can do is spin me around with the table of elements in a Black Hole.

Just as a matter of political correctness couldn’t Science have spared us the Black Hole, packed all the Dark Matter into one “White Hole,” “Rainbow Hole”? Wouldn’t that brighten life on the “Event Horizon”—the thought of a wild burst sucking us into the Mother of All Holes?)

Didn’t the Elizabethans think of sex as a form of happy extinction?

I am ready, however, to pass quietly into the Dark Matter and be done with it deep in a Hole.

You had denied me even a gentle movement of my fingers over your belly.

You didn’t need to say anything, just shudder, and I felt it.

Negative gravity.

Negative gravity is responsible for the measurable disorder into which I am disintegrating as I speak.

Negative Gravity is a repulsive force.

This explains why you didn’t just let a tremor of repulsion brush “it “when I put my hand on your belly charmed by its youthful shape; but turned your haughty eye on me.

Why did I have three children, embark on a university career, write six novels, four of which are presently gathering dust on my shelves?

Was it all just a futile battle against Negative Gravity? There is a more terrible threat than just Negative Gravity looming over my bed. Einstein in a discouraged moment imagined it, dismissed it but too late. (He understood the consequences of letting it into the scheme of things).

Einstein remained an optimist. Getting along, in the eyes of the world a lonely old man—he took off his socks. Imitatio Einstein. I intend to go out on Third Avenue without socks. (In former days, Third, or the Bowery, was the haunt of old men without socks or shoes too for that matter. Were they reaching toward a further asceticism, a horde of sun burned gurus? Third below Fourteenth, under the old, lamented subway ell, avenue of intoxicated Einsteins!) What did Einstein on his legendary walks without socks think of his nightmare, the Cosmological Constant? Its bugaboo—negative gravity pushing things apart in the whole universe, between me and you?

Watching my children’s movie fables, Lord of the Rings, etc., a heap of rubber Boogie men and their dragon mounts, push out of the corners of the family toy chest, I sigh. Happy Days are Here Again. At four and a half the Atomic bomb went off unexpectedly and with it proof that my toy chest only held a negligible fraction of nightmare. Every ten years the shadow on the horizon looms larger, proof of the expanding universe. Atomic explosions, then Hydrogen, followed by Black Holes, and looming, the Cosmological Constant—acceleration towards chaos!

B: SECOND PERSON (HYPOTHETICAL)

Every person carries a locked box full of forbidden thoughts, acts, possibilities with them, you think hurrying to your appointment with the young woman. She has alternately teased you—brushing her long limbed body against yours so that the heat of her lithe excitement passed into your legs and lap sodden with the beer she poured continually from the cask brought at her request—then lightly pushing you away, finally responding stiffly when you took her hand to say goodbye.

At the end of the evening, the box feels empty though on the way over its secrets threatened to burst the lid.

Why is the box empty? Symmetry would seem to underlie the cosmos. As she withdrew her excitement in you, an electrical spark flickered fainter and fainter toward her. You noted the lines burnt under her eyes. The disorderly charm of her hair dissipated and left it simply unattractive, a bird’s nest. Her description of her present boyfriend who was not sure what he felt toward her seemed more and more to fit your own feelings for her and the decision she articulated to simply withdraw from this man, ill matched it seemed except for that initial rage of voluptuous desire, and spend the time instead in books was exactly what you recommended to yourself as you walked, weightlessly, from her front door.

Entropy suggests the arrow of time in some models of the universe. In the most accurate modes of this one so far, all things process toward greater disorder and appear to fall apart.

What had been in the box for that brief moment when it seemed to contain not just an irrepressible amount of energy, but the secret of time turned back, bending the powerful arch of its arc? At least in your eyes you saw from another angle, one in which you could recover youth.

Is each human body a cosmos in which the story of the universe after the Big Bang is enacted? In the world of chance or planned encounters does the body set the individual spinning from the tight order of conception and birth to the disorder of death?

O it was too abstract!

Touching her breasts you had wanted to feel them swell with the promise of excitement she could not contain, and wanting that same lightning thrust from you to her. She drifted off into sleep instead. You got up bewildered, leaving her peacefully passed out on her couch.

Why had you come there though, feeling as if you held in a locked box what you missed previously? Was it the words, sentences that seemed to vouch for what you had missed, touching her breasts’ perfect tips, the sudden charge of pleasure, blinding, transfixing them both?

“Beyond time lies cold space and what does that imply?”

She is mute.

“Nothing.”

C: THE SECOND PERSON INTRODUCES A THIRD PERSON

How can you tutor her into seducing you? Try to break the silence? “Words, yes words are what allow human beings to escape into another dimension, even if it is an illusion. Dante is taught that lesson in his The New Life, by the “women who have intelligence of love.”

“‘Donne ch’avete intelletto d’amore.’”

“Are you going to give a lecture?” she asks.

Why don’t you go to the bathroom now? you grumble in your thoughts, anticipating her question, your reply. “Take The New Life with you.”

It’s hopeless. The copy you brought last week lies bedraggled on the couch. She is immersed in Home Economics, “How to Catch a Husband.” Nevertheless, your fingers strum over the little silver cords.

“‘Women who have intelligence of love!’ Why does the Florentine address with these particular words those teases of the 13^th century?”

You hope your barb is sinking into her creamy flesh. You declaim. “Tall, slim young women, still unmarried, they gather at a street crossing, then walk to and fro together.

“They have all been to the right school.”

Her nose twitches. She is still insecure about not attending an Ivy League institution. Good! It’s unfair, cruel, but for a moment you have her. “‘Laughing among themselves,’ Dante tells us, the women exchange secrets in the street. One of their schoolmates is now locked behind the bedroom doors of marriage, but she, Beatrice, obviously confides to these abettors of Love, instructors in the arts of mystical courtship. Dante has advertised his broken heart. Prepared himself with wan expression, suppressed groans as these daughters of the best families approach. Courteously, he pretends to encounter them by accident. Con cio sia cosa che per la vista mia molte persone avessero compreso lo secreto del mio cuore, certe donne.”

You read the Italian from the copy you gave her, retrieving it from the cushions. As she looks puzzled you are forced to speak plain English. “When that thing was so in my face that many people had understood the secret of my heart, certain women . . .”

“Do you talk about me?” you want to ask. “If so, to whom? To what do you admit? Can’t you see that I am making a fool of myself for you?

“Why do you stare at me?” she asks taking another swig from the can in her hand, looking up at the ceiling. She has seen nothing in your face or chooses not to. Dante’s “secret” doesn’t interest her.

Why am I here? You ask yourself, but mutter, “Fortune.”

“Fortune?” she echoes, a dutiful but bored chorus.

“Dante claims Fortune brought him by the knot of heartbreakers parading up a street where they sweep along, daily, gossiping.

“Fortune? Do you believe that?”

A pause. “Or his story about encountering Beatrice’s friends ‘in the street one day’ quite by chance?”

“I didn’t get to that part, yet,” she sighs.

You try to greet her where she sits across from you, reclining in a collapsing armchair, as if she was one these women, girls in grace but beyond their years (nineteen, twenty?) in sophistication. Dante’s appreciation is summed up in the words he speaks aloud to the young woman and you apply it to her, crying out, “Donne gentili.”

A wrinkle of boredom in her brow signals to translate. “One might ring a series of adjectives, Women who are gentili—‘noble, elegant, well bred, heartbreakingly lovely.’ One steps out of the circle to mock. ‘She called me by name. “Dante, Alighieri, to what end do you love this, your lady, since you are not able to endure her presence? Tell us, for certainly, one may agree that the end of such love is bizarre, novissimo.”’”

You taste the condescension in that phrase, “novissimo.” “I could translate, ‘strange, novel, singular, most unusual,’ but somehow I feel the throat of Dante’s speaker warbling the ess’s, her eyebrows raised, and so, ‘bizarre.’”

The young woman you address ignores your hint. Instead she echoes, “To what end?” It has an ominous ring.

You ignore her question and go on. “‘When she had spoken these words, not only she, but all those who were with her, began to observe me, waiting for my reply.’”

You take a deep breath, hoping in the silence the she opposite will express some interest, in your explication of La Vita Nuova (for a week now you have been praising it as a manual of secret love), or at least respond to the suggestion that through poetry she can engage in an elaborate dance with you.

“He sets the donne gentili a riddle. ‘Ladies, the end and aim of my love was but the greeting of that lady of whom I believe you are speaking; wherein alone I found that bliss which is the end of all my desires. And now that it has pleased her to deny me this, Love, my Master, of his great mercy has placed all my bliss there where it will not come to less.’”

By this time, you are convinced it will “come to less,” at least this evening, but continue as if you could achieve the force of irresistible, positive gravity with words.

“Dante has changed the subject. They have teased, ‘Why should you pay attention to a woman whose beauty so upsets you that you cannot bear to look at her?’ Dante complained that Beatrice will not longer look at him, but, no matter, he has found a source of ‘bliss’ that is just as good as her greeting.” You hope for a stir of curiosity.

“‘Then those ladies began to talk among themselves; and as I have sometimes seen rain mixed with the beautiful snow fall, so I seemed to hear their words come out mixed with sighs. And when they had spoken among themselves awhile, again, she addressed me.’”

You listen. You hear no sigh, just the sip of beer against her lip as she guzzles her sixth can. You wonders if she is letting you go on because she is dead drunk.

D: THE SECOND PERSON THINKS “ABANDON HOPE ALL YE WHO ENTER HERE!”

You go on with your Dante since she has abandoned you, to speak of the noble young woman. “‘She addressed me,’ which indicates that we are to fill in for ourselves the silence in the street, the sighs in the circle of women who no longer laugh, but feel for the young man who stands before him, sighing himself softly, so he hears it as a hush on the pavement. That image of death, the snow mingles in Dante’s head with the incessant cold rain as beautiful, comforting. The princess among the young women, who mocked his behavior as ‘bizarre,’ takes up the poet’s challenge. ‘This lady who had first addressed me, spoke these words, “We pray you tell us where this ‘bliss’ abides?’”

“Dante’s reply is arrogant. ‘In those words which praise my lady.’

“The young woman, who is the arbiter of the group, now trumps him. ‘If your speech is true, those words describing your condition, would have been fashioned with another intent.’”

The young woman gets up from the armchair. “I’m sorry, she says. I have to go to the bathroom.”

E: THE SECOND PERSON BEGINS TO TALK TO HIMSELF.

He thinks he has been rebuked and given a lesson in courtship. Either he is lying to them now, or his poetry has fallen short of his intention. He has been whining in his verse. These young women in the street, the friends of Beatrice have administered a shock to his pride both as a poet and a young man intent on love. In plain vernacular they sum up his problem, ‘This is no way to woo her or any one of us. What praise is this talk of earthquakes, this perpetual weeping? Our beauty should cause joy not misery? Stop whining!’”

“Should I stop?” you ask. She has come back from the bathroom in the interim and waves you on. The pause has taken four or five minutes, in which time you have decided with the poet to take another tack.

“Dante’s tongue is frozen for several days as he admits. He still wants to write poetry, but now he doesn’t know where to begin. When he does, his “words” are different and he addresses them in gratitude to, “Women who have intelligence of love, Donne ch’avete intelletto d’amore.” “Refined and sensitive in love,” one translator proposes, but it is the lesson that Dante is referring to, and therefore the ironic echo of the pedantic, addressing the young women as students echoes in his compliment.”

I am counting on your intelligence too, you think, for something to come of this.

“It is a ‘love so sweet’ Dante sings about now, that it threatens as the musical rhyme comes tumbling, ‘to make lovers of you all.’ Don’t stop, dear words, my verse, he cries, with anyone vulgar, but ‘solo con donne o con omo cortese,’ ‘only with women and men of refinement,’ who can help. ‘Sensitive,’ the translator offers in English for the Italian of ‘cortese. linking it to his previous ‘refined and sensitive,’ ‘Stop and sing only to those who are themselves lovers.’”

“Love is with his lady, Dante is sure. She is already in love, not just with one, but many. Can she begrudge Dante Alighieri her marvelous greeting that transforms all who receive, who obtain just the glance of her eyes?

“How does Dante know this?” you ask out loud.

She is mute with alcohol but you supply the answer. “The circle of young women buzz in agreement. ‘Love and the heart that is gentil, gracious, /are but one thing,

“‘Beatrice, you are consumed. I feel it. You radiate love.

“‘You and love are the same thing!’ Dante cries aloud. And Beatrice’s friends go singing this.”

“Are you leaving?” she asks.

“Yes” and you mumble at the door, hoping for a reaction, Despite the fact that she let The New Life you gave her, get soaked in the rain while she trekked around the city with a boyfriend, she might have thumbed a few pages in it. “I can’t endure your presence.”

“What did you say?”

“Were you listening?”

F: THE FIRST PERSON DECIDES TO TAKE A HAND.

It is the cosmological constant that is at fault here. Gravity working against us: everything flies apart. I have to use the force pushing me out of existence to assert itself. Reverse engineering of a sort.

“Come into the shadow of this red rock, Jack and Jill. I will show you something… Entropy!

“Jill, let me rest my head on your tummy.”

“I am reserved for a great one of the land,” she whispered. It came out a bit more crudely when I asked, persistently, why I was no longer allowed proximity to what lay under her clothes, or even flashed out between her belt line and her blouse, as pure temptation. In fact she said nothing at the moment when I made the gesture in the direction of her belly button. It was earlier, discussing a fellow poet’s attempt to book a hotel room for the two of them in a city where he was giving a lecture, that she remarked, “Who does he think he is? If he were a great writer, I would consider it.” She laughed, tossing her head, seeing me nod in agreement with her admirable taste.

Later, not much later, maybe a minute or so, I understood her attitude toward my own talent, implicit in this regard.

I tried to scare her with the Cosmological Constant. “Gravity is coming to get you,” I warned. “You better watch out.”

Gently, very gently, I explained how her belly with the rest of the universe was expanding and that soon it would not be fun to spread my palm over it.

“No, no,” she cried, truly convinced, in awe of the approaching Constant. I congratulated myself. I prepared to snuggle up when she whipped out a cell phone and called a girlfriend. She was ready to curl up in a hidden dimension but not with me—“words, words, words,” floating free of gravity.

G: ABANDONING PERSONAE

“Words are things” is the insistent refrain of the testament of Moses.

It is those laughing words of hers that have filled the box and he has lived in them for a moment, building in their dimension a hidden abode, resting, from the speed of light bearing him off in his own trip toward entropy.

His own words had weight as well for a moment. Our narrator felt that, but also the danger of extending his fingers: trying to fix her in their web instead of what he had just recited—rhymes meant to vibrate in her now as if he had reached into chords running through her musculature where she responded in delight.

Why follow up those delicate tremors that passed between them in the air at a space of six, seven feet with the brutal thrust of knees, wrists, assuming he pinned her on the floor, couch—or pushed her back into her bedroom, with the emergence of a third party insisting on a corporal, probably unwelcome entry.

Still one wants words to do things. Wants words to translate into mass, and mass into energy. Dante, who pretended to take comfort in his lines of poetry tripping through the streets of Florence, sees words in their character of sounds, images, as only the first stage in his courtship. Academics rarely hear Dante’s wry humor, as he appears to bow his head and accept the rebuke of his beloved’s girlfriends, resign himself to being hopelessly removed from her body’s pleasures in the wake of her marriage.

Words pass though the windows, and come like a fever’s germs on the lips and tongue of those who repeat them, the magical rhymes which go on singing, singing in the ears of Dante’s Beatrice. She locks herself in her bedroom the better to hear them, as they inscribe themselves in memory as a code that turns the body to desire as the secret strings of the genetic code.

This is Dante’s string theory. It works if one is to believe the testimony of La Vita Nuova. Beatrice unites with him in perfect union, indivisible symmetry; if one can specify mystical love in contemporary syllogisms.

Is string theory nonsense as physicists try to understand it? No one knows for sure. The tropes of Science served Shakespeare, Dante, but the box of words, which my personal pronoun carried back and forth to her apartment in the East Village, is empty.

The spirit has fled the vowels. The consonants lie collapsed.

What did she write?

“I miss you.”

What did he read into that as it flew into the box?

“Snuggle up”?

“I have ten dimensions, only three exist in space and a fourth in time. Find me!

“Most of me is missing.”

The “dark matter” in the box begins to move as he thinks about it.

How about the “dark energy” that seventy percent of the universe that’s really missing?

No, better to stick closer to what one might be able to grasp, the twenty five percent he can guess at.

With words though, he is down to the five percent of real matter, since they generate sound waves, measurable amounts of energy expelled at her from his voice box. And the words held in memory? Don’t they flash in tiny electrical currents each time he thinks of them?

Don’t they summon up the smooth touch of her skin, as she lay back naked against him on the bed? He can feel his pleasure again at her high, small breasts and the curve of her buttocks against the mattress; the way the classic line of her face recalls a fragment of classical statuary; its nose roughened in the excavation after a millennium or two under the earth. He wants to enfold himself in her porous marble and take flight.

What energy had given the image the power to make him whirl, giddy, barely holding on to the box for a moment?

Like a speck of quantum matter, in being observed, it had changed direction, spin, position.

There, and now, it was gone.

—Mark Jay Mirsky

Mark Jay Mirsky was born in Boston in 1939. He attended the Boston Public Latin School, Harvard College and earned an M.A. in Creative Writing at Stanford University. He has published fourteen books, six of them novels. The first, Thou Worm Jacob was a Best Seller in Boston; his third, Blue Hill Avenue, was listed by The Boston Globe thirty-seven years after its publication in 2009, as one of the 100 essential books about New England. Among his academic books are My Search for the Messiah, The Absent Shakespeare, Dante, Eros and Kabbalah, and The Drama in Shakespeare’s Sonnets, A Satire on Decay. He edited the English language edition of the Diaries of Robert Musil, and co-edited Rabbinic Fantasies, and The Jews of Pinsk, Volumes 1 & 2, as well as various shorter pamphlets, among them one of the poet, Robert Creeley. His play Mother Hubbard’s Cupboard was performed at the NYC Fringe Festival in 2007. His latest novel, Puddingstone, can be found on Amazon Books, both in digital and print-on-demand editions.

He founded the journal Fiction, in 1972 with Donald Barthelme, Max and Marianne Frisch, Jane Delynn and has served since then as its editor-in-chief. Fiction was the first American journal to publish excerpts in English from the Diaries of Robert Musil. Subsequently it has published translations of plays and other materials of Musil.

Mark Jay Mirsky is a Professor of English at The City College of New York.

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

Sep 012015

Crinolines on fire, 1860, Creative Commons Image

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Julian Hanna photo

—Julian Hanna

Julian Hanna was born in Vancouver and is currently self-exiled on the island of Madeira. His research on modernism and digital storytelling appears regularly in academic journals; his creative writing has appeared in The Atlantic, 3:AM, Flash, Minor Literature[s], Cine Qua Non, and elsewhere. Find him on Twitter @julianisland.

Numéro Cinq at the Movies: Roy Andersson’s “World of Glory” — R. W. Gray

Aug 142015

Roy Andersson’s “World of Glory” opens with unspeakable horror: a truck load of naked people, a child last, are herded into the back of a cube van, the doors locked, and a hose is connected between the truck’s exhaust and the back of the van that holds the people. This allusion to the holocaust is made more horrific by the crowd of people watching on as the scene plays out. Halfway through the scene, and then again at the end, the film’s protagonist looks back at the camera, at those of us watching, drawing attention to our watching: it is an incriminating glance that identifies us with the others who stand idly by. We are complicit.

This horrific spectacle is at odds with the rest of the film’s numb and disassociated narrative. The protagonist who identified our complicit gaze at the beginning of the film directly addresses the audience and introduces us to his mother, the bed he sleeps in, his son, his brother, and various other mundane details as he takes account of his life for and through us. What’s left unresolved by the end of the film is what this mundane life, bracketed by the first scene’s atrocity and the return of the screams at the end, amounts to. What can this one man’s fear of his mortality mean in the face of his complicity in the deaths of so many others?

Andersson fixes the camera on this man’s life, holds the shots painfully long, and chooses a mise-en-scene that agonizingly attends to this man’s life. In her article, “Roy Andersson: From Mordant Ad Director To Philosophical Filmmaker,” Neda Ulaby discusses this style of Andersson’s:

“He eliminates the editing entirely,” Linqvist says. “There is no editing within a single shot. The camera does not move. And so it’s our eye that has to move, has to roam around the picture.” Andersson demands we pay attention; he refuses to manipulate us with close-ups. And his filmic philosophy is also expressed through lighting. “I want to have light without mercy,” he says. “There are no shadows to hide in. You are illuminated all the time. It makes you naked, the human beings — naked.”

“Light without mercy. ” At the screening of his new film at the Toronto International Film Festival last year he added,“So the truth can’t hide.”

Ideologically, Andersson’s style has a lot in common with the Italian neorealists and those who have followed in their footsteps. He uses real people instead of actors, and avoids “artifice in editing, camerawork, and lighting in favor of a simple ‘styless’ style.” The intent here is to lay reality bare.

Andersson departs from the neorealists in how he chooses to stylistically emphasize the bareness. “World of Glory” is clearly an Andersson vision with the washed out florescent lighting, the pale visages of the actors who appear drowned or corpse like, and the staged and theatrical mise-en-scene. In his explanation of his most recent film A Pigeon Sat on a Branch Reflecting on Existence, Andersson describes a connection between reality and fantasy in his work that equally applies to “World of Glory”:

“some of my favourite Neue Sachlichkeit painters include Karl Hofer, Felix Nussbaum and Georg Scholz. Their combination of reality and fantasy resulted in abstracted condensed realism, a kind of “super-realism”, an ambition that I also have for A Pigeon Sat on a Branch, in which abstraction is to be condensed, purified, and simplified; scenes should emerge as cleansed as memories and dreams. Yes this is no easy task: “c’est difficile d’être facile” – it is difficult to be very simple, but I will try.”

In the push to get to the truth in reality, to make it simple, Andersson paradoxically stylizes it, exaggerates it. He condenses the complexities of real life into a simple juxtaposition between atrocity and the mundane.

Andersson connects one man’s mortal fears, the lurid, almost pathetic, small things he holds on to as normalcy against life’s passing, and the awful crime that haunts the film. “World of Glory” suggests that the most remarkable thing in this world is our insensitivity, our passivity, our disconnection. Glory exists is an absence. In his other works, this leads to moments of great awkward laughter, yet here in this small film he holds us to the pain. Maybe in that pain lies the hope of glory.

— R. W. Gray

Small-City Chatter: Review of Jeff Bursey’s Mirrors on which dust has fallen — Mark Sampson

Aug 142015

Mirrors on which dust has fallen
Jeff Bursey
Verbivoracious Press
344 pages, Paperback $22.99 CAD
ISBN: 978-981-09-5437-6

NOBODY WOULD ACCUSE JEFF BURSEY of being lax in his demands on literature. In much of his book reviewing and other literary criticism – including pieces published here on Numéro Cinq – Bursey argues vehemently against a prescriptive approach to fiction. He trumpets the elasticity of form; he challenges his fellow novelists to eschew tried-and-true strictures on structure; he shames those who take a paint-by-colours approach to characterization; he begs us to embrace experimentation in the truest sense of the term. Mostly, he hates it when writers make rigid statements about what can/can’t be done, should/shouldn’t be done, or must/mustn’t be done when it comes to a creative work.

This mindset is very much on display in Bursey’s own fiction. His debut novel, Verbatim, published in 2010 by Enfield & Wizenty, is written almost entirely in Hansard, the official transcriptive record of a Westminster-style parliament. The book is a kind of literary curios: in it, Bursey shows how much of the muck and mess and pulse of a place –in this case, the city of Bowmount in an unnamed, fictitious Canadian province – he can capture via the verbatim excretions of elected officials. Here Bursey hews closely to perhaps an overtired tenet of fiction (write what you know), as he himself works for Hansard in the provincial legislature of my home city of Charlottetown, Prince Edward Island.

Full disclosure: During biannual visits home from Toronto, I will summon Bursey to attend a social gathering I affectionately refer to as the Prince Edward Island Writers Mafia (members include J.J. Steinfeld, David Helwig, Judy Gaudet, Steven Mayoff, and Beth Janzen) in which Bursey’s position resides somewhere between secretariat and chief thumb breaker. Bursey and I see eye to eye on many – though not all – literary conventions and trends, and I’ve generally judged his reviews, even the harsher ones, as well above the belt. One thing is clear from both reading and socializing with him: he is adamant in his insistence that novels be, well, novel.

Which brings us to his latest offering, Mirrors on which dust has fallen, an explosively unconventional, deeply disturbing, and relentlessly original work. This is not, in effect, your daddy’s Canadian Literature. The novel is set in Bowmount in the late 1990s, same as Verbatim; and rather than dropping the reader in medias res, the opening pages provide us with both general details of the town and some specific issues of the day. One of the larger challenges the city is facing, it seems, is to engender a sense of community among a certain contingent of its populace: “Clearly, for those alleged troublemakers Bowmount was not a community but a point on a map, not a City rich in varied history but a town with a grandiose self-conception.” While these prefatory remarks appear a bit rough around the edges – why is city capitalized here? what is “self-conception”? do we mean “self-perception?” – Bursey does a good job of situating us in a fully imagined and concrete place. (With the novel opening in such a prefatory way, it is unfortunate, and somewhat redundant, that publisher Verbivoracious Press decided to include an incoherent, academically pretentious, and wholly unnecessary introductory essay by Christopher Wunderlee.)

The narrative picks up heft as we begin to meet, through alternating chapters, the book’s motley ensemble of characters. There is Loyola, a university-drop out who works a soul-sucking job at a clothing wholesaler. There is his sleazy, supremely confident friend Jules Deeka, offering all manner of temptation from the wings. We meet a deeply compelling woman named Ivy, who struggles with the onset of middle age and its concomitant frustrations. We get a view into a radio station looking to update itself with the times (at the expense of several of its employees) and we also encounter the local Catholic church grappling with a sex abuse scandal. We lounge around in perhaps Bowmount’s most down-market watering hole, Johnny Bar’s, and we learn about three cops killed in a hostage taking at the local pet shop.

Bursey presents each of these threads in fragmented form, the chapters twitching and looping and hopping from one narrative to the next. Unsurprisingly, these strands intersect in surprising ways, and we soon learn about Bowmount’s darker auras glowing just below its skein of lower-middle class normalcy. What impresses most is the level of occupational detail that Bursey weaves into these stories. He is equally comfortable writing about the logistics of clothing wholesalers and the challenges of running a small radio station as he is about the quotidian detail of Catholic ceremonies and the grit needed to keep a seedy pub afloat. Here is an example of this kind of mastery, taken from a chapter called “The priests”:

The archbishop had descended from the refined heights of Toronto and Montreal, and regarded the priests and laymen of the Catholic Church in this province as boobs. Oh yes, intelligent decisions were made now and then, but less than the law of averages allowed; and of course, good works of a highly Christian nature were performed almost every other week. But to his mind the capillaries of the local Church were clogged by the lacklustre efforts of poor priests recruited from the local population, and by the vapouring laymen and church committees.

This level of specificity helps to offset the larger challenge that Mirrors presents to readers – that of a carefully constructed and confounding set of elisions.

What form do these elisions take? Funnily enough, they are very similar to those found in his previous novel, Verbatim. When you write a book almost entirely in the language of Hansard, (not that you have, or I have, or anyone else has, as far as I know; this seems to be strictly Bursey’s domain), you create the unusual constraint of limiting nearly all of your prose to dialogue – specifically the official dialogue of a provincial legislature. In Verbatim, the novelty of this was sharp and rendered into a very believable verisimilitude. A number of our expectations get thwarted or left out as a result: these elisions include descriptive writing, internal thoughts, and other nuanced interactions between characters.

But interestingly, much of Mirrors is also written in dialogue. There are long stretches that consist almost entirely of two or more characters riffing on each other over some element of their individual narratives, with their exchanges demarcated by dashes. Indeed, like Verbatim before it, much of Mirrors reads like a transcription – and as such, it too comes with various exclusions and limitations. Through most of the book, we get very little exposition, almost no physical descriptions of the characters, and a paucity of internal thoughts or monologues. In this sense, Mirrors is like a mirror of Verbatim. But whereas the previous novel was concerned with the “official-speak” of politicians looking to put their best foot forward and get the upper hand on opponents, Mirrors concerns itself with the rough and rowdy transcript of the street. Its characters talk at length about the filth and failure and frustrations of their personal lives. They discuss thwarted ambitions, secret desires, and their often strange or uninspired sex lives. This is the opposite of politicians’ orating formality in a legislature. This is workaday people being baldly honest in the agora of the public square.

Throughout these narratives, there is one issue, one preoccupation, one motif that occurs and re-occurs. It is an obsession of Bursey’s that I failed to spot in reading his first book and his literary criticism, or in socializing with him personally – that of the human anus. The human anus is, it should be said, the closest thing that Mirrors has to a main character. It makes numerous appearances in the different intersecting narratives of the book. At one point Ivy, suffering from some kind of gastric malady, reflects back on a sigmoidoscopy she received, “its camera transmitting pictures of pink flesh, white flesh, red veins in chain lightning patterns, the camera bungling around the nooks and crannies of her intestines during its serpentine intrusion.” At another point, two men discuss how to prepare for the inevitable unpleasantness of prison life with the aid of a carrot. In a particularly provocative section, Jules and Loyola get into a debate about sex’s more cloacal joys:

– But enjoying it? With a man?

– Before AIDS, when things were safer, you went in the back door with a woman, had a bit of anilingus.

– What? Jules explained, finishing with –a pungent meat, like game, make sure you wash before and after. The fundament is one of those places you get a lot of pleasure out of. Slapping, tickling, biting, kissing, enemas if you’re into that, so why not anal intercourse? Greatest warriors in the world did that, the army, the navy, you name it. Natural. Not healthy, not now, but natural. You’re looking pink. It isn’t the chili, is it?

Of course, not all interactions with the anus in Mirrors is consensual. The book also includes a harrowing anal rape scene, recounted by its perpetrator to the fellow lowlifes who inhabit Johnny’s Bar. This man tells how he stalked a young girl whose clothes (or lack thereof) reveal a bit too much of her backside for his liking. His subsequent assault on her on an isolated bike trail is told in chilling casualness, couched as an act of prostitution because he throws the girl forty dollars before raping her. This is as dark as Mirrors gets, and many readers who find their way to this chapter will no doubt be disturbed by it. As someone who has himself included difficult scenes of sexual assault in a novel, I have no advice or solace to provide other than this: as horrific as the scene is in Mirrors, it’s important to see how it fits into the larger thematic structure that Bursey has built for us. There are many ways this novel shows how the city of Bowmount – rendered into such stuffy officialdom in Verbatim – is still very much in touch with its lizard brain. For all the macro social engineering that occurs at the municipal level, individual citizens still feel – and resign themselves to – their basest human instincts.

The rape scene in Mirrors simply takes this to an unconscionable extreme.

Yet change is coming to Bowmount. Indeed, one could argue that change is the ultimate theme in both of Bursey’s novels. In Verbatim, it takes the form of new (and somewhat corrupted) management at Hansard that actually influences the transcripts of the legislature. In Mirrors, the change comes as an unpleasant intruder into the lives of its core characters. Many of them, it seems, wrestle with the brutality that time can exact on us all and the very instability of modern life. Yet this novel ends on a surprisingly tender note in a chapter called “A new cycle.”

What awaits our intrepid Ivy as she is about to take one step toward a man that she should have been with all along? She doesn’t know, and neither do we, but what we’re left with is the knowledge that it’s probably very important to take that step forward anyway. It’s important that dust not settle on the mirrors we hold up to ourselves.

—Mark Sampson

Photo by Mark Raynes Roberts

Mark Sampson has published two novels – Off Book (Norwood Publishing, 2007) and Sad Peninsula (Dundurn Press, 2014) – and a short story collection, called The Secrets Men Keep (Now or Never Publishing, 2015). He also has a book of poetry, Weathervane, forthcoming from Palimpsest Press in 2016. His stories, poems, essays and book reviews have appeared widely in journals in Canada and the United States. Mark holds a journalism degree from the University of King’s College in Halifax and a master’s degree in English from the University of Manitoba in Winnipeg. Originally from Prince Edward Island, he now lives and writes in Toronto.

Public Opinions—Private Laziness: The Epistemological Break in Nietzsche — Jeremy Brunger

Aug 132015

For a man with such little ears, Friedrich Nietzsche heard a multitude of deep pulses within the heart of European culture. The great despiser of liberalism and humanitarianism was also no less than the great despiser of conservatism and capitalism. As is the case with many important thinkers in the Western canon, Nietzsche’s dislikes greatly outnumbered his likes, just as the contradictions in his thought served to develop them all the better. Adoring power, he hated the powerful of his time for their unearned privileges. Adoring culture, he hated the cultured milieu of his time for its abiding philistinism. Adoring the sanguine bigotry of nineteenth-century society, he hated anti-Semites and the Darwinian biology that Herbert Spencer would later develop into a lethal social philosophy. His reputation in the popular consciousness is inaccurate as often as it is unflattering.

Nietzsche has been called the philosopher of a Hell that would put any of Dante’s to shame; he has also been called the original entrepreneur of the self-help genre. Who can say that most of this popular genre doesn’t boil down to “how to be what you already are?” The majority of humankind sickened him—“suffering from solitude…I have only ever suffered from ‘multitude…’”—even as his own sanity famously deteriorated during his final productive years. The overman himself was a botched invalid, internally contradictory, eloquent even in his madness. It is this aspect of Nietzsche’s thought that proves the most interesting of all his many interesting thoughts. For the epistemological break{{1}}[[1]]In treating Nietzsche’s 1889 “epistemological break,” I borrow the concept from Louis Althusser’s symptomatic reading of Karl Marx in Reading Capital (Verso, 2009), since Nietzsche is, no doubt, better treated by philosophy than psychiatry.[[1]] in Nietzsche, from his relatively sane years to the period in which his syphilis destroyed him, is the hinge of his oeuvre, the unhinging of which provided the world with its own worst reflection.

There is, first, a need for some biographical context. In life, Nietzsche was a soft-spoken, gentle man. Like Schopenhauer before him, he detested the animal vivisection of his time and the Christian dogma which supported it. Descartes had taught that animals were only machines: only humans could say cogito ergo ego{{2}}[[2]]Descartes, the founder of modern Western philosophy, dissected cats in his spare time. Although Nietzsche was morbid, he never was so morbid as that, and hesitated to harm a fly. It is odd that Descartes is remembered as a positive influence and Nietzsche as a psychopath.[[2]]. The beaten horse of Thus Spake Zarathrustra, saved by the anti-Christ himself, is probably the most famous beast in Western philosophy. Nihilism mingled with antihumanism when it came to Nietzsche’s view of war, however; he saw in war a great synthetic process that improved humanity for all its loss of life. This is a paradox, considering he considered himself totally opposed to nihilism in all its forms{{3}}[[3]]See Heidegger, Martin. “The Word of Nietzsche: God is Dead.” The Question Concerning Technology and Other Essays. Harper Perennial, 1977.[[3]]. All of life was a battleground, power was the world’s skeleton, and whoever could not gain power was rightfully doomed to serve those who could. Nietzsche went far beyond a basic philosophy of “sink or swim” in his preachments—he taught that swimming in the ocean was a belittling affair compared to declaring oneself its personal god. He was a thoroughgoing sexist{{4}}[[4]]See Nietzsche. “First Part, 14: On the Friend.” Thus Spake Zarathrustra. Oxford, 2005. Pg. 50. This section, among others, explains the subtleties of Nietzsche’s sexism. In it, he condemns women as essentially still being slaves, and therefore incapable of friendship—even calling them birds and cows—but at the same time he condemns most men for being in the same debased state. It must also be remembered that the narrator is an ambiguous conceit exemplifying madness.[[4]], too, although most men, even Christian men, were sexists in the deeply religious nineteenth century. Had he been more progressive on the sexual question, Nietzsche might have retained more relevance after the sexual turn of contemporary philosophy. Some of his flaws, it must be said, caricature him even at his most solemn.

The timid bachelor held that morality was a mechanism spun into culture in order to enslave mankind to its lower orders and that, once the Victorian liberalism became ascendant over the old feudal regime, the slaves had won the game. Of course, Nietzsche’s view of slave morality was rather idiosyncratic: he thought the rich were slaves, the skilled workers were slaves, and homeowners were slaves par excellence. For Nietzsche, the overman, the man who was himself, the man who had transcended both culture and contingency, had not yet been born. In this respect he thought himself the foe of determinism and the very midwife of a new aristocracy freed from every circumstance save those that were worthy of the next evolution in human ethics. Whether he invented modernism or postmodernism, he invented.

It would be no travail to produce a fruitful thought experiment concerning the man in the flesh. Imagine the phenomenology of being one of Nietzsche’s friends, of knowing him, of having been at first repulsed by his eccentricity and then inevitably drawn into its orbit. He would either entice you or estrange you. Who can say that Ignatius J. Reilly, of Toole’s novel A Confederacy of Dunces, was not modeled on Nietzsche’s physical appearance: a lumberman’s mustache, slicked-back hair, and lunatic eyes? Given that the nineteenth century was a bit less normative than our own—most periods in history respected eccentricity more than our own, in fact—he might have struck a social note less strange than any of the illiterate handiworkers of his day. But if one had the benefit of hindsight, it must have been an event bordering on the uncanny not only to have met Nietzsche, but to have known him for what he was: a world-historical creep, an unsound man, a profound critic of the everyday, a scholar steeped in far-flung days, an iconoclast who couldn’t keep a friend anymore than he could keep a lover. Had he been alive today he would be brushed off as a mouth-breather, or a gloomy diarist, or cast aside as an unsocialized loner incapable of integrating into the status quo{{5}}[[5]]Once a full professor, Nietzsche benefited from his later estrangement from the German academic establishment. His alienation from scholarship solidified his audience, who were still reeling from the revolutionary movements and institutional storms and stresses of 1848. In fact, had he been a more normal man with the same ideas, it is unlikely he would have been remembered by posterity. See also Ratner-Rosenhagen, Jennifer. “Nietzsche as Educator.” American Nietzsche. The University of Chicago Press, 2012. Pg 169.[[5]]. Of course, Nietzsche expected this expelling of singular persons from respectability, writing in Daybreak{{6}}[[6]]See Kaufman, Walter. The Portable Nietzsche. Penguin, 1982. In this definitive anthology, Kaufman translates Daybreak as Dawn.[[6]] that

The surest way to corrupt a youth is to instruct him to hold in higher esteem those who think alike than those who think differently.

The only cure for the unqualified sameness of human civilization was eccentricity, then. Behaving like the mass was to be equivalent to the mass, and this, for Nietzsche, was a sin greater than any concoction of the Christian gospel.

Given his valuation of difference, what would Nietzsche say about the sane-insane dichotomy which was only coming into scientific discourse during his lifetime? Unenlightened society often calls its outliers insane, and even enlightened society has no limitation of names for psychological deviations. Much of Nietzsche’s writing sounds bipolar, or schizophrenic, or amoral (to this last accusation he would yelp an astounding yes). A more anti-social philosophy the nineteenth century never produced. But it is a mistake of psychological prejudice to denounce him as merely insane, and therefore fit only to be ignored{{7}}[[7]]In contrast to his earlier demand for sober aesthetics, Nietzsche exhorts in Twilight of the Idols that “for there to be art, for there to be any kind of aesthetic doing and seeing, one physiological precondition is indispensable: intoxication.” The Dionysian worldview is the quintessence of what lay psychology would call insanity. See also Ronell, Avital. Crack Capitalism. 1992.[[7]].

When he wasn’t a crank, he spoke truths so frightening they hardly bear countenance; when he was a crank, he still provided insights of more worth today than that of most of our credentialed moralists. To be an atheist in the nineteenth century was to count oneself a member of the Ship of Fools. Today, we would sooner declare insane the man who declares his personal affinity with God than the village atheist, who would look incomparably more normal, a veritably endowed member of consensus reality. Nietzsche himself taught that conventions and customs change over time, borrowing this from the German higher biblical criticism of his era. Were it not for the empirical understanding of his venereal disease and its effects on the brain, we would have little evidence of his insanity, except that Der Anti-Christ, Ecce Homo, and Zur Genealogie offend us.

If, as Peter Sloterdijk has it{{8}}[[8]]See Sloterdijk in the 2010 film Marx Reloaded , a short philosophical documentary concerning the re-emergence of Marxist philosophy in the light of the 2007-08 global financial crisis. It is also worth noting that, contrary to some popular opinions concerning Nietzsche and laissez-faire capitalism, he would in all likelihood detest elite capital as much as he detested the common man. He would sooner have been impressed by a breath-controlling yogi than by a financial magnate.[[8]], Walter Benjamin universalized the category of prostitution in his critique of capitalism, then Friedrich Nietzsche universalized the category of the godforsaken in his critique of Christianity. The modernist Christianity of today bears almost no resemblance to the Christianity of Nietzsche’s era—it was very much the nihilist construction he painted it to be. If it affirms earthly life today, it is only because it denied it in the past; it preached asceticism to the “factory slaves” (Nietzsche’s term, as well as Karl Marx’s) and reserved praise and pleasure for the powerful alone. He thought Christianity had smuggled weakness into the former majesty of Western culture and, in preaching the essential equality of practically unequal people, vulgarized all that existed. To defend the botched was to condemn the perfected. Of course, Nietzsche’s failure to recognize himself among the botched was a lasting error of his philosophy, which even H.L. Mencken, the journalist who introduced him to the English-speaking world, pointed out in a humorous essay condemning the pseudoscience of Jazz Age eugenics{{9}}[[9]]See Mencken, H.L.. “Dives into Quackery.” Prejudices: Fourth, Fifth, and Sixth Series. Library of America, 2010. Mencken introduced the Nietzschean philosophy to America with his 1908 book The Philosophy of Friedrich Nietzsche, but given that he did not have access to the mountain of scholarship on him now extant, Mencken’s book now reads rather superficially.[[9]].

Prescience eludes even the most astute of prophets, at times. Nietzsche was weak and preached the demise of the weak, or their enslavement; perhaps the one remnant worth preserving from this particular labyrinth of power relations is his insistence that race did not determine the worth of a man. Nietzsche was many unsavory things, but he was not a racist. Such a construct as race could only be inherited, and was therefore below the status of the self-made man no longer all too human. While he did not view race as modern biologists do—that is, he did not think it was purely a myth, as post-racial biology insists it is{{10}}[[10]]See Sussman, Robert. The Myth of Race. Harvard UP, 2014.[[10]]—he did think it was an anxiety of influence the overman deserved to shed. It is a historical quirk that European fascism found a hero in Nietzsche, since he would not have supported totalitarianism{{11}}[[11]]See Foucault, Michel. “Society Must Be Defended”. Picador, 2003. “Here we have the beginnings of the famous great portrait of the ‘barbarian’ which we will go on finding until the late nineteenth century and, of course, in Nietzsche, [for whom] freedom will be equivalent to a ferocity defined as a taste for power and determined greed, an inability to serve others, and constant desire to subjugate others…” (149). Foucault’s portrait of Nietzsche was apolitical, whereas totalitarianism demands over-arching political structures that, in the philosopher’s view, could only limit the individual in his quest for overman status. If, as he aged, he revered a strong state, it was only to keep the masses from limiting the liberated overmen, not as an end in itself. He is also notorious for despising hero-worship as embodied by the proto-fascist Carlyle’s historicist great man theory.[[11]] or the embrace of capitalism. Such atmospheres, in abolishing solitude, would stifle the Nietzschean overman. He probably would not have deplored the war casualties of the second World War—he was overjoyed at the prospect of Europe depopulating by a fourth-measure after the turmoil of his own mid-century—but he would have deplored the idea of philistines winning the game of international politics. National Socialism was as far removed from the core of Nietzsche’s existential thought as American liberal democracy or Europe’s vying theocracies of the Middle Ages.

What to make, then, of the elder Nietzsche’s lunacy? Did it inform his philosophy and thereby disqualify it, or did it oust him from the confines of mere convention and therefore render his worldview absolute? Hating the world as it was, he denounced Christianity for preaching the same, that the mundane was only a pathetic reflection of the platonic Heaven. Proving unfit for war, he preached war and the death of able-bodied inferiors. Flitting from one antimony to the next, Nietzsche’s existence contradicted his philosophy in almost every respect possible. Like the individualist Emerson with his wife’s financial support, Nietzsche lived off a university pension for most of his authorial life—on the nineteenth-century equivalent of welfare. He himself could not have survived in a Nietzschean universe. Every site of his contradiction devalues his philosophy in the abysmal concrete.

But philosophy, as Kant said, is the science of concepts. The Nietzschean concept is beautiful, if terrifying; even if it is not practicable for the uppermost portion of human beings, it inhabits a special place in the imagination that yearns for betterment of self and world. His books were not his body. That his own mind was split in twain by a biological infestation is immaterial in relation to his philosophy, which exists beyond the carnal body. His demon of the “loneliest loneliness” that preaches the doctrine of the Eternal Recurrence is a valuable thought experiment anyone and everyone should perform in their private introspection. That this life, being the only one we have, ought to be as perfected as possible is surely not the stuff of sin. It exemplifies the American ideology better than any belief system concocted in America. In his On the Genealogy of Morals, he writes

It is not impossible to conceive of a society whose consciousness of power would allow it the most refined luxury there is—that of allowing those who did it harm to go unpunished.

What statement better exemplifies the American maxim that it is better to travel the high road than the low when confronted with adversity? What better display of power than the power that goes unused? If only the American government’s foreign policy followed such advice as Nietzsche’s—not the Nietzsche of the fascist parody, but the aristocratic Nietzsche who sees warfare as a means to a peaceful end rather than the indefinite extension of the military-industrial complex, or the global hegemony of a single statehood. Against modern capitalist dynamism, which can enslave as much as it can emancipate, and against the medieval Great Chain of Being that inhibited social mobility completely—like it or not—Nietzsche posed his formula of amor fati. Even if one is unable to navigate the world, to bend it to his will, he nevertheless must love that he is in it, be he the hangman or the hanged.

With his decade-long period of invalidity in his sister’s care, he even portrays mankind at its most vulnerable: in him, the brutality of competition melds utterly with the essential impotence of the human experience in this vale of tears. If Nietzsche was insane, his insanity was more valuable to the human race, which he despised, than the sharpest clarity of an Emerson, a Spinoza, a James, a Niebuhr, or a Wittgenstein. We have his books precisely because he could not live up to their ideals{{12}}[[12]]See Nietzsche. “Why I Write Such Good Books.” Ecce Homo. Oxford, 2007. “I am one thing, my writings are another…I myself am not yet timely; some are born posthumously.” Pg.36.[[12]], because his esoteric and idiosyncratic epistemology was so problematic that it could only be birthed through the medium of text. Few today would recognize that he originated the adage “whatever does not kill me, makes me stronger.” Modernity—right or left{{13}}[[13]]See Berman, Marshall. “Marx, Modernism, and Modernization.” All That Is Solid Melts Into Air. Penguin, 1988. Pg 100-01. While Berman’s book is ostensibly more about Marx’s relation to modernity than Nietzsche’s, in this chapter he thoughtfully links Marx to Nietzsche’s attack on nihilism to the whole administration of contemporary capitalist-bureaucratic society.[[13]]—owes to him its viable atheism, its insistence on individual progressive striving rather than collective cow-towing, and the relativist morality that bolsters its liberal achievements. The disease that devoured his unfortunate brain, in turn, enlightened and enriched our own thinking, however much the man himself was damned in the process. Where would we be without Friedrich Nietzsche but lost and raving in the intellectual gutters?

— Jeremy Brunger

Jeremy Brunger is a Tennessee-based writer and graduate in English of the University of Tennessee at Knoxville. His interests trend toward Marxist-humanist political philosophy, the psychological tolls of poverty, race theory, and the end results of religious practice in modern societies. He publishes poetry with Sibling Rivalry Press and the Chiron Review and nonfiction prose with various and sundry venues and can be contacted at jbrunger@vols.utk.edu.

One Drunken Preschool Summer: Childhood — Meg Harris

Aug 122015

Author photo by Abigail Kibler

ou remember it as a holiday weekend at camp, an outdoors club your grandfather and a few of his friends and brothers started in the early 1900s. It’s the summer of 1962 and friends and families, who’ve descended from those nine original members of Royal Outing Club, mill around the grounds in rural south western Pennsylvania. Someone starts a bocce game on the lawn, others play cards, drink beer and smoke cigarettes. They lounge around on lawn chairs or the wooden porch swing which hangs from the branch of giant tree near the mess hall. The smell of roast meat emanates from the old wooden building and laughter and conversation rise and fall ubiquitously. Horseshoes clank and thud in the dusty pits behind the beer-garden where old men play poker and drink an amber liquid from tiny glasses. Their cigars make a canopy of oaken smoke over a low hanging black walnut branch which shades the lichened table where they sit. Bright glints of afternoon light chink through the foliage here and again. Inside the crowded beer garden, nutshells crunch under your sandals, bigger kids push past you. Teenage girls, hips swathed in plaid peddle-pushers, sway rhythmically to the beat that rolls from the grill of the Seeburg juke box.

You and some girls your age run up to the ladies’ bunk to play. It’s the kind of afternoon where you can wander as a pack for hours and someone or other’s mom or dad peeks in on your game when they visit the powder room or stroll down to the creek-side. The cool cement floor and spare block walls of “the house” are the perfect setting for a game of hospital—this and the rows of metal WWII cots with their sagging mattresses. It’s quiet here too, with all of the grownups down at the bar or out on the lawn, even the napping babies become a part of your game of hospital. The children’s ward is in the back room where cribs stand end to end those patients sleep soundly. Ailing 3, 4 and 5 year old patients with measles, river fever, or snake bites convalesce and suffer in the camp hospital. You recall that you and Regina Gemperle or maybe Susie Larkin doctored and nursed with some authority and aplomb. You minister to the sick moving somberly from bed to bed. You are tall enough to reach their pale slight faces and feel for fever, offer a sip of water or medication, bandage an injured wrist. Your mother’s magnifying mirror and other instruments, curling irons and shower caps become the tools of your trade.

Years later you are told by the ladies that so many children were born in 1957 because the summer before your mother taught everyone the rhythm method of birth control. The result of these instructions were you and at least six other children.

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The playing hospital in the women’s bunkhouse part of the day is the clearest in your memory. Maybe you needed a nap or maybe the afternoon grew especially hot and therefore you recall only the blurred moments. You’re not certain as to how or when the day changed profoundly. What you do remember is this day included your first awareness of your mother’s being drunk.

On the back stoop of the bunkhouse your dad holds you in his arms as you sit together on the cool cement slab. You lean your head away from your mother’s distorted face, her mouth coming toward you for a kiss. She comes in close making you swoon and whimper.

“Aaawwwhatsamatterdoll? Don’t cry,” her speech slurs and you catch the scent of sour breath with her words. You are aware of grownups laughing on the lawn and the afternoon suddenly green and bombed with intoxicating heat and sounds which bore into your small head. Your mother’s never been like this; all of the world tips on its edge, if not for the sure arms of your dad you’d collapse on the lawn. Years later, you will blame your nightmares in which your mother is replaced by a shaved-head-Nazi, on this day and that is probably exactly where those nightmares began.
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The gravel road from camp leads out to the Buhl Bridge on old Route 8 and just a few steps from there you can double back on Cottage Lane as it runs with the tracks for a time until it turns toward the tall stalks of corn and leads to the little cottages. Each place is brightly painted and one of these belongs to your Aunt Cle and Uncle Dick. Your favorite is the white cottage with red decorations and the giant letter on its front. Today, you and your father do not stop to visit any of the cottagers. You have trouble keeping the rough chunks of gravel out of your white sandals and your stride is clumsy. No matter your appeal your father does not carry you. Only, he pulls you down the lane, the strap of your summer romper slipping from one shoulder, the buckle on your sandal rubbing a blister onto the side your foot. Your father does walk you through the labyrinth mowed into the tall weeds across from your uncle’s cottage and there you grow dizzier with each twist and turn of the maze, the tall grass moving in a haze of green with the soft shushing of an afternoon breeze which lulls you to doze. One day you will puzzle at the uncomfortable feelings games of hide-and-go-seek that grass maze calls up in you, how you are unable to play along with the other children.
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This is your father rescuing you from the upset of your drunken mother. He takes you for a walk ‘out the road’ and then back toward the cottages and finally, full circle, he walks you across the ball field back toward the camp grounds. The field needs a mow, overgrown barnyard and crab grasses scratch your drowsy feet and scrape your ankles. Ground bees lumber about your moist person. Your wee-self fills with weariness as you approach the back of the mess-hall knowing that opposite is the bunk-house where, in the darkened back room where the cribs are and the soft wooden floor and giant overhead fan. You will rest in your own little bunk with its pink pillow-case on top of the soft-worn Indian blanket. You are by now tired and troubled enough about your mom that you haven’t the energy for finding Tobie cigars with the kids, or beheading dandelions, or the touching of Monarchs, or finding blue fairies, or gathering Queen Anne’s lace. No time for spotting black snakes, hooking worms, or building sand castles creek-side. Your father has insisted that you walk with him and because you adore him you do your best to please him. Your soft light brown curls stick to the perspiration on your forehead and the slow buzz of a no-see-um sounds eternal in your ear.

At last the crepe soles of your sandals meet the scruff of the paved sidewalk leading to the bunk and your father scoops you into his arms. You rub your face into his neck. The damp cotton of his shirt smells of nicotine, sweat and dial soap, a somehow tender and comforting scent. Years after he dies the smell of cigarettes still gives you a sense of security and, you believe, adds to your long struggle to stop smoking.

Your eyelids grow heavy and you are letting yourself slack into afternoon dreams when you hear the distant sound of your mother, “Oh, Stuart,” she is saying and something more you cannot make out as she staggers near.

“It’s alright, Rita,” your father tells her, setting you down on your feet and taking your hand once again. To you he says, “Come on, Babydoll. Let’s walk around the block again.”

You cry. You tantrum. All protests are ignored by your gentle father and after a visit to the ladies’ bathroom, once again you walk with him around the tracks and along the lane where the earth is a gravelly gray clay which traps puddles that will last as long as summer. Your toes are black with dust and your sandals are now a dirty white. This time around a train passes sounding its horn into your sunburnt temples. One of the cottagers drives slowly down the lane heeding the yellow “5 miles per hour” sign and rolls to a slow stop next to you and dad. It is your aunt and uncle and your father picks you up this time allowing you to sleep deeply on his warm shoulder. The sound of his voice chatting with these passersby tumbles up to your ears from his warm chest and soon you are in a deep sleep. He carries you the rest of the way back to camp. The only sound his melodic random whistle and the stirring of the cicada’s call as the warm afternoon gives way to evening.
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Years later you will recall this experience while talking with your sister and you will ask if she remembers the time mom was so drunk and how it upset you to the point where dad had to take you for a walk around the block at camp.

She will laugh at your recollection and explain, “Mom wasn’t drunk. Dad was walking you around because you kids got into Sis’ sleeping pills. You were playing hospital in the bunkhouse,” Later other old friends will fill in the blanks for you.

“We called doctor Klatman and he wanted all the kids to take syrup of ipecac.”

“Your dad refused to make you throw up because you hated it so.”

“He decided to walk you around until the effects of the drug wore off.”

“You were five, I think. Our Carol was just a baby at the time. Just two, I think.”

“No. Your mom was not drunk. She wasn’t even drinking whiskey. Just a few beers.”

Your mom is gone over a decade when you learn the truth of what happened that day and you have a vague recollection of perhaps even being the person who distributed the medications. You do remember that as a child you loved to explore, especially into the business and belongings of others. Your sister’s make-up, the old photos your mother stowed in the cedar chest, your brother’s girlie magazines.

You remember some things now and it makes sense that the medication was the culprit making you light headed and sleepy. You see now the deep affection that your father showed for you that day. The cloak of unfaltering devotion from your father bolsters you even today some 40 years after his death.
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That summer marks the first but not the last time you were inebriated. You know that your condition then made you somehow able to see something you’d never seen in your mother. Drunkenness. It was something you’d never fail to distinguish again. You would also never fail to forgive it, not in yourself, not in your mother.

—Meg Harris

Meg Harris grew up in southwestern Pennsylvania but has lived in New England since the 1980s. Recently Meg and her husband took occupancy of a home in Connecticut that was purportedly a tearoom in the 1700s and originally a “great barn” in the 1680s. Today, “Sol’s Path” is Meg’s writing retreat. A chap of Meg’s poems, Inquiry into Loneliness is forthcoming this month from Crisis Chronicles; her stories and poems have appeared in both print and online journals. This is the first time Meg’s creative nonfiction has been published.

Interviewing God: Poems & Paintings — Kate Fetherston

Aug 112015

Spring: watercolor/oil pastel/graphite on paper 11”x15”.

.
OVERTURE

I dream we argue about money, which is to say, about toast
and how it should be made, if you really loved me. You

lobby for your birthright to pile striations of mail across
horizontally opportune surfaces. That is: everywhere. If I

loved you, I would see this. I would celebrate your scattershot
genius. The next night, I dream prime numbers in bad

moods bump shopping carts in the produce aisle and slam
bananas to the floor with a fury that says, I am

special. And you don’t love me enough for it. After
weeks of this, one evening around midnight, I slip

out of myself, a stranger to the usual
conflagrations, and dream we muscle

through buoyant water as seals slapping
backsides. Our flippers splash each

other’s whiskery snouts as we loll
in sunlight we didn’t earn. When I open

my eyes, there’s music again. I stroke your stubbly
beard and dream of the Sargasso sea.

Hidden Gold: oil on paper 22” x 30”.

BAR SCENE

Your pick up line, “What kind of farm animal are you?” could use some work, and you never said where you’re from. But I to you of a white goat am mothered, my manners dainty and feral. Don’t invite me to the company picnic. I’ll bat my eyes at your boss while nibbling his flip-flops. Senseless, these conventions. My beast-like heart has no strings. You could play me like an accordion. My lungs swell with the sharp air of not-yet spring. I have the kind of hope acquainted of a tin can, desiring nothing more than to remain shiny. I to you am fatherless, gotten of a wild boar, an 80’s punk rocker. See, my mouth filled with thyme and laurel. I can’t sing a lick but my braying is the talk of the county and there have been several offers for my hand. I would like a comfortable barn and an acre of mint for my wedding day. I would like to lie down in clover. You could know me real well, buddy, or keep pretending you don’t want it. Either way, baa–aaad boy—the tab’s on you.

Pieces of Self: collage on cardboard. 20”x 15”.

GOD’S INTERVIEW

Tell us how you successfully met past challenges
and why you’re applying for this job.

Weary of mere hallelujah, I held the moon’s dark
backside and lounged on my netherworld throne. People
yammered and I tried to listen. For awhile, to get my
attention, small burnt animals smoldered on every
hillock, then my inbox burgeoned with cracks
about my outdated skill set. They gave feedback
on my goals. They wanted me to improve. They wanted
rules to break. They wanted selves. Expectations,
evaluations: a poverty of imagination for which I take
full responsibility. I dressed for the job I had instead

of the gig Lucifer snatched, so I rocked it
invisible. I did vocalize my needs through burning
bushes, giant snakes, dragons, unicorns, poets,
an Al Gore or two, but nothing slowed the bloodbaths,
pyramid schemes, political stupidity. People bludgeoned
each other no matter what. Praise and lambast
piled up like junk mail and the universe
became unmanageable Maybe I didn’t
have good boundaries. I tried tough
love. Leaked news of my death and hung

with Saturn for a while. His party
presence relies on a few glum
syllables and splitting a can of Spotted
Dick, but at least he’s not
demanding. But, folks seemed
lonely so I packed a lunch and parked
outside Lincoln Center in a plastic
chair for a couple of weeks. Of course, that’s
the most quiet I’ve enjoyed in millennia. Only
psychotics stopped to schmooze. Maybe higher

intellectual pursuits were the ticket, so
I eavesdropped on philosophy: If p = q, why
is there no water in the gorge? What
were they even talking about? I had to skidaddle
the hell out of there to make that refresher
course on how to be a supreme deity and still
have time for myself. It’s all about balancing self-
care with busting ass. But I knew this gig was toast
when I no longer loved tender acrospires busting
snow laden earth. Yes, when the moon’s white

thigh rose over spring fields I waited
for the sun to gutter out. So I’m available
to start immediately. Or, since time
is my plaything, before.

The panel appreciates your detailed response. However, in light of your already overtaxed schedule, we feel you are not the ideal fit for us. And—off the record, that was quite the bar rant, Mr. G. To promote your success in future interviews, might we suggest job coaching—or medication—or, for God’s sake—both?

Field with Light: watercolor/oil pastel/sgraffito on paper 9” x 10”.

CHEATING AT SOLITAIRE

Grandma Dubie, day after day, hunched
splay legged over a bourbon glass balanced

on her chair’s cigarette-burned
arm and flicked cards with a loud

snap, each laid down with a private
purpose. Pastel squares on her

ancient rug functioned as a
game board for us kids. Made-

up crosswords: blue six down
by dusty pink three

across for a prize of burnt
toast. Once, unminded, my little

brother Sam gleefully pried
open the china cabinet, wrapped baby

fists around thin-skinned
teacups, and, determined as

a journeyman, dropped them
one by one on the dirty

floor. Without a word, she hammered
it shut. Shooed outside, we shadow-

boxed dust motes adrift in sour
apple trees, their rotten fruit

slippering bunchgrass that struggled
through what she didn’t

think of as neglect. We played with dead
Uncle Somebody’s toy soldiers. We hid

in the smelly basement, wiggling murky
Mason jars to see when, not if, they’d

explode. We tried climbing into the extra
fridge that, thank god, wouldn’t

shut. Eventually, nothing
else to do, we’d belly flop

back on the rug, singing tonelessly
while clicking Grandma’s jewel

clasped cigarette case. Finally, Grandma yelled
at Mom, I can’t take it—Bring

them back when they’re
housebroken or old enough

to drink. As if we could change
ourselves. As if that

would change us. Today, phone
held sideways, I swish virtual

cards with a finger—tick, tick—and my
fingers become my grandmother’s—now that I

too, lost in the cross hatching of love and irreparable
damage, need for something, anything to come out

all right. And the ache of blue shadow glides with winter
sun along walls of that other room I never left.

Navigating the Underworld: watercolor/oil pastel on paper. Four 9”x10” panels.

THE OLD YEAR IN JOHNSON, VERMONT

October hunkers on drab hindquarters
spattered with a few resonant

golds and rusty
oranges. She no longer cares to dress
for dinner or other occasions of vulgar

admiration; company is such
a bore. Spiny deciduous trees bristle

against a dirty palate
sky, and the old year lies down beside a mouse-
brown river. To sleep she might say, if

she were speaking, but the truth
is colder and grief hardly

original. At the local coffee shop, I sift
some poetry through my early
morning confusion while at the next

table two mental health consumers-
slash-respite workers conduct a convo

with their payee. “That money
is coming to me,” says one. “I played
World of Warcraft all weekend. So don’t try

to play-sate me.” The caseworker
unrolls an I’m-Being

Very-Patient tone. In a small voice, guy number
two makes acquiescent I’m no
trouble noises, then says, “I’ve done

everything to lose
weight and it’s not my fault I hurt

my back. Can I get
some Oxy from anyone at your office? Is anyone
hooked up?” The caseworker’s inaudible

response is sure to be
appropriate. We’re all in need

of respite, right? My seventeen year old
cat purrs and wants to sit close
but, thin to thinner, she’s disappearing. Her once

shiny black hair is drying to chick fluff. Where
is she going? The dwindling year

can’t be bothered for information. You’ll have
to go through channels, she’d say. If I asked
her to whisper god’s secret

name. Buttoning my coat against
a sharp wind coming off the railroad

tracks, I lean over the riverbank where
water is language enough. Red leaves circle
in widening ripples, then move on.

Summer Storm: watercolor/oil pastel on paper 9” x 10”.

—Paintings & Poems by Kate Fetherston

Kate Fetherston’s first book of poems, Until Nothing More Can Break, was released in 2012. Her poems and essays in numerous journals including North American Review, Hunger Mountain, and Third Coast. She’s received grants from the Vermont Council on the Arts and Vermont Studio Center. Kate was twice a finalist for the Pablo Neruda Prize in Poetry and has several Pushcart Prize nominations.

Kate’s visual art is inspired by the line between feeling and seeing. In this series, she’s is interested in playing with process and form to reinterpret landscape as it connects with internal space. Kate’s art has been shown in California and Vermont.

Every Book is Like Writing a Book for the First Time: Interview with Greg Mulcahy — Jason Lucarelli

Aug 102015

AS WITH MOST AUTHORS whose books I buy second hand in first edition, Greg Mulcahy came to me through Gordon Lish.

Mulcahy’s fiction is, as Noy Holland says, “funny, in the way that wisdom, plainly spoken, is funny.” Through his characters’ agonies he reveals the ruse of our surrounding world, and their rock bottom falls propel each consecutive sentence—the content carried through frictive syntax. His sentences slide, stop on a dime, fragment, run on without punctuation, run over you, leave you breathless, bewildered. Sam Lipsyte says, “Reading Greg Mulcahy’s sentences is like watching the best slalom skiers in the world dare the universe a crazy millimeter at a time,” and it’s a ride that leaves you on the other side, as brave and as dangerous, but with new truth.

Mulcahy is the author of the short fiction collections Out of Work, published by Alfred A. Knopf in 1993, and Carbine, Winner of the Juniper Prize for Fiction and published by The University of Massachusetts Press in 2010. He’s written two novels, Constellation, published by Avisson Press in 1996, and O’Hearn, Winner of the FC2 Catherine Doctorow Innovative Fiction Prize and published by The University of Alabama Press in 2015.

After reading Greg’s latest novel O’Hearn, in which I laughed the hardest, I sought him out—where else but Twitter, and who would have figured, the platform come in handy after all?

What started in May and ran through the middle of July is disclosed here now, a glimpse into who Lish once called a “menace to your community.”

How harmful is Greg Mulcahy?

You be the judge.

—Jason Lucarelli

My favorite stories stand in denial of progression and the onward flow of time. Your recent fiction seems to lean in this direction. Using a phrase lifted from your newest novel O’Hearn, I ask: does your fiction aspire “to be outside time or better than time”?

I think all literature aspires to be outside of time in Yeats’ sense, but of course, that is impossible. Chronology in any work is a fiction, but the real fiction is the contradictory human experience of chronology. People, or at least I, know death is inevitable and certain, yet I feel as though I’m better than time, that somehow I’ll escape its consequence, when, in fact, it’s wrecking me by the second.

In O’Hearn, the narrator struggles “how to know” as he attempts to sort out events occurring before and after “the incident,” a workplace “mishap” occurring outside the confines of the novel. As the narrator struggles to determine “what was now and what was before,” so, too, does the reader. Was this mirroring intentional or simply inevitable?

It is both. Anybody who writes seriously is intentional about every word. That sets up causation. When the reader reads, if the reader reads seriously, the reader produces the effect. The problem, of course, is that the causation can not ensure what the effect will be. But, you can try your best.

Throughout O’Hearn appear the phrases “The Use Of Narrative,” “the perfection of the narrative,” “the nature of narrative,” and “confines of…narrative.” There are references to the “roles” of certain characters—The Queen of Productivity, The Volunteer, Doll, Madame Pompous, and Twerp—and to the “story” the narrator tells himself as he tries to slide events and people into place. At one point the narrator says, “Story about a place and some people and what happened. Was that what a story was.” Were these and other metafictional elements a function of the narrative, or part of a larger authorial concern you had while writing O’Hearn?

Again, both. Film and literature fought a battle over narrative in the 20th Century, and film won, at least where conventional, or the misnamed realistic, narrative is concerned. In light of that, fiction has to do what it can do and film can not do. Part of that is to ask itself how to tell a story, and more fundamentally, what a story is. And of course, no story can be trusted. Ever.

Storytellers are arrangers, organizers. When you were a boy and you told stories to adults, did they ever say, “You’re such a storyteller,” and not because they were satisfied by your animated relaying of an occurrence, but because they could see through the seams of your arrangement?

No one ever said such a thing to me when I was a kid. I grew up in a big Irish-American family, and story telling was part of the air, and, as such, unremarked. If someone was displeased with what I told, I was more likely called a liar or told to be quiet. Of course, I wasn’t quiet.

Your first collection of stories Out of Work was published in 1993 at Alfred A. Knopf. Could you talk about how that first book came to be? Could you reach back in time still to talk about how you rigged your own “system of organization” to tell the stories you wanted to tell?

I started sending work to Gordon Lish at The Quarterly. Eventually, he ran my novella “Glass” in an issue, and he bought Out of Work for Knopf. For me, the main thing was to forget any preconceptions I had, and I had plenty, and do anything the story demanded. In a sense, I had to let the stories tell themselves in ways that made sense to themselves. I think when my work is successful it comes from a mixture of discipline and indifference.

Your wife, Abigail Allen, appears to have also been sending Lish stories around 1995 and 1996. Was sending your work to Lish a shared pursuit? Did she take classes with Lish?

Abigail sent The Quarterly some of her work. She was never Gordon’s student, and she was looking for a great place to publish. She had eight pieces accepted, but the didn’t get printed there because The Q was out of business before it could run them. She eventually published a great novel, Birds of Paradise, under the name Hiram Goza.

Do you and your wife share work with each other? Who is your best critical reader? Where do you turn for advice on drafts?

Sometimes one of us shows the other something, but usually not. We work very independently of each other. I don’t really get advice on drafts unless an editor offers some. My best critical readers are Lish, Abigail, and recently, Sam Lipsyte.

Who influenced you most in your education as a writer? What impact did Gordon’s support have? Was your correspondence with him mostly through mail? Did you attend his classes?

Gordon’s support helped me a great deal. It displayed my work to other writers and made my work viable. We corresponded mostly by mail and spoke on the phone before we met. For all the controversy around him, I’ve always found him to be a warm, generous man and great friend. I never took his class though I did sit in on a session once. I learned a lot from the way he edited. As to who influenced me, the answers are multiple. Certainly my teachers Al Greenberg and Rick Barthelme, my wife, Abigail, a million other writers starting with Joyce and Camus, and maybe most importantly, my high school English teacher, Lorraine Potuzak.

What is your fascination with work and the workplace? What do you do for a living? What have you done? What would you do—or not do—if you had to do it all over again?

I started working at a car wash when I was 14. Now I teach at a community college. I’ve been a janitor, dishwasher, factory worker, lawn care worker, telemarketer, shipping clerk, and more I’ve forgotten. Our faculty is unionized and I was a state union officer for 17 years, including Treasurer and President. This culture is embedded in work. Its primary value is money. Yet it pretends, and our literature often pretends, this is not the case. It’s hard to say what I would or would not do again faced with the economic realities I faced, but I will say this: I would not, if I had my life to live over, go into teaching. It is bad enough you don’t make any money, but over the course of my career, I never expected to be attacked for teaching people things. Now these attacks are a common feature of political discourse. What, exactly, is this country pretending to?

I appreciate how you take aim at the popular notion of “profession” throughout your work and O’Hearn, specifically through the character of Poppa Douk-Douk:

There is, Poppa Douk-Douk said, no place for what is not. There is no place for anything which is not in place.

…

Your mistake, Poppa Douk-Douk said, is to imagine an alternative life. Imagine if we imagined no alternative, imagine how focused, how aware we would be.

This is “the language of business.” What languages are you attempting to teach your students?

I teach expository and developmental writing at a community college, so my focus is on clarity, precision, and simplicity in its most positive sense. The language I try to teach is clear, simple, direct, and exact. In lit, the biggest problem now is an absence of any deep literacy. I teach close reading in lit more than anything else. In all my classes, I try to communicate the ways the culture lies to us and our often willing complicity in those lies.

Have you ever taught fiction writing? What do you think is missing from the curriculum? Or maybe I should be asking instead about what might be missing from your own curriculum?

I’ve taught fiction writing, but I quit doing it some years ago. If I were to teach it again, I’d like to do it at the graduate or professional level, but it doesn’t look like that’s going to happen. What’s lacking in curriculum is what’s lacking in the culture—a large, sophisticated, well-read audience.

Who or what is responsible for this absence of deep literacy, and how, as a teacher, do you fill this absence?

I think the overwhelming presence of screens—TV, computer, cell phone—has a lot to do with it. And the crazy quilt patterns of American education which is so unsystematic you get creationism in some states, and the general anti-intellectualism in the country, and profound indifference are all contributors. I teach close reading by essentially walking students through texts they have already read. Modern work is particularly good for this, but then close reading was codified as response to Modernism.

Some pieces of yours I’ve read in print or online are fragmentary pieces, little narrative slices. “West,” from the 2013 edition of NOON, is one of my favorites:

Now he had to do something. She wrote that. It was not true. She knew that. She did not want him to do anything. Not really. With the desert and the hills, stone and brush, the sun, the dust, the dry everything.

She wrote that letter. Imagine, a letter. Writing in faded graphite on filler paper—smeared pencil—that—enough for her or all she could do or what she could say and what was the difference.

Was Diane’s editing a result of the brevity of this piece? Are fragments like this part of larger works that you’re writing? Or are these fragments composed as stand-alone pieces?

Diane is a brilliant editor and cuts to the heart of a piece. But they begin quite short, and they stand alone. I’m working on something complicated now, and some of these shorter things might form something longer, but I won’t know until I’ve got a big enough manuscript to start to arrange it. I’m envisioning a number of pieces of radically different duration.

When attempting a new form, do you look for hints of what you’re trying to achieve in other writers? Or does your reading in general influence you to try new things?

Both, I think. Reading makes me want to try more things and shows me possibilities, and I don’t think there could be a book in isolation. It’s like you wouldn’t have a language that consisted of only one word. At the same time, I feel like every time I or anybody writes a book, the writer is reinventing the book, and for me, there’s no avoiding that feeling.

Do you mean reinventing in the sense of how you put a book together against past efforts, but also against the books of other writers you have in mind at the time?

Both those and more. Every book comes with the same problems of language and narrative, and these are multiple problems, but they need to be uniquely resolved each time. So, at least for me, every book is like writing a book for the first time. You get better technically, but the problems are always there demanding solutions, or, at least, amplification.

You are a master of omission. As you developed this technique, whom did you study?

Beckett, Handke, early Mary Robison, Diane Williams, Dawn Raffel, Leonard Michaels, and, now that I think of it, in a strange way Robbe-Grillet. Also Borges. Every serious writer my age read Borges.

Writers are sometimes hesitant to go back and analyze old work. But I wonder if you see the evolution of your short stories from Out of Work to Carbine, from scene-based narrative movement to a kind of momentum driven by interior reflection and pure intent?

I’m hesitant to analyze any of my work, but I would say that my stories are less concerned with conventional plot and more concerned with language than they used to be. I don’t know if this is evolution—I’m suspicious of any notion of progress in art—or simply moving more deeply into obsession. You know, you get older and become an ever-increasing crank.

Culture critiques are everywhere in your fiction. In “Aperture,” a man reflects on a memory of a photograph of he and his wife in Graceland, a photograph he felt guilted into buying but now sits in a box he cannot find, though he surmises it will turn up sometime in the future. Then, he considers his wife’s image of the future: a place where certain humans are picked to colonize another planet. He thinks:

It was all fantasy. Mythology. The mythology of insecurity, the mythology of science fiction, the mythology of redemption melded into a cheesy pop culture concept unworthy of itself.

A reflection of the general insecurity in the culture. That insecurity broadcast daily.

This is a culture influenced by the media and the cinema of the times:

He hated those movies yet once they entered the culture they kept coming back, eternally recycled to squeeze every bit of possible profit from them. If nothing else, images to carry advertising as a host culture carries bacteria in a lab.

Is popular culture a form of distraction? When you teach your students to see through the culture, what role does fiction play in the classroom?

I tell my students pop culture is a device to remove money from the idiots, and we, collectively, are the idiots. I also show them how serious fiction tells the truth and does not neatly resolve itself as pop culture does. But I point out that literature tends towards stasis and the best pop culture can be dynamic, so the two steal from each other and alter their relationship to each other. I realize some writers don’t see a distinction, and some writers like Charles Willeford or Donald Westlake, in the Parker novels, blur the two categories to the extent they’re both. I’m not trying to be some high priest of Culture like Adorno; I’m trying to give my students a method to evaluate the media they receive. Part of what destroyed English as a discipline is when elite universities decided post structural criticism was the truth, the dogma, when it was a method. It’s good not to confuse the two.

What kinds of discussions are going on in your classroom regarding the use of social media? You tweet, as do I. Why is Twitter your social media platform of choice? What is it about the tweet that you enjoy?

The only real classroom discussion is a ban on having devices on in class although yesterday, during a break, I noticed half the students were texting, and, since we had been reviewing semicolon usage, I told them to include a semicolon in their texts. I was on Facebook, but I got so disgusted with their confiscatory policies, I committed Facebook suicide. I like Twitter because it’s a ridiculous platform for inane observations. I make a lot of inane observations.

Isn’t there something to be said about working within a character limit? Online writing is efficient. There’s a limit to how many characters fit into the subject line of your email before the line cuts off on the viewing end—55 characters, typically—and online marketers, for example, write to make their message fit.

I think that’s right. And all the web journals have encouraged short pieces. If I have something longer than 1,000 words, I try to get it in print because I think anything longer is too long to read online. This leads me to write things in different lengths differently although my stuff has always been shorter than what would have been considered standard 30 years ago.

Do you feel, writing and publishing short short prose, and as the form continues to evolve, that your fiction is better suited for today’s readers than those of the past?

That’s a difficult question because I hate the implications of my answer. We are all prisoners of our time and experience, but I don’t want to be. Not wanting does nothing but make me unhappy. I have readers who value and understand my work, and I’m grateful for that, but I have deep concerns about literacy in this country. I do think readers now accept short work. I’m not sure that’s a great development. Style, it seems, emerges from some complicated, obscure history. Then again, I think of Sappho, and I like her work. I even like that it’s fragments.

Stanley Crawford once said in an interview, we live “within a society that is inclined to measure success in monetary terms,” and if his work were to “attain bestseller status,” he “might see that as another kind of failure.” Do you think this is true of your own writing? What do you use to measure your success?

I’d like to be a bestseller, and I’d like to have the money associated with it, but it’s impossible now. Literary writing has moved to the fringes; bestsellers are only commercial entertainment. The culture has fragmented, and the people who control culture have decided serious conversations are over. This, of course, relates to and interacts with the stupidity of our politics. It also serves that stupidity. I don’t know how I measure success. It seems by most definitions I’m a failure, but I’m okay with that.

Does your frustration over the lack of serious conversations cause you to have them through your fictions?

Some of that, and some what life is like now, and some can you believe how ridiculous things are, and some wonder at linguistic constructs.

Sheer force of language is what lures me to your stories. When I think about the source of your stories, what gets them started, I think of this recovered Jiddu Krishnamurti passage: “So there is the content of consciousness, dull, stupid, traditional thought, recognizing all its emotions—otherwise they are not emotions—always it is thought, which is the response of memory, knowledge, and experience, that is operating. Now can the mind look at this? Can you look at the operation of thought?”

Take, for example, this passage from O’Hearn:

Who do you think you are he had been asked.

He had said about his ambition but he had forgotten to say about his fire of ambition. It was fire, right? He said he would avoid the trap of failure though he thought everyone thought he was trapped in the trap of failure and although his ambitions, regardless of his statements, were not much. Not ambitious.

And one more, for good measure:

The past—couldn’t he stop thinking of it?

Couldn’t it be over?

He had the present. And future. Future always out there. He had no power over it.

Days without power. Years.

A man without power. He might make barely enough if he was extremely careful. That he had to be careful proved he had no power.

If he wanted proof.

These sentences convey the action of thought, all the internal pressures and stunted rhythms of the mind, yet these sentences move as if made with the mouth, by the ear. When did you start writing sentences this way?

I don’t know when I started writing that way. I think it evolved over time. The idea, of course, is to suggest the quality of thinking without having to build in the messiness of actual thought.

On literature in our “contemporary setting,” Lars Iyer says, “All efforts are belated now, all attempts are impostures.” Do you feel as though literature is not only on the fringe, but has reached its end, and if so, what should authors aspire to, if not take part in its revival?

Literature is always reaching its end because we are always reaching our ends. I don’t believe literature will go away. It constitutes and reconstitutes in different forms, but it’s as permanent as humans are. When we go, it goes. Until then, it goes on.

—Greg Mulcahy and Jason Lucarelli

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Greg Mulcahy is the author of Out of Work, Constellation, Carbine, and O’Hearn. He has published over 100 stories in journals including NOON, The Quarterly, New Letters, Caliban, Gettysburg Review, Alice Blue, Spork, New York Tyrant, and Phantasmagoria. He teaches at Century College in Minnesota.

Jason Lucarelli is a graduate of the MFA in Creative Writing program at the Vermont College of Fine Arts. His work has appeared in Numéro Cinq, The Literarian, 3:AM Magazine, Litro, Squawk Back, and NANO Fiction.

Infiltrate: Fiction — Timothy Dugdale

Aug 092015

BENZEMA TURNED THE KEY and the big black frigate with wounded bumpers roared to life. Every car in town took its lumps. People drove wild, aggrieved at things beyond their understanding. Here comes The Duke was the prevailing attitude at the wheel.

It was a day of errands. Benzema was not enchanted by the agenda even though he knew he’d be splashing in the surf of Cuba’s best beach in two weeks if he succeeded with the item at the top of the bill. He had lost his citizenship card and it was impossible for him to renew his passport without the card. The immigration office had called the day before, announcing the arrival of a replacement card from some godforsaken piece of rock on the edge of Nova Scotia where they paid hillbillies to push paper for the government because there were no fish to catch nor coal in the mines. All he had to do was show up at the office and sign for the card.

After downing an espresso and a brandy at a local cafe on the way, Benzema trawled to the immigration office, a low-slung gray bunker in an industrial park. The lot was almost full. Just inside the door was a ticket machine and he took a number. He cast a wary eye over the room and its steerage rabble, all come to the True White North. Benzema was no blue blood and he knew it. His people were Dutch drunks who farmed for a a few generations and then moved into the factories. His wife came from a line of scoundrels in Suriname including a dodgy mortician who was not beyond grave-robbing for profit. A coffin in the ground by noon would be back on the showroom floor the next day by noon. Benzema folded himself into a seat at the end of a row of orange plastic chairs, closest to the wickets. There were three wickets open, one large one and two smaller ones. The churn seemed pretty good. People were smiling, even the Chinese clan fussing with a folder of paperwork.

But after twenty minutes, one of the wickets shut. Ten minutes later, another one shut. No more churn. No more smiles in the room. All eyes drifted to the wicket that was open. Three women in full length burkas were seated in front of the counter. Off to the side was a young man intensely watching the women. A swarthy middle-aged man in a ratty sport coat was saying something to the big lady behind the counter. At one time, she might have been a biker’s mama, she had that hard-bitten look. She probably had some tats, thought Benzema, perhaps a rose over her tit that was now a full vine. Whatever abuse she had to take was long gone because now she had this iron-clad sinecure. She was behind a choice piece of glass, not unlike one at a zoo, looking into a pen.

“Sir, I’m going to say it one more time. He’s not coming into Canada. Your daughter’s fiance has three convictions. And he is on not one but two lists,” she said, her voice made tinny by the microphone.

The man leaned his shiny dome into the wicket and shouted, “But the wedding is planned.”

The woman let out a little chuckle. “Go ahead with the wedding, have a big one, but it’s not going to happen in Canada.”

“My daughter… I have guaranteed…everything is set with his family.”

Aha, thought Benzema, a deal. But what could be the deal? Money. Perhaps. Not this man’s money. No, it had to be a passport and his daughter, his daughter’s virgin fresh self, ensured by his son, the appointed protector of the collateral. That’s the deal, thought Benzema, he was sure of it, a deal probably made while the groom and the bride were still growing in other wombs. Some people run swindles with coffins, other people run swindles with wombs. It’s a jungle, a zoo.

The woman in the middle chair said something to her father. The man frowned and muttered a retort. The young man turned up his scowl a notch.

“What I’m telling you, sir, is that your daughter can marry this guy anywhere she likes and they can live anywhere they like. Just not in Canada.”

“Where are these lists? Show me these lists.”

“Sir, you’re going to have to contact the minister in Ottawa. We only have the information that they send us.” The microphone clicked off with a squelch of finality.

All three of the women had started weeping openly. The young man, leaning against the edge of the wicket, never took his eyes off them. As Benzema was watching this stalemate, he noticed that the reedy black man in an immaculate suit seated across from him had also taken an interest in the show. At first the man only glanced over but then his expression changed, as if he recognized a foul odour, like a Frenchman sniffing a bad cheese. Now the black man was not just watching. He was glowering. On one of his cheeks was a raised scar and his eyes were bloodshot daggers. He glanced at Benzema. Benzema cocked a brow that the man must have read as both solidarity and license. He stood up and moved to the counter.

“Excuse me, ma’am” he said loudly to the woman behind the glass. His accent was British.

“Can you tell me when you will have more personnel?” He waved his arm out over the room.

“Many of us have things to do.”

“Sir,” the woman said brightly, “everyone is on break but will be back. Please be patient.”

The black man nodded towards the crew at the wicket. “Ma’am, I have been patient. You have been patient. Now please send these people on their way.”

Benzema glanced around. What was happening was lost on the room. “Sir, someone will be with you soon. You have your number.”

The black man exploded. “I will not sit down. I have been sitting down. I’m finished sitting down. This country must not sit down!” He pointed at the father. “You will not infiltrate.” And then he pointed at the women on the chairs. “And you, you will not breed.” He turned and sauntered away in dignified pique.

The woman behind the glass lumbered to her feet and followed him with her eyes. Benzema could see her head nodding ever so slightly. She descended into her chair, shimmying the carapace of her bosum. Her microphone crackled. “Number 78, please, number 78, you’re next.” Benzema glanced at his ticket and stood up. He stepped towards the counter, the trio of women in black and their keepers still implacable.

—Timothy Dugdale

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Timothy Dugdale is a veteran copywriter and brand manager. He writes existential novellas and poetry as well (http://dugdale.atomicquill.com). He records electronic music as Stirling Noh (http://noh.atomicquill.com)

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Restlessness: Poems — Louise Bak

Aug 082015

Restlessness

air smell washed, sidewalk’s shipping crate’s uncollected newspaper’s
high-ranking officials. a forecourt photo’s tousled abbey blouse in the
cart’s overstretched stocking of uncollected tea. a news portal’s picked
out simpler juk syun for “disgusting,” zip maai, broke up with slowed
forward, fingers indenting flat yoke of a dress, at palm molding’s atta,
at x eyes, worsted on lops around its hem. 5:15 a.m. cheep from leaf-
crumbled clump, green “pass” certificate more rigidly vertical than a
sandwich board’s “destiny reform” skill. stripped up sleeve as part of
sock runs down from knee, wind’s whup of glass panel set in wall, at
a cricket in a see-through tube, crosses into wet dab of cotton, where
it drinks. glancing across small hexagonal mirrors, i-ching coins, the
dry-pivot needle at centre of a diviner’s board, its line for north-south
dire, hooded by a lock charm. inscription of tian chang’s perpetuality

is worn, as waxing moon, flat-bottomed clouds rolled, when lurched
off, a watch’s claymore sword style hands, to inside of hand by egely
wheel, glass-boxed. surrounded with more of palm, sighed sensation
to clockwise flit, tensed legs respread at quavered turn, to more brisk
mincing on a redox ring. slid at fifth finger’s dip joint, cocked doubt-
fully, at contrition and defiance of a mayor, caught by cp24 reporter’s
“but … i … i …” appallingly told to newsroom, while uhn shrugged,
that atleast not toronto sensible, to pieds-à-terre towers underway, to
go up to 915 ft, perks of built-in speakers, forced-air heating, but the
scratches on some velux windows to overlook side elevation deemed
“those grandmas, thinned by the first week.” bumptious, timbre on ga
yull, to hurt the sale of units, remarking the walked direction at a few
khata scarves, that the ring musn’t stay on a finger without movement.

advancing warm front curdled the surface pitting of pomes, in swelter
formed within packages. separated husks of roasted watermelon seeds
from seizes of gold premolars, that handed over from long bus back, a
bottle’s semi-cola-colored water swished, bent stiffly, in heard versing
a younger generation’s “can give just 10 (or whatever) hours for free.”
by a stairwell’s tarpaulin, slither of alu foil paper, where the extension
ladder weighted it, leaking “hiraeth,” at blown sauveteur sticker, stuck
on cigarette butts on steps, to more metallic candy wrappers, cornering
the entrance. tpl tee still draped on boxes stacked against the wall, from
hardly picked detritus of a branch’s vhs titles. lust for life’s outstretched
razor on cobbled path, in static-lined chase. sticking drawer opened for
twist-tied villous amomum fruit, pericarps’ longitudinal cracks marked,
in which negatives were under such compression, that some coursed to

floor and off a bowl of liang pi’s starch paste formed at the bottom of it,
water risen to the top, cupped with a polymer note of 100 yuan, china’s
century temple on its backside dampened more, from lain on boxed rice
and in way of slammed gemel bottle, blots ambroxan, like pervading of
men’s aisles. tongue’s stagger to inside of cheek, to noodles-thickness as
a pen’s coating, braided and lashed on a table, without arresting forward
motion, ungained run skips. cordoned outside, steps’ cascading of blood,
after stabbed female, without vital signs taken to hospital, relayed by the
entering of road restrictions and area resurfacing on a keyboard. the okay
asked in writing, so it could be known what to be meted, while a queased
quiet, ambled crossing a tank’s sanddab. its maxillary reaching below the
anterior part of a lower eye, reported borne franticly, splashes from cloth.
bony ridge mid eyes, twained on one side, cam border’s hanged seriatum

zip maai, conceal, bury (Cantonese)
tian chang in phrase tian chang di jiu, everlasting
ga yull, (to add oil) – to cheer someone on by saying “go, go go”!
hiraeth, homesickness (Welsh)
liang pi, literally “cold skin,” a noodle like Chinese dish

Immuring

the red one-button gleaming in the semi-darkness, dropped with
the bracket. in her securing it on the chair, it thwacks blinking at
the half rail. taps at the concentrated liner, melted down a corner
of an eye, on a faint swelling at the lateral canthus. she stretches
from scoop neck to roomy sleeve, for the pressured itch, finding
bands of smooth skin in the sanitized blandness. reaching for the
blouson sweatshirt, she pulls it towards her, making it taut at the
neck hole, only to have it weighted like grain jar with ruyi heads,
while its endless knots circling its shoulder nears temporal ridge,
she feels an overall push outwards, to waist ties undone with the
raglan flopped. uncrumpling the sweatshirt to its inset, the mesh
with garlands surrounded by gimps, that’d go across the sides of
arms is more torn to the “sashou” with the scrape on outer thigh,
red-anemone shaped, punctate with black-blue dots, lappet at its
margin. fingers oilier from being rubbed together to pressing for

the bandeau. the upended nip of elastane, rather the snapping up
just under her sturnum, she sees a girl with a long lilac fringe on
the side of her short hair, who retrieves the arcuate bottom glued
scoop, on the bed lined on the other side of the hallway. tugging
on its pre-assembled paper to a convexity with fried oil luctance,
“pmt 5 worstever” said so dryly, with the anodyne account of the
1 baked potato = fist, heard to her more earnest. a turn diagonally
with pulling at integrated thumb hole, few inches along the index
comes away like a puberlous stipe. smarting in the dark garment,
clasped at its upper medium area, the rest of it bunched at her left
underarm. drawing her cheeks back, so that her lips aren’t smiling
to gingival tissue, correspondingly shaped to upper lip’s overlying
skin, slightly tender, seeing the setting off toward the stray ribbon
and the barge on its positioned “gewt,” close together in iridescent
spring pea. the moving the wrist downward while facing the palm,

while an aide steps from a room ahead of her, fidgeting with a slot
behind the finger tab of a magazine holder. the wrist leaned across
the lovatt’s crossword section at the extra page holder. chain marks
blanchable are indicated and got from the sculpey of kagura, while
there’s the turning to a subsequent page, murmuring at just 9 down,
hued “thicko,” old au pair from latvia. a reproving riffle, in tucking
fingers down, but the index raised, to the flexing of airy fabric with
its full 66” sweep, the right arm craned over head, at the reinforced
twill tape, sliding from the slumped bustle, byakuei’s aching crenate
without let-down, voicing “schutt.” a sidelong glance at her leaning
her torso back on a forearm, her knees drawn toward her chest, as if
a pealing heart. edges of the cabinetwork’s minimal nursing supplies
appears with iritis shadows, brief jerks like the contractile tails of t4
bacteriophage, mnemic length-wise pieces of polygonatum rhizome
in the clip note organizer, separated from the receipts and the mom-

and pop cards, with sections like actions, indications and symptoms
adhoc staffed minutes, sturdied fingered extended ketai strap with a
orbicular rehmannia. lined with irregular transverse curves, pressed
to dust grains fluorescing in a pallor, in a tachyonic stretch, neurons
misfiring, radiations on cell membranes, vacuity breakpoints, while
suddenly, a mid-sentence sprung, smoky of “no uniforms -no flags –
and no medals when we are brave.” sheets stripped back, feeling the
blue scalloped thread design of the blanket, from the inside surfaces
of her knees to shoulders drawn together, head and chest lifted, half-
seating to the set back tightened sound that you’ll get out in about an
hour. inclining to discern, there’s a shot where a barer dietrich arrives
at a small sand rise, taking the rope around a donkey’s neck from one
of the other women. they slowly disappear down the other side, while
her eyes closes in on rouched detailing of her faint teal bra, crammed
between a lady palm and greeting cards also on the footwall. glancing

on the evenness of the vct flooring, the aide carrying a folder moves it
in pulling some dented drop solution from a side pocket, grappling the
other, with brows relaxed but slightly raised, that something’s missing.
striding a step back from the door’s frame, she states “get ready to go,”
sweeping her hand about, to straightening the notice, with its phase of
reorganization, often going on for years -mumbles “shmeed’s charger,”
in turning back. leaning the back strap on the legwarmer, its gunmetal
studs, to the desquamation of her lips, pressed back from the kneaded,
slack of under stomach. the flyby of striped nylon brace, the half of its
clasp’s edges, pushed askance, shortly injected upon left scaphoid fold.
crawling on the reticulate wrinkles of psoralea seeds, said to be able to
expand coronary arteries, while scattered in the rattan chair, light, open
vine stitches of the glove’s pom pom, straight-cut, speckled with pieces
of soft root. rushed from from the double-handled herb knife, the straps
fallen of undershirt, in leaning in toward her of mimosa bark, clasped at

her wrist, used for hundreds of years to soothe emotions. tenebrous, the
bands on each nail on the right, slipped over to the left, curled at the top
edge of the package’s knobby contents, balanced on the outside edge of
left inset, shy of exaggerated frill running at sleeve hem, in the apology
for being so juk maa, fil coupé detail of a looped bow, reddened filmily,
wrackful, like a psc cloud. a leaflet is jounced with her grieved sling of
blue slippers. looking up, lumbering with the identification bracelet and
the emitted “erdbeer” on the gauze compress over a cart, pausing by the
wall to watch that she isn’t on her way back. the dull coated paper seems
malleable in her unfurling, as if it was creased and folded numerously to
a hexagonal star, from its starting in a zig zag. hearing the shuffle of one
just assigned and leaving a room, the “bleats” from the oversized pencil,
halting like it’d take an hour to go down the lines just for her coordinates.
“cuttings,” “smears,” scanned in an order that could only be hers, before
mottled burgundy “smaug,” at the afterward’s “statistically insignificant.”

sashou, trifling, little (Japanese)
kagura, the heroine of the story Ga-rei, who controls byakuei, a white dragon, from the seal on her back and a long chain that connects her soul to his. any damage the dragon receives also damages her as well.
schutt, rubbish, debris (German)
juk maa, disgusting, ugly (Cantonese)
erdbeer, strawberry (German)

Whine

arm clutched higher on side of a lecturn, with hand hung from
tickling midst yarn of a balloon, mylar airship drifted, stopped
when bumped at start of greimas square’s actants of turdsinker
squeezed in larynx, where it opponent chalked, whoudi, while
slumping far over opened textbook’s bragg lines on a brillouin
lattice that shoulders rose above, jerked wheeze, flicking over
by cover edges more bumped to a division house, age spots in
outer margin. dripped from choana, greyish gob pliable across
but not obscuring a few words, liquid of eyes knotted, bai zhu
it can’t be helped demurred. pitch in seat, rounded tip end of a

pencil stilled, midscratch forearm. bled hazed “sus,” glancing
up, as if raisiny touch like kokuto, poster’s headphoned pullip
arm’s seaming of differing lace swung. “datu thing is,” began
as inadequate breath, to a louder “moe,” at hiki-room’s hetalia
kite, peeled neath cos-hop conveyed with cresset points, burst
in stamp shaped seal pricks on sternum, dessicated coconut of
candy listed, where scratched inkless, stratus clouds’ openings.
tap of calendar, masses of ink caps, darker in stems’ exudance
as squared cat’s eye glasses stared at space mid desks’ smocks
tiered, vacuumformed armor. briskly pitched 1” pin button of

“i ❤ terror” with lagged tacks by marks of dupe opi polish on
front of shirt. stood at desk frame’s epoxy coated tubing, with
lean where knee and end of pant straight, meager grinned are
you sure you want to do this? fingers halfway in open face of
metallic getup up wagged, peered in eyelid twitches adjusted
as calla lily bead cap repinned in false moustache’s tip pulled
down more, below end of lip on side of turned strides. quake
wirier beneath nose, rubbed and shook of head, in three time
rows, as “tha fat” lapped by “loid,” neared third in umbonate
cut, stood over encamped amoeba table’s inaba rabbit mask’s

painted acrylic scraped, from couldn’t help it slaps of umami
bag, cranium’s gold crown cake topper. gruff uptick of don’t
deserve to be around. seated closed fist with balalala craned
had already coursed past hand’s wound-up ovals, contracted
to hip pocket’s water caltrop hitting casing of cell, rearward
spun, while pustule more pressurized below lips, pressed on
poly bag’s several spine creases of chew comic. cover’s kind
of cyber-luchadore rooster, got free at some clothing $6 bag
bag wednesday. indentation at faceplated crest, palm facing
just short of straight up, el santo y blue demon hood’s luster

midst mid-weight socks, puckeringly sour chaw of suan mei
at back of throat. brass stamping of belt buckles declivity at
upper back, photo of burnout jersey back of vest, press-stud
detail at collar, shoulder hair like straggly cat ear flaps, with
having been wbv patter. haste of next posted image, drag of
drop sleeve of jumper, pregnant-looking temp, as girl across
two way rack of joggers, pointed beneath elbow pit, shirttail
hem wrenched, chewed breccia-hued gelate, flim of kleenex
tossed , its lower cursive on-wee dabbed, as bandage square
unasked of why she had such, muffled breaking wind thuds

in steps, as elasticated side of plimsoll pulled, kicked out in
cotton of polo shirts. sections arranged by apparel type with
halting mid-colors of glassed re-ment minis, several sprouts
on teapot and croquembouche’s thin threads, finding cordial
lined, implying pieced together, gone to several-days-starch
syruped haws, glister from tug of coated skin, teeth motions
on sides of zipper match ups in good condition, as shuffling
over sesame rong bag, stacked heel bumped on loose pieces
of gravel, from snagging of display shelves. quickly dashed
left choppings of peanut coating, snagged mǎzai crag gooed

shudders, arched lower back up, felt droop of harness vest’s
block shaped hood, repeated with waist traced rotating from
right to left, in circular motions. screwed round gaze, string
lit near tang suit hat on banh tiêus, layout of silk’s longevity
signs with panels of vinyl’s printed mesembs, sections hand
sewn, moments of even stitches midst “you closing eyes in
that photo? can never tell with you,” inattention settings on
their over/under offs. shirt’s shawl collar of pliable tissue in
dragon garland wouldn’t pass muster, pulling a voucher out
of handbag’s packets of dispensed kari-out lady, as twisted

red cloth of cord hurtled, dimmed sockets whined, to wave
of arm ended wagged in air, turned at window’s scrabbling
with a paw at fur missing half-way up a cat’s torso. noticed
too at base of tail, disappearing to tetra pak bottle’s caramel
shake shell, slanting neck’s dipping of angostura in a shrub,
limply dribbling, further extruded rings of cheez-it, judged
liquidy-ish sick down front column linen shirt. avoided the
ignoring eyes’ moving of oval hook clear plastic of glasses’
“either that,” to snagging on lego tie tack. golden laminate
bumps sped off ear of crooked sack cloth double crescents.

middle fingers crossed over, pointer fingers hunched overs
of random tut waded at nonpareil rack’s highschool jackets,
a sailor moon dress, by sparse “medic” smocks and apron’s
long neck tie unlaced from a tubular hanger’s holster garter
and tried out foam latex galaxina mask, stretched out, as in
mouth moved apart. grasped cotton drill by underline at its
knee, shook at upper its knee’s solid fibrefill, as the not too
ott lace at sides of male zentai suit left, it lain on bale of no
longer suitable for reuse. waist down to the vent area where
back of the thighs hitched lower body’s quality of miniscule

marquise galloons on card, with longdashed globe. pouter’s
heta uma at weight of breath near to bangle’s ballchain and
adhesive streaked, a cut more inside the edge of a glass tile
over wicking of donut bail’s not fabricated to be repeatedly
opened and closed on below ear hair, in press on square of
agloe, made-up map trap. adjustment of centring hold with
town labels, route lines, to pleated details on shoulder of a
shirt, lain in a used hide-a-bed’s straightening of three way
zip through crotch, in who else was looking and what was
being seen, smooths of agglomerated cork, willable sound

bai zhu, a chinese herb, with a rhizome clenched like a fist
kokuto, black sugar candy
moe, a slang term referring to the sexual attraction to idealized people
hikikomori, a social phenomenon, involving withdrawal, reclusive patterns of adolescents or adults in Japan
inaba, in Japanese mythology, there’s a tale of coming upon a rabbit stripped of its skin and crying. It was told it’d recover, by washing off in seawater, but doing so, things got worse
wbv, refers to weight-based victimization
mazai, chinese pastry made of strands of fried batter, with a sticky syrup, with historical associations, including “[I’d like to] kill that guy on the horse.”
zentai, a term for skin-tight garments that cover the entire body
heta uma, concept of bad technique, good sense (Japanese)

—Louise Bak

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Louise Bak is the author of Syzygy (DC Books), Tulpa (Coach House Books) and Gingko Kitchen (Coach House Books). She’s the co-host of Sex City, Toronto’s only radio show focused on intersections between sexuality and culture. She also curates/hosts a salon series called The Box, which encourages communication across literary and artistic borders.

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

Aug 072015

15th Cen. St. Brenden & The Stranded Whale, British Museum

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

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

1 – Pedrolino

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

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

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

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

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

I follow the instruction, submit to the inner sensorium.

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

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

Pedrolino nods.

“Yes,” I tell him. “I accept.”

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

Pedrolino is pleased. His smile deepens.

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

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

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

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

Pedrolino likes this.

2 – Spreading the Net

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

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

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

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

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

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

It’s a bitter pill.

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

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

3- Mare Nostrum

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

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

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

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

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

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

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

Dialogue at Five (Provincetown) – Herman Maril

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

I follow my ghost bird into the poem.

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

What is the lure attached to this line?

Wayne Atherton – Mounting The Bounty

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

Better to follow a ghost bird.

4 – Fixing the Colors

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

I agree. Color is important.

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

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

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

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

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

Sun, Arthur Dove, the Smithsonian

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

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

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

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

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

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

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

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

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

It was then he left.

5 – Consciousness / The Wound

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

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

Unnamed, Matt Daly

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

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

Combat, Marc Shanker

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

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

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

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

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

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

Kingfisher hovering, Royal Society for the Protection of Birds

6 – Re/member Me

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

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

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

Mostly it was the sea-birds I followed.

Hieroglyph Swallow, a.frostly.com

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

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

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

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

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

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

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

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

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

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

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

7 – Focusing on the Feathers

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

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

Nerfertari as Ba, Tomb Painting, 3,200 BC

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

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

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

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

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

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

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

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

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

8 -Rubedo, The Reddening

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

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

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

Courage, Dogtown, Gloucester/Cape Anne

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

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

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

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

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

Ra in the Sun Ship, Egyptian tomb painting, 1,200 BC

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

Ra uniting with Osiris, Temple of Optet, 1,200 BC

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

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

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

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

Theatrum Chemicum, Gerhard Dorn, 1661

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

Chairman Mao, Andy Warhol

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

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

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

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

9 – The Alchemical Nest

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

Pacal Descending to Xibalba, Tomb at Palenque, Mexico

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

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

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

“Tell whom?” I protest.

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

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

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

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

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

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

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

Contemplating Mind Before Thought, Secret of the Golden Flower, 1668

10 – Parsing (Parsivalizing) the Question

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

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

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

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

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

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

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

one to bring it full voice into the world?

Parzival, from the Feirefiz Project, Liz Neilson

11 – Spreading the Word

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

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

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

Osiris, Tomb of Nefertari

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

Listen, counsels Pedrolino.

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

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

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

12 – Epilogos

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

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

Plaque on Fort Street, Paul Pines, 8.2014

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

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

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

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

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

Color is important.

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

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

And then he is gone.

Sunrise by the Ocean, Vladimir Kush

—Paul Pines

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

Case Notes: Fiction — Brianna Berbenuik

Aug 062015

“To escape from horror, as we have said, bury yourself in it.”
-Jean Genet, Our Lady of the Flowers

straight lines

We are sitting on the floor of the file room because somewhere, an exhibit transfer sheet is in the wrong file in the wrong box of a homicide that is over two decades old. Everything smells like dust and cardboard, old handwritten reports are like parchment and yellowing. The door is closed and I am sitting with my back against it. He pulls out an old photo album from the latest box.

“Wanna see some old autopsy photos?”

It’s a strange level of intimacy, a weird brand of seven minutes in heaven, locked in a murder file room with a photo album, like someone showing you their family portraits, their childhood.

Inside there is a woman with her throat flayed open, deep red congealed blood hugging her esophagus.

“See, that’s how we know the pressure that was used to strangle her was enormous. It’s actually pretty surprising. Like the fucking Hulk did this.”

Aerial photos of the backroad she was found on.

“If you look at a map, and you can kind of see it if you stitch the photos together, you can tell the person was panicked. It happens when you do surveillance a lot, when someone’s trying to get away or shake a tail.”

“What do you mean?”

“Look. Here’s the main road. Here’s where she was found. What do you see?”

“Left turn, left turn, left turn.”

“Exactly. He was scared when he was dumping the body. Panicking. We never go in a straight line when we’re trying to get away.”

dispatches

A: I once killed a deer with a 5lb hammer.

It was a buck, stuck in the fence. It was injured and clearly in a lot of pain, struggling to get free. I called the parks people – they’re the ones who will come out with a rifle to put the deer down – but they said the guy who did that wasn’t even on the island. So I asked him, “do you have a gun?” he says “nope.” what did I have? I didn’t have a gun, I didn’t even have a knife, but I had this hammer. So I went up to the deer, struggling in the fence and I killed it. I hit it in the head.

Q: Did you kill it in one hit?

A: Hell no. it took more than one, i’ll tell you that. Christ, I don’t even want to think about it again.

ii.

A: When i worked up north there was a floater stuck in a log boom on the river. Came from way higher up, floated down for I don’t know how long. he’d been dead a while. So we had to go get the boat to drag him in, and I had the long hook you were supposed to get ‘em with, and bring them to the side of the boat so you could grab them and heave them up. But this guy was so far rotten, I thought I had his arm but it rips right off, starts floating down the river. So I go for his leg and think it’s all good, but that breaks off too. Eventually we end up with the torso.

Q: did you get the legs and arms?

A: Oh yeah, we went chasing after them down the river, eventually got them all. But that guy didn’t smell very nice, I’ll tell you.

iii.

A: Once we got a call to retrieve a floater off of [redacted] road, right on the beach there. But the tide was out, and he was stuck in this really rocky area where the water was about waist high. There were emergency responders on the beach to help us, but they couldn’t get him because he was too far out. So we are trying to grab this guy from the boat and I realize it’s not going to happen. I said to my partner, “well, looks like we’re going in.” I grabbed the bag, the one you use to put the body in, and I cut the corners out of it so the water could drain and we jumped in and managed to coax the body into the bag. My partner’s turning white and trying not to gag, and I’m egging him on like, ‘you’re in the fucking water with this guy!’ Anyway, we get him back up on the boat and we’re both soaked, and fuck he smelled.

Q: So do floaters found in fresh water smell worse or better than the ones in salt water?

A: They’re both pretty rank. I don’t know if there’s a difference. Decomposing human is worse than any other smell. It’s terrible. You can recognize it a mile off, you know it’s not an animal. Maybe we’re just hardwired to know the scent of our own species.
pieces

They will take apart your daughter when she is fifteen years old. They will flay her from head to toe, removing skin, fat, muscle: dismantling her. You handed over her body after she was driven into the woods by a man only a few years older than her where he beat her to death with a hammer. He beat other women to death with the same hammer and now, as they take your daughter’s eyes from her sockets, and they fold her skin off her face, they will press a substance like thick mud into the broken parts of her skull where it will harden to match the wounds with those of the other women.

(You hear that one of the other women, found partially buried and burned somewhere, animals pulling her out of a shallow grave, was so far decomposed they had to ship her rotting corpse, maggots and all, to a forensic osteologist who boiled her down to the bare bones so they could study her wounds, the wounds that will be compared to your daughter’s)

You didn’t want to let her body go.

She will come back to you in pieces. The man who killed her will be sentenced to life in prison but it will never be enough because he is still alive, and he beat your daughter to death with a hammer, and you had to send her body away to be taken apart.

(All the king’s horses and all the king’s men)

You will stop believing in god and live with the emptiness of loss and grief that will be endless and the cold, hard stone in your chest that is the knowledge that he is left and she is gone.

wounded animals

There are two cameras in the interview room and you are a voyeur. Face view. Full view.

Face view shows only the face of a young man, twenty-something, who killed a woman by beating her, and then throwing her in the trunk of an old car and lighting it on fire after dousing her and the car with gasoline. Before he closed the hood to the trunk, he took one last long look at the girl.

Full view. The girl’s mother is brought into a room to face her daughter’s killer.

The mother asks the murderer what her daughter’s last words were.

He replies: what’s that smell?

The smell was her burning flesh.

The mother looks him in the eye and doesn’t flinch, she says, “her greatest fear was fire, and you burned her alive.”

Imagine that.

With only a small table between them, the strength it takes not to try to strangle this man, to launch forward and press a thumb in each eye, gouging the orbs out of their sockets, tearing out his oesophagus with her teeth, to ruin him and adorn herself with his insides, to not throw a single punch, is a feat few can claim.

She is escorted out of the room, and the door clicks shut quietly behind her.

Face view. Now the man is seated, hands folded on the tabletop, staring forward.

Full view. A man sits at an empty table. He is still.

And outside, a wail.

I wrote about it in a letter to a friend, weeks after I had seen it.

i can’t forget the sound. i will never forget it. i dream about it. it follows me. i’ve seen so many crime scenes and dealt with horrible things by laughing at them, but i can’t laugh at this. there is no way to. it is one of the few things you can’t ever find the humour in, you can’t protect yourself from. a parent’s ache of losing a child. the demolishing of their entire world, their reason for being. how do you measure that loss?

i once saw a rabbit get hit by the wheel of a bus, leaving its back end entirely crushed. it tried to pull itself off the road but its entrails were ground into the asphalt and anchoring it there. it was screaming. the scream was so jarring and unnatural, frightening and deeply piercing.

the woman screamed like the rabbit screamed, only deeper and more prolonged. it isn’t a sound i’ve ever heard a human being make. it was rage and loss and everything primal exiting out of her mouth, like an exorcism.

except there are no demons here. it’s been said that all demons are just humans. and all humans are just animals.

shaken baby

Infant autopsy photos.

the tiniest of human hearts
barely 7 centimeters.
insides pink and clean.

When they do forensic autopsies on babies they need to
strip away all the skin and muscle on the back to get to the spinal cord and then
they take the spinal cord out and look inside that and the baby’s body is like this deflated balloon face-down on the table like that stupid fucking puppet they used to teach kindergarten kids about ‘private parts’ because adults need some kind of comforting displacement when they talk about the truth of the horrors of the world and of adults and therefore themselves with children.
there is a drawer in the morgue that is labelled:

“legs & infants.”

I’ve never opened it to verify the contents.

—Brianna Berbenuik
.

Brianna Berbenuik has a Bachelors degree in English from the University of Victoria, where she was also an avid student of Slavic Studies. For the past several years she has worked in various positions in emergency services and currently assists in Major Crime investigations. She has a modest collection of skulls and bones, enjoys horror movies and detective shows, and has an apartment full of thriving plants. She lives in Victoria, BC.

You can request to follow her on Twitter, @ukrainiak47, or follow her on Instagram @ukrainak47.

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

Aug 052015

Janice Galloway via The Scotsman

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

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

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

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

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

II.

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

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

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

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

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

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

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

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

III.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

IV.

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

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

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

—Victoria Best

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

Abacus: Novel Excerpt — Louis Armand

Aug 042015

Louis Armand is no stranger to the faithful readers of Numéro Cinq. At the end of 2013, we published an excerpt from Cairo, a swirling novel that found itself shortlisted for the Guardian newspaper’s 2014 Not-the-Booker Prize. And we’re pleased to now present a snippet from Armand’s latest, Abacus. Publisher Vagabond Press calls Abacus, “A decade-by-decade portrait of 20th-century Australia through the prism of one family … a novel about the end times, of generational violence and the instinct for survival by one of Australia’s leading contemporary poets.” Like his earlier novels, Abacus sinks its teeth deep within an environment—this time Armand’s homeland—providing the reader with a visceral understanding of the territory, and thus a greater empathy for the individuals who roam each page.

This excerpt is a condensed version of a later chapter in the novel, titled “Lach,” though it was originally titled “King Shit.” In the following, childhood carelessness butts heads with the lingering aftereffects of wartime trauma. This is, of course, just a taste of what Armand has to offer. For the full picture, seek out the novel itself. It’s well worth the time.

— Benjamin Woodard

The morning the spastic girl walked out in front of morning assembly with her undies down, bawling for her arse to be wiped, was the last time they ever had to sing “God Save the Queen.”

It was March and the Drover’s Dog had just won a landslide victory for the ALP in the federal election. A republican was made Governor General. “We’ve got our own bloody anthem,” Lach imagined him saying to the knobs at Buckingham Palace, Sir Bill, because you couldn’t have a Governor General, even Billie Hayden, who wasn’t a “Sir.” Just like their headmaster, Crazy Crittendon, who went purple when the spastic girl came up in front of the whole school like that, skid-marked knickers round her ankles, you had to call him “Sir” if you didn’t want a caning or detention for a week.

“Bwoo! Mnaaa!” the spastic girl wailed.

The teachers were all standing out the front singing the nation’s praises while all the kids just mumbled along not knowing the words, they’d only ever heard it on the tellie when someone on the swimming team won a medal at the Commonwealth Games. “Australia’s suns let us rejoice,” what was that supposed to mean? But when the spastic girl did her thing everybody suddenly went silent. Three hundred kids sweating under the hot sky in turd-brown uniforms, waiting to see what Old Cricket Bat’d do next.

Which was exactly the moment Buzik, standing in the middle of the back row, chose to crack the loudest fart in history.

“They make a lie so big, no-one can see it,” Wally Ambrose said once. Reg could hear the old bloke’s voice in his head clear as day. Could see him, too, sitting on the verandah, handing him a model spitfire. Who knew how old he was back then? Wally’s voice came to him while he was sitting in the parking lot at the Holsworthy Army Base, across the river in Liverpool, waiting for Eddie. They’d called him in for some medical checks. Ever since Eddie’d come back from Vietnam, he’d been having trouble sleeping at nights, couldn’t breathe properly, kept getting headaches, skin rashes, sometimes couldn’t feel his hands.

The doctors said there was nothing wrong with him, but one doctor thought it might be something to do with the war. Agent Orange. The stuff the Yanks dropped by the metric tonne to kill-off jungle cover along the Ho Chi Minh trail. There’d been talk in America of child birth-defects. Both of Eddie’s kids had the worst kind of asthma. As a matter of course the Fraser government denied everything. The army wanted their own doctors to have a look, so Eddie got the call and Reg’d offered to drive him over to the base, knowing his brother’d be too shook-up afterwards to manage the traffic alone. The vets had been bullshitted all along the line, it was just a question of time before enough of them cracked and took matters into their own hands.

Finally, now Fraser’d got the boot, there was talk of a Royal Commission. “Yeah,” Eddie said, “Royal fuckin’ Whitewash.” Reg switched on the radio and got Rex Mossip in mid-stream, then dialled across to a different station — Billy Thorpe and the Aztecs — and tilted his seat back, closing his eyes with the music on low. Politics didn’t mean anything to him anymore. He had enough drama of his own to worry about, a fucked-up marriage, a smartarse kid and a job that had him pegged for a cardiac before he hit forty. He never did get called to the bar, working his way through the NSW Public Service instead, “faster than a rat up a drain.” It didn’t take long to earn a name for himself as a hatchet-man. They sent him to balance the books in every dysfunctional underperforming redundant backwater of government. From Attorney General’s to Education to Consumer Affairs and finally Premier’s, kicking heads at the personal behest of Neville “Wran-the-Man” on a Grade-11 salary. Another ten years, he could sign-off in style with a harbour view.

But Reg wanted out. Besides, there was nowhere left to go, he’d already bagged the number two job to the biggest hatchet-man in the service, Gerry “Bottom of Darling Harbour” Gleeson. To get his job, he’d have to stiff the fucker. Only alternative was to bide time till the next election and hope Nifty Nev took a nose-dive at the polls, but even then. Besides, in this game, you sat still and you were a dead duck.

Reg dialled-up the volume on the car radio so as not to think about his glorious future any more. A commercial ended and he found himself listening to Acker Bilk. He stabbed at a button blindly and got a different station. “History never repeats,” someone sang over background guitar in a high nasally voice, “I tell myself before I go to sleep…” He made a wry grin, seeing himself exactly like that, stuck in a vicious circle of his own making and trying to bullshit his way out of it. Bullshitting a bullshitter. It was a sure way to fame and glory, peace and happiness, whatever the fuck he’d been pretending all these years he wanted out of life. And what did he want? He didn’t know. To be King Shit maybe.

There was a tapping on the passenger-side window. Reg lent over and flipped the handle. Eddie pulled the door open and slumped into the seat. His face looked sunken and puffed-out at the same time, dark around the eyes, bloodshot. His fingernails were yellow from chain-smoking, to give his hands something to do so he wouldn’t scratch all the time. Had to drink himself to sleep, too, because none of the pills the doctors gave him worked. “Fucking placebo shit.” Whatever they’d been sprayed with over in ’Nam had its claws in deep and wasn’t letting go.

“What’d they say?”

“Usual,” Eddie said, rolling the window down and reaching for the car lighter, a Winfield already wedged in the corner of his mouth.

“Any chance of compo?”

Eddie dragged on his cig, killing half of it in one go while plugging the lighter back in the dash.

“Buckley’s, mate,” he said, exhaling a long plume of smoke out the window. “Only way the government’s forking-out’s if someone proves liability. But to prove liability, they’d hafta prove they used the stuff in the first place. And since they deny the stuff even exists, we may as well just hand ourselves straight to the head-shrinkers, ’cause as far as the experts are concerned, this whole Agent Orange shit’s in our fuckin’ imaginations.”

Buzik had freckles and was the shortest kid in the sixth grade, though he acted like he was some sort of Daniel Boone. He lived on Kingarth Street, near the park ruled by an ancient magpie called Big Eye. A strip of concrete in the middle of the park served as a cricket pitch, but no-one ever wanted to field at long on, because that was right under Big Eye’s tree. Legend had it Big Eye once tore a ball to shreds mid-air on its way for a six. All that was left of it were bits of string and leather and scabby cork raining on the boundary. Or maybe Buzik just made that up.

Short-arse though he was, Buzik was the undisputed king of the tall tale. He could cook-up an adventure out of anything. One day he came to school with a copy of Huckleberry Finn and decided their gang was going to build a raft. Buzik, Lach, Robbo and Robbo’s lisping kid brother, White-as-Wayne. He drew up the plans from a Scout’s handbook. To make a raft, he explained, first you had to find some empty forty gallon drums, then some timber to make a frame, some rope to square-lash the drums to the timber, and finally some planking to build a deck. There was a dam just off South Liverpool Road he knew about, past Wilson’s, all they had to do was find the stuff they needed and get it there, then they could lie about on the water pretending they were floating down the Mississippi.

The rope was the easiest bit, the drums were trickier. Buzik found a dozen lying around among the car wrecks in the wasteland behind the Liverpool Speedway, but most were rusted full of holes. They managed to salvage four that looked like they’d float, but the problem was how to get them across to Wilson’s — you couldn’t haul a forty gallon drum on a BMX. White-as-Wayne said they ought to use shopping trolleys, so they hiked across to the gully where the drain at the end of Orchard Road emptied out, to see what they could find. People dumped all sorts of stuff there, but especially shopping trolleys. There was always at least one upended in the grass whenever they went by on the way to school.

You’d never know the dam off South Liverpool Road was even there. It was trees and dense bush all the way along the roadside with a three-strand wire fence. But if you climbed through the fence at the right spot there was a path into the undergrowth that about fifty metres from the road forked left and right, and to the right it ran smack into the reeds along the shoreline of a wide dam. To the left, the path eventually found its way along the top of the dam wall, a berm of compacted earth with a steep run-off into a ditch where a farmer’s septic tank overflowed. You could follow the path half-way around to the other side of the dam or veer left again where soon you came across old chicken coops stacked high against the side of a barn, a tower of corrugated rust with a wrecked school bus parked in front of it. On the other side of the bus was the farmer’s house.

The four of them must’ve made a queer sight ferrying old diesel drums balanced on a shopping trolley across South Liverpool Road, then wrestling them through the fence and into the bushes, but who would’ve seen them? White-as-Wayne stood sentry on the corner of Wilson’s and shouted the all-clear when no cars were coming. And whenever one did, they dived for cover among the weeds that grew waist-high. The trolley and the drum were just more of the usual wreckage camouflaged into the scenery. It took all morning, but eventually they had the drums stashed in a clearing under the canopy of a low-hanging she-oak. Then they went off scavenging.

Buzik, crawling on his belly, snuck into the creaking barn and found a cool-box full of beer bottles. He came back with six of them slung inside his shirt. Robbo and Lach meanwhile had wandered off onto the other side of the dam and found some corrals and a pile of timber that’d been cut once upon a time for fence posts. The posts looked ideal. White-as-Wayne guarded the drums. Buzik had already cracked one of the bottles and was down by the water sucking beer when Robbo and Lach came back with the news. The rest of the beers were bobbing at the edge of the reeds, keeping cool. White-as-Wayne was busy climbing a tree.

“Where’d you get the Tooheys?” Robbo said.

“That’s for me ta know ’n’ youse ta find out,” Buzik grinned.

They parked themselves beside him and cracked a couple of more bottles and sat there drinking thoughtfully.

“This stuff tastes like piss,” Lach gagged.

“In one end, out the other,” said Buzik and proceeded to whip out his dick right there in front of them and, holding the bottle of Tooheys upended in his mouth, arced a stream of piss into the water.

When the beer was finished the four of them tramped back to the horse yards to collect the timber Robbo and Lach’d spotted.

“Jesus Christ,” Buzik said, trying to haul one of the fence posts off, “this stuff weighs a tonne.”

“Yeah,” Robbo gloated, “solid as. The raft’ll never break, no matter what.”

“Give us a hand, will ya?”

Two-by-two they carried and dragged the wood all the way back around to the other side of the dam. The dam was bigger than it looked. It was getting dark by the time they’d hauled the six posts they needed. Four for the frame to lash the drums to, and two for cross-beams to keep it square. There was an old tarpaulin in the barn, Buzik said, which they could use for a deck, and even a couple of oars that must’ve belonged to a row-boat once. They trudged off home in the twilight and pulled the splinters form their hands and next morning went back for the canvas and oars and set about putting Buzik’s grand design into effect.

Lashing the posts to the drums took some finesse, the rest was easy by comparison, it was just a question of getting the ropes tight enough so the whole thing wouldn’t just come apart. Then they had to cut a path through the reeds down to the water. They cracked a few more of the farmer’s beers and poured some over the raft to christen it. The Graf Spee, Buzik wanted to call it. But in the end they just called it “The Raft.” On the stroke of midday they pushed off. It was heavy work, hauling their contraption out of the clearing and down the bank. Then all of a sudden it slid out into the water and down, down, catching the sunlight faintly through the murk. The raft came to rest about a metre beneath the surface, a faint trail of bubbles rising from the drums, the hardwood posts making immobile shadows beneath the canvas as it flapped in the cold current.

Robbo’s house was a block east of Buzik’s, on Trevanna Street. Lach lived on the other side of Whitlam Park. All three of them played footie for the under-11s. Maroon-and-blue were the locals colours. The school colours were yellow-and-brown, like flying-monkey guano Buzik said. On weekends when they weren’t kicking a ball in the park or roaming about on their bikes, they’d hang out at Robbo’s place. If no-one else was home they’d stuff about on the phone impersonating Robbo’s neighbour, ringing the taxi companies or the pizza delivery man for giggles. Their record was three taxis at the same time, parked one behind another outside the Hogans’s front gate, honking their horns. Mr Hogan knew who the culprits were and bawled at them over the side fence. Said he’d kick their arses so hard his boot’d poke them in the back of the teeth. So then they phoned a towing service, an undertaker, and the Jehovah’s Witnesses as well.

There were three Roberts brothers, the eldest played guitar in an AC/DC cover-band and was the stuff of legend. White-as-Wayne was in fourth grade, short and skinny with blond hair and a lisp. They teased him a lot but let him tag along, though he had to swear on his life not to tell anyone about The Raft.

Buzik was never one to let a minor setback get in his way, so the weekend after their first effort sank they went back with their shopping trolley and hauled four more empty drums up to the dam. This time they found a couple of planks from a scaffold on a building site and tied them crosswise like an outrigger. They pushed off and this time it kept afloat. White-as-Wayne, who was the lightest, sat up front with Robbo at the back. Buzik and Lach, one oar each, sat on the outside drums and rowed, careful to avoid the snags.

They could’ve floated around the dam for days, it seemed to go on forever, one fjord opening onto another, and yet you could’ve walked the long way around it in an hour beating through the bush.

“There’s eels,” Buzik said, peering down into the black water.

White-as-Wayne pulled his feet up and crossed his legs at stern. Robbo stared glumly over the side.

“I’m goin’ in,” Buzik said, “see if I can catch one.”

He propped the oar on the cross-beam and stood up on the barrel. They were all wearing only their shorts. Buzik bounced on his feet, jumped, did a donkey kick mid-air and splashed down into the black. The outrigger swayed and bobbed. Lach paddled it in a half-circle towards one of the fjords. The undergrowth came down thick to the water’s edge, overhung by dangling willow trees. Dragonflies hovered. Skaters raced about on the surface. It was a warmish spring day and the air was full of insects. White-as-Wayne shivered.

“Hundreds of ’em,” Buzik shouted, flinging his head above the water. “Huge. Big as morays!”

“Bullshit,” Robbo moaned.

“What we need’s a fishin’ line,” Buzik said, catching hold of the port-side drum. “A bloke showed me ’ow to do it. You catch eels wiv a pin, tied to the line, like this.” He made gestures with his hands none of them could decipher. “We’ll catch ’em ’n’ roast ’em on a fire.”

Lach was busy with a pencil working on a map of the dam. He had a square of paper in a plastic bread bag which he kept wrapped up and tucked in the waist of his shorts. Right now he was adding the fjord they’d drifted into. There were roots jutting out from the bank and slimy reeds under the water and a tree stump with a skink lying flat atop it with only its head sticking up.

“What d’ya reckon we should call it?” Lach said.

“Call what?” Robbo shouted.

“This place,” he gestured with his pencil at the fjord in general.

“Something different from the last place,” Buzik said, clambering aboard. “Like Fuckwits’ Cove. Or Silly Cunts’ Bay.”

“Yeah, but it ain’t a cove, or a bay neither.”

“Haiwee Quack,” lisped White-as-Wayne.

“The Arsehole’s Arsehole,” crowed Robbo.

“You bastards’re no help. We’re meant to be explorers. Yer s’posed to give things proper names.”

“What like?” Robbo said. “Sydney Harbour?”

“Call it Lizard’s Bight,” Buzik said, grabbing his oar and pushing off from the tree stump, so they wouldn’t get snagged on its roots.

The outrigger drifted around on its axis. Lach stuffed his map in his pants while Buzik manoeuvred himself into position and they worked the paddles out to deeper water.

“Who d’ya reckon’s better looking, Jenny Carter or Helen Heckenberg?” Robbo said from the back.

“Carter’s a stuck-up bitch,” Buzik yawned, “’n’ Heckenberg’s an old stuck-up bitch.”

“Helen Heckenberg’s the biggest piece of class in these burbs,” Lach drawled.

“Helen Heckenberg’s got melons out to here,” said White-as-Wayne, hands groping the air in front of him.

“How d’you know?” said Robbo, splashing water at his younger brother’s back.

“Piss off!”

“Jenny Carter’s got a head like a sucked mango,” Buzik yawned again, “but I’d still root ’er.”

“You’d woot anythin’,” lisped White-as-Wayne. “You’d even woot one a tha spazos at school!”

“I ’ope ya can bloody swim,” Buzik growled, launching himself between the crossbeams and knocking White-as-Wayne right off his perch.

The two of them thrashed around in the water for a while before Buzik swam away towards the shore where their secret base was. White-as-Wayne clung to the drum at the head of the outrigger, sulking. Lach climbed onto the middle of the cross-beams and paddled legs-astride.

“Don’t ya reckon Jenny Carter’d be a real goer, but?” Robbo said.

“Bit skinny,” Lach said pensively, “’n’ she’s got more freckles than Buzo ’as. They might be related, you never know.”

“Yeah, but Buzo’s sister’s fat’n’ugly.”

And as if on cue the three of them started singing, “Who got beaten wiff tha fuggly stick? Buzo’s, Buzo’s. Who got beaten wiff tha fuggly stick? Buzo’s sister did!”

Lach had never seen his father fall down drunk before, but that’s what he did after the taxi driver helped him in the front door the night Lach and his mum stayed up to watch The Battle of Britain on the old twelve-inch black-and-white tellie. Midnight matinee. In the movies, people drank coffee when they had too much booze, to wake them up, so Lach took the matter in hand and brewed up a pot while his mum tut-tutted over the prostrate figure in the hall. He made a couple of guesses at how much of what went where and came back a few minutes later with a scalding cup of black sludge.

Various enigmatic expressions coursed his mum’s face as she watched him kneel down beside the groaning lump Reg Gibson made on the floor and with commendable effort pour the vile stuff down the paternal throat, not spilling a drop on the new carpet. Until, that is, Reg Gibson screamed, hurling a mess of steaming black bile down the length of a polyester suit that looked like it might dissolve on impact.

Lach was on his feet in the blink of an eye, fleeing on instinct, before his father’s paws could get a grip on some part of him and throttle him blue. The drunken mass heaved bellowing into life and stumbled up, ricocheting between the walls. What Lach remembered was the hallway getting longer and narrower the harder he tried to run and Reg Gibson charging up behind him, mad as a bullock, fumbling blind at his belt buckle and then the singing of the leather as it swung through the air. He remembered his mum’s face, just the way it always was, blurring at the edges.

Somehow he made it to his room & dived under the bed as the blows began to rain. Just because of the coffee! And then something went crash and all was silent before the light came on. As quietly as he could, Lach manoeuvred among the junk under his mattress and peered out. Reg Gibson seemed to be standing stock-still in the middle of the room. The room somehow had been altered by the silence. With utmost stealth, Lach inched forward for a better look. His father, belt hanging from his right hand, arm limp at his side, was teetering as if in a trance, staring wide-eyed at the floor.

There between Reg Gibson’s feet were the remains of a model spitfire, the one Lach’d found in a box on the top shelf of the linen press at his Nana’s house. A pair of green-and-brown camouflaged wings with the red-and-blue bullseye decal projected from a wrecked fuselage. Like in The Battle of Britain, when the Heinkels were blitzing the RAF airfields. Only instead of a hundred-pounder, it was Reg Gibson’s Florsheim that did it. The blind rage seemed to’ve drained out of him, replaced by an emotion Lach was unable to decipher. The lull, perhaps, before an even more terrible storm.

He’d meant to keep the spitfire a secret, but in his excitement before the film he’d taken it out of its box to look at and see if the wheels still turned. Behind the smudged cockpit window was a pilot done in so much detail you could even see his eyes. But there was no sign of the pilot now. Bits of the cockpit lay scattered on the floor. The gun sights. The radio set. A shattered prop, piston rods, landing gear. Then all of a sudden Reg Gibson booted the wrecked fuselage across the room and stomped out, muttering how it served someone right, only Lach couldn’t hear who it served right and he huddled there, under the bed-head with his feet touching the wall, and shivered, trying not to cry.

Uncle Eddie kept all his stuff from Vietnam in a drawer in the back bedroom at Nana’s house on Dartford Street. Slouch hat, poncho, tie, a couple of belts, mozzie net, jungle greens, dress uniform. Whenever he could, Lach snuck in there to try everything on in front of the mirror, like a midget on parade. He asked Eddie if he could take some of the stuff home and Eddie shrugged.

“Just leave the hat. Ya can do what ya like wiff the rest of it. It’s only there ’cause Mum kept it.”

“What’s special ’bout the hat?”

“Nothin’.”

Lach couldn’t make sense of that so gave up trying. His uncle’d always been a bit strange, though they didn’t really get to see him very often. He lived way out in Campbelltown on a dead-end street. It was the war that made him like that, his mother explained. Lach wondered how she knew.

He took the belt and poncho and mozzie net up to the dam, for the secret base they were making in the clearing under the she-oak where they’d put the raft together. They’d woven branches into a camouflage that hid the whole thing from view, and hung stuff inside, trophies from their raids on the farmer’s barn and the old school bus, bottles of beer, centrefolds from mildewed porno magazines, hubcaps. Lach draped the mozzie net over one side. Buzik and Robbo dragged a couple of car seats over from the back of the Speedway, stinking of sump oil. They scrounged some ratty drop-sheets to spread over them. The ground was littered with dead cicada skins, like the husked shells of aliens zapped by a secret particle beam, the death ray or the doomsday box.

White-as-Wayne dug up a billycan from somewhere and they built a fireplace out of rocks, close to the water, with a smoke hole in the canopy. Buzik scooped dam water into the can and a fistful of gum-leaves, to make billy-tea. They sat around waiting for it to boil, smoking tubes of coiled-up bark as if they were cigars. White-as-Wayne gazed at the pin-ups. Christy Canyon, Sharon Kane, Amber Lynn. Big hair and parted lips making the kind of invitation a ten-year-old’s nightmares are made of. Robbo absently flicked dead cicada skins into the fire and watched them flare and crackle and dissolve into white flame. Buzik blew out a smoke ring that rose up through the twilight of the branches. Faint shafts of sunlight filtered down.

“We should bring a girl up ’ere,” Buzik said at last.

“What’d a you want a girl for, it’d just ruin it,” Robbo said, pulling the legs off another husk.

“No girl’d come ’ere anyway,” said Lach.

Steam gusted up from the billycan. White-as-Wayne crawled over with a stick and lifted it off the coals. There was a sharp hiss.

“Don’t spill it all over the bloody place,” Buzik growled.

“It ain’t spilt,” White-as-Wayne protested.

Robbo set out the tin camping mugs and went to pour the tea.

“Yer s’posed ta whack it wiv a stick first,” Lach said.

“Wot’s that for?” said White-as-Wayne.

“Makes it taste right or somethin’. Me uncle said that’s wot you’ve gotta do when ya make billy tea. Gotta whack it wiv a stick.”

White-as-Wayne tapped the side of the blackened billycan with his stick. Lifted the lid and peered inside. Shrugged.

“Can’t see tha diffwence,” he said.

Gingerly Robbo poured the yellow brew into their mugs. Buzik reached over and took one, tossing the remainder of his bark roll into the smouldering campfire. All four of them blew into their mugs to cool the tea, stirring it sluggishly with their breaths. Buzik was the first to taste it, his face gave nothing away though. When Lach tried it he almost spat it straight out. Robbo had a sip.

“Jesus,” he gagged, “it tastes like friggin’ tadpole piss.”

They all hooted with laughter. Buzik splashed his tea on the coals.

“Give us one a them beers,” he grinned.

Robbo pulled out his Swiss Army knife with the bottle-opener on it and cracked three stubbies, passing them around. Only White-as-Wayne kept hold of his mug, gazing into it and swishing it about like he expected to find something alive in there, some sort of primordial guppy perhaps.

The art was in somehow not gauging your ribs with the valve when you slid up through the tyre tube. It was mid-morning before they started across the river to the island. “Wide as the Mississipi,” Buzik said. They had to dodge the water-skiers spraying up plumes of yellow-brown and the speedboats slapping their bellies on the water as they throttled up and down between the bridges. Lach’s uncle, Pete, owned a caravan on the Hawkesbury. He’d sit out under the awning in a deckchair with an esky of beer and get sunburnt feet. With a little persuasion he let the kids spend the weekend as long as they kept out of his hair. Uncle Pete’s mates usually showed up around five and barbequed some prawns and sank Tooheys. “Get yerself some fish’n’chips,” he’d say to the kids, handing them a couple of dollars and waving in the direction of the shops. Deep sea bream with salt and vinegar on the chips, wrapped in newspaper, though really it was shark. They’d sit down under a jetty, tossing the butt-ends of chips to the guppies mouthing about in the shallows.

The sand on the shore of the island was dark and wet, with a bog smell and mangrove roots worming up through it that stabbed into their feet. In from the water the ground turned solid and dirt paths wound through the undergrowth, so thick you couldn’t see more than a couple of metres at a time. They left the tractor inners by the shore and went exploring, but couldn’t get to the other side of the island, all the paths seemed to wind back. And then, starting out of nowhere, was a clearing with a tin shack and voices. The voices sounded drunk, a couple of men and a woman, so the two kids slipped away again into the bushes.

“Wouldn’t it be awesome if we had our own island,” Buzik whispered, “wiv a house on it ’n’ everythin’. ”

Of course they hadn’t been alone in taking possession of the dam off South Liverpool Road, either. A gang of local kids had set up headquarters in the old school bus in front of the farmer’s barn. When they’d discovered the secret base Buzik, Lach, Robbo and White-as-Wayne had built, they smashed it up and burnt the mozzie net and poncho and centrefolds and slashed the car seats and scuttled the “raft” by unscrewing the caps on the forty-gallon drums. “I’ll chop their bloody skulls in ’arf,” raged Buzik, who went and broke all the remaining windows in the wrecked school bus, but he never found out who the other gang was.

When they got back from the island, Uncle Pete was asleep under his awning, fist clenched around an empty beer bottle. With nothing better to do, Lach and Buzik grabbed a couple of Pete’s fishing lines and a bait box and wandered down to one of the jetties to see what they could catch. Past the jetty was all thorny blackberry bushes hanging over the water. Someone had snagged a lure in one of the bushes and Lach spotted it glinting in the sun. With a scaling knife in one hand he waded down the jetty to cut it free. Buzik meanwhile was scooping among the green slime that wafted off the jetty for fresh bait. He caught some guppies and threaded them on a hook and was just casting out when Lach slipped arse over tit on the algae, only just failing to disembowel himself with the scaling knife but almost taking his thumb clear off.

“Ya silly bugger,” Uncle Pete said, laying a role of sticky plaster aside, “yer old man won’t be too impressed.” He’d rinsed out the flap of skin hanging from Lach’s thumb with Detol then stuck some gauze on it and wrapped the whole thing in plaster. “Lucky it ain’t too deep or you’d need stitches.”

There was blood everywhere, it looked a lot worse than it probably was. Lach was all pale around the gills, with his head leaning against the side of the caravan. Uncle Pete faked a tap on his chin.

“You’ll be right,” he grinned, gathering up the first aid kit. “Just a scratch. Next time, do it proper ’n’ see if ya can cut yer ’ole arm off.”

The sun had gone down and there was a halo of bugs around the kerosene lamp slung under the awning. Buzik lounged in one of the deckchairs breathing in the river stink. Lach stared at his cartoon thumb swaddled in plaster.

“Reckon there’s bull sharks in the river?” Buzik said. “Wouldn’t wanna go in there bleedin’ like that, they’d smell it ’n’ come after ya.”

“Ain’t no sharks in the river.”

“There is. I saw it in a documentary.”

“You kids talkin’ bull again?” Pete lurched down the caravan steps. He held out a couple of longnecks. “Now don’t tell yer folks, ’cause they mightn’t like it.”

Buzik smirked like an idiot.

“Thanks Mr Gibson,” he said, grabbing one of the beer bottles.

“Call me Pete,” said Pete.

He handed the other one to Lach who sat there with his wounded thumb sticking up, holding the bottle in both hands like it was Communion.

“Cheers,” Pete said, settling back. “Youse fancy some prawns fer supper?”

“Aw, Miss,” Lach moaned.

It must’ve been thirty-five degrees, but still they had to stay in the classroom and finish the problem that’d been set on the board.

“And if you don’t get it right,” said Mrs Hajek, “you’ll stay here all afternoon until you do.”

The class fidgeted with their books. Buzik fired a wad of chewed up paper from his pea-shooter at the back of Robbo’s head. Robbo, marooned in the front row, tried to look diligent as the Dragon Lady turned towards him. Lach jabbed at his workbook with a blunt pencil. He got half-way through the sum and then gave up, hacking at what he’d written with a dirty eraser before starting over again. He could feel the sweat working down his back between the shoulder blades. The ceiling fan creaked. The Dragon Lady stopped in front of his desk and peered at the mess he’d made. The moment he dreaded had arrived.

“Can’t you perform one simple calculation?” she snapped.

Lach gazed morosely at the tangle of symbols he’d smudged all over the page. The Dragon Lady huffed, grabbing his pencil from his hand and leant over his desk to cross out the mistakes. He glanced up into a pair of huge sweaty boobs swaying in a white lace bra. They were so close, he could count the pores. Her perfume made his eyes and nose water. Rancid patchouli. Lach grabbed at his nose so as not to sneeze all down the front of Mrs Hajek’s blouse and in the process grazed the teacher’s fat left nipple.

The Dragon Lady jerked upright and gave him a funny look that made him gulp, nose gripped between thumb and forefinger, so now his ears popped as well. He tried to nod at least, like he understood whatever it was, trigonometry, she’d been scribbling in his workbook. There had to be something strange about her, anyhow, he thought, to make them do trigonometry on the last day of school. Maybe she was some kind of sadist, like they showed on the news, who got a thrill letting schoolkids ogle her jugs while she stood over them with a cane or whatever and made them recite the logarithmic tables.

“Lachlan Gibson,” Mrs Hajek proclaimed, “I have my eye on you!”

“Yes miss,” he honked, still clutching his nose.

There was general relief when Crazy Crittendon announced over the PA that they could have the rest of the day after lunch for cricket on the front oval and other sports activities. “Other” meant sitting in the shade and picking your nose while netball girls jumped around with their skirts flapping up. Anyone who wasn’t an outright sissy tried to get onto one of the two cricket teams. Sadleir and Buzik were picked as captains and chose their sides accordingly, one gang against the other, with sundries filling-out the lower order. Crittendon in his big floppy Denis Lilley hat was umpire. He pulled a shiny fifty-cent piece out of his trouser pocket and flipped it in the air. Sadleir called the toss heads and elected to bat. Robbo groaned at the prospect of a long innings standing out in the heat.

“No fear,” Buzik grinned, shinning the ball on his shorts before chucking it to Lach. “This bastard’ll ’ave ’em all carted off on stretchers before the end a the sixth over.”

Lach grinned. He made a lanky slinging motion with his right arm.

“Bodyline the fuckers,” Buzik said, pulling on the keeper’s gloves as they all trudged out to the middle, Crittendon with his knee socks and long sleeves, Sadleir and his chief lieutenant, “Pig Shit” Partlett, with their pads flapping and a pair of battered Duncan Fearnleys.

Lach dug his heel into the dead grass to mark his run-up, making a scar of fine reddish gravel. Buzik crouched down behind the stumps. Robbo and White-as-Wayne stood well back in the slips cordon, hands-on-knees, waiting. Partlett swatted at the weeds with his bat while Sadleir, lazily guarding middle stump, brushed a fly from his nose. The rest of the fielders shuffled forward expectantly as Crittendon, like a scarecrow sagging under its own weight, dropped his left arm and bent towards the batsman. Lach, seam gripped at a cunning angle across his fingers, fixed a beady eye on Sadleir’s stumps and loped into his run-up. The ball flew in a wide arc, bounced, leather crunched into wood. A shout went up. Sadleir and Partlett, unconcerned, jogged down the middle of the pitch, stopped and leant on their bats as scarecrow Crittendon signalled the first boundary of the day.

— Louis Armand

Louis Armand is a Sydney-born writer who has lived in Prague since 1994. He is the author of six novels, including Breakfast at Midnight (2012), described by 3AM magazine’s Richard Marshall as “a perfectmodern noir,” and Cairo, shortlisted for the Guardian newspaper’s 2014 Not-the-Booker Prize (both from Equus, London). His most recent collections of poetry are Indirect Objects (Vagabond, 2014) and Synopticon (with John Kinsella; LPB, 2012). His work has been included in the Penguin Anthology of Australian Poetry and Best Australian Poems. His screenplay, Clair Obscur, received honourable mention at the 2009 Alpe Adria Trieste International Film Festival. He directs the Centre for Critical and Cultural Theory in the Philosophy Faculty of Charles University where he also edits the international arts magazine VLAK.

There, Gaping: Review of Liz Howard’s Infinite Citizen of the Shaking Tent — Natalie Helberg

Aug 032015

Infinite Citizen of the Shaking Tent
Liz Howard
McClelland & Stewart
98 pages, Paperback $18.95 CAD
ISBN: 978-0-7710-3836-5

LIZ HOWARD”S DEBUT COLLECTION of poems, Infinite Citizen of the Shaking Tent, is astonishingly capacious: It is an extended metaphor for the mind. It is a fiery, radiant rollick through language. It is a meditation on Indigenous lineage and muted origins. It is the type of hard, crystalline speech which illuminates the social-scape from its gutters, a song gifted by an absolute Other, eerily coalescing at the junction of race, class, and gender. The poems which make it up celebrate the natural world while simultaneously attuning themselves to the toxicity of its rivers.

The collection could be described as a supernatural invocation. It could be described as a science of Wonder, a discourse on Wonder with a neuro-scientific diction. It channels scientific language as if it were part and parcel of its mother tongue. It speaks Anishinaabemowin also. It is an appropriation of various giants: Plath and Wittgenstein, many others. It is a neural riot. It is emotionally prodigious. Like the infinite citizen it is named for, the text, too, is startled by some big thing which rattles its stars; it, too, stands with a gaping maw, gobsmacked and in love, reaching beyond itself, fearlessly.

The Shaking Tent rite, in various Indigenous traditions, is carried out by a spiritual healer for the sake of procuring knowledge from the great abyss of the beyond. The healer, the shaman, is enclosed in a tent, whose quaking movements, observed from without, signal the presence of supernatural entities presumed to assist with the mediumistic enterprise. The shaking tent, in the context of this collection, is a metaphor which rebuffs the figure of the solipsistic, self-made self: Howard’s speaker proclaims that her guiding desire is “to not be / inside my own head perpetually / not simply Wittgenstein’s girl / but an infinite citizen in a shaking tent.” Within the metaphorical tent, she is thus positioned so as to be open to a variety of ‘others’: A temporal other in the form of events which have not yet occurred (hence she can “receive / the call that comes / down the barrel / of the future”) and a human Other (an Autrui): “I know myself to be a guest / in your mind a grand lodge / of everything I long to know and hold / within this potlatch we call / the present / moment.”

These others are, of course, not quite amenable to being grasped. If they are grasped at all, they are never grasped fully. The speaker’s desire for knowledge is, as the title of the collection suggests, infinite: inexhaustible, but also asymptotic (“this is my delta my neural asymptote”). That is, the speaker approaches, verges on, that which she reveres and longs for, but never reaches it. Only desire which is asymptotic can be, along with the pleasure which accompanies desire, indefinitely sustained. Only desire which is asymptotic, moreover, is compatible with wonder: it is an active curiosity which cannot conquer, and which is thus at the same time a non-violent ‘leaving be.’ The beyond, the remainder which is never colonized but which touches these poems, at times lends the collection something like a religious quality: The text nods its head to something sacred and inhuman, almost god-like (“What auspice will lend me a sacred belt?”), and possibly imperilling (“What little there is beyond impermanence / conspires with half a mind on the original / to sew us closed”).

The poems are riddled with references to time, to standard time, to time ephemeral (“the time zone of some desperate hour”) and to time unending (“O creek, bleeding hills, census inveterate / let me sleep five more minutes just five / minutes more before we default on / eternity”). How these references fit together, or fit into their respective poems, is occasionally mysterious. This is because Howard’s lines at times defy conventional sense: “I have as much stake / in speaking this / as the water / which also / discloses futurity / in a little black dress.” Lines carve out logics which exceed those of everyday communication. Many (not all) of Howard’s poems run on semantic discontinuity, on the imaginative leap: “I remove my belt / and snap it / at the stakeholders of the commonplace / at a crucifix / at the tariff of longing / at the dawn / at my own name.”

The experimental poet Charles Bernstein has observed that sense is irreducible to connotation and denotation, that meaning’s reach is total: acoustic sense (the sense, for example, Howard’s lines make to the ear, if not to the schooled mind, which is trained to unpack propositions and carry out theme-based exegesis) is still sense,{{1}}[[1]]See Charles Bernstein’s “Artifice of Absorption”[[1]] even though—because at a remove from reference—it is more difficult to theorize about. The infinite citizen herself insists that “our only limit / will be of language”; “feral,” she tells us, “I enter / the court of words,” where “tangents come to take you away.” It would be wrong, then, to reduce the time-related mentions so ubiquitous in Howard’s book to anything like a series of genuinely-intended claims—which is not to say that they are never genuinely intended—and to hold their enigmatic character against them. Still, we can say that temporality exists as part of the book’s conceptual-scape. It is a conspicuous motif:

The speaker casts a casual eye toward an apocalyptic future (“we’re just friends / hanging out / in my apartment / until the world ends”). At times the world, the “whole earth,” seems to have ended already, seems to have already “retired from intimacy.” Elsewhere, the speaker is preoccupied with the present, “LOLing / in the middle / of mere existence.” Several of the poems included in the collection (e.g., “Look Book,” “Boreal Swing,” “1992,” and “Bildungsroman”) are essentially portraits of the speaker’s past, glimpses of poverty, records of the sensory impressions and memorable communications of the speaker’s youth (“This is our welfare half / a duplex with mint green / siding shrugged between / rail yard and main street”; “when I was / small and somewhere my / birthfather is drunk and / homeless, half-mad when / the cops ask him for his name / he’ll say, December”). These poems are, to a certain extent, set apart from the other poems in the collection in that they participate in a slightly different aesthetic; still, they exhibit continuity with the other poems insofar as they participate in the temporal triptych (past, present, future) Infinite Citizen is, elsewhere, constantly alluding to.

The colonial critique Infinite Citizen is carrying out is subtle. For the most part, it is not effected by explicit statements; rather, it is evoked by the politically charged vocabulary, or diction, Howard has incorporated in surprising ways into the poetry, a diction which, so-embedded, has become ambiguous without fully shedding its political resonances: Line sequences like “into the puffed metastatic coal became the water / into the affirmative action embryonic mortality / of the loon summit,” and “bioaccumulation became us Athabasca / sweet reconciliation spoke in / mercury, arsenic, lead, and cadmium” prime us, politically, without saying any one thing in particular. Isolated, creatively contextualized words in this way function as constant reminders; their associations haunt, invade, the text. We are not allowed to forget. The text refuses to be blatant, but it has found a way to do this, quite ingeniously, while simultaneously refusing compulsory silence. Even the text’s more positive incorporation of, for example, Anishinaabemowin concepts—such as the Shaking Tent—is a making-present, a kind of metaphysical assertion of a culture covered-over, if not outright killed, and of a portion of the speaker’s subjectivity which has been culturally minimized, or suppressed.

Infinite Citizen exhibits feminist preoccupations as well; the speaker, it seems, is a feminine subject; the colloquial language which, at times, erupts into what, at other times, seems like a specialist’s text (“hey, self / are you lovely yet?”; “with red needles I will ask you again / where is my good / gloss?”) calls to mind the work of writers like Margaret Christakos and Lisa Robertson, two of Howard’s former mentors. Wasn’t it Lisa Robertson, who, taking on the dead male poetry giants of the epic tradition, trying to outdo, or amp up, even their classical pomp, irreverently wrote “Hey Virgil / I think your clocked ardour is stuck…”? Both Lisa Robertson and Gail Scott, moreover, in different ways in their respective writings, have preoccupied themselves with ‘ornamentation’ and ‘surface,’ conceptions traditionally associated with femininity; they have made something out of these notions aesthetically as part of a feminist re-appropriation of writing itself (with Gail Scott producing texts which abandon plot in favour of imagistic and linguistic tangents, or, in other words, in favour of ‘ornaments’ which make up the text’s ‘surface’). Howard’s colloquial expressions, her speaker’s good gloss (deemed, by dint of inclusion, an appropriate subject for poetry), and the “punk psalms” she, at other times, refers to, elaborate and affirm a form of feminine subjectivity, as well as a politicized, dissident aesthetic which admits of only a recent history.

Throughout the text, Howard blurs the border between the subject’s cognition and the world which is external to it. The infinite citizen’s psychic geography is physical; it is made up of veins, blood paths, as much as it is populated with creatures and stones. A hare goes “to rut in the reverb / of precognition.” “The total psychic economy shimmers / a latent mouthpiece of maple.” The infinite citizen thus stands in relation to the environment as absolutely porous; the highway is ‘venous’; the snow is ‘hemodynamic.’ The mind and the body likewise reserve nothing from one another, extend into one another, become conflated with one another. In this text, there is only fluidity, never dualism; the spiritual is a good dirt; the spiritual is chemical.

At a technical level, Infinite Citizen is appropriative; the work, then, not only dismisses the boundary between the objective and the subjective, it does away with the territory lines gouged between texts. The poems in the collection help themselves to each other, as in the procedural poem “Ring Sample: Addendum,” which is made up of lines which occur in the book’s earlier poems.The words and rhythms of many other writers have made it into Infinite Citizen as well. Where Plath, for example, writes “O my God, what am I / That these late mouths should fly open,” Howard writes “could our late mouths ever know such a green word / as vertigo.” Where Plath writes “In a forest of frost, in a dawn of cornflowers,” Howard writes “in a daffodil chorus of posthumous laughter / this clapboard passport.” In one poem, Plath remarks: “All morning the / Morning has been blackening, / A flower left out”; in another, she speaks of a father figure at whom she cannot look much, since his “form suffers / Some strange injury / And seems to die.” Howard, who, seemingly moved by Plath, nevertheless refrains from embracing her totalizing bleakness, in a single poem, informs the reader: “All night the blood moon measures the dilation / of your pupil, pinprick or dinner plate / in this plenum where our attention fails to die.”

It is the plenum, nothing short of the plenum, which is, I think, the source of these new poems, as well as their resplendent infiltrator. Liz Howard has managed something extraordinary here, has managed, in fact, a number of extraordinary things: She has composed an incredibly thought-provoking, intelligent text and she has pulled this off in an impeccable, beautiful language. She has registered—expressed rather than turned from—life in its most gritty, sad, anxiety-producing manifestations. And she has managed to excite. And she has managed, also, ferociously, to marvel.

—Natalie Helberg

Liz Howard is a Toronto-based poet. She works as a research officer in cognitive psychology at the University of Toronto. She holds an Honours Bachelor of Science degree with High Distinction from the University of Toronto and an MFA in Creative Writing from the University of Guelph. Her poetry has appeared in numerous journals (The Capilano Review, The Puritan, and Matrix Magazine). Her chapbook Skullambiant (Ferno House) was a finalist for bpNichol Chapbook Award in 2012. Infinite Citizen of the Shaking Tent is her first full-length collection.

Natalie Helberg completed an MFA in Creative Writing with the University of Guelph in 2013. She is currently studying philosophy at the University of Toronto. Some of her experimental work has appeared on InfluencySalon.ca and in Canadian Literature. She is (still) working on a hybrid novel.

Raccoon and Other Poems — Amber Homeniuk

Aug 022015

Raccoon

1. the one who takes everything in its hands{{1}}[[1]]Holmgren, Virginia C. (1990). Raccoons: In Folklore, History & Today’s Backyards. Capra Press. p. 157.[[1]]

fat and downy, wee washer-bear descends head-
first, back feet backwards, bushy-ringed
champion omnivore, incognito i.d.,
tactile thinker in the night,
haunchy smartypants
unlocking memory,
destroyer
douser
thief

2.fmy brother’s kits

our uncle shot their mother,
gave us three chimney cubs
with needle teeth, teddy ears,
and bottle-gripping hands

milk-whiskered, growing,
they tumbled in a row
after Tom, marching barefoot in pyjamas,
his grinning jammy mouth

imprinted

3.fmascot

stuck in Scarberia, I hated campus on sight—
dank concrete bunker hulked over dim valley
up the creek, too many trees, and posters
plastered every door: missing, Elizabeth Bain
staring, dark-eyed

Rocky Raccoon, the ubiquitous totem,
charmless hail-fellow in a stuffed suit,
handsy caricature, button-nosed buffoon,
his big-headed bump and grind

tie-dyed frosh, the Purple Jesus party, packed
picnic tables, Tanya playing Three Man with fuzzy dice,
bedsheets strung from crowded dens, there was Jodi
her frizzies and braces and I drank eight beer!
and Ramona always barfing, needed carrying upstairs

skeevers from The ‘Shwa, pedophiles of Pickering,
rapists in the Guild, so bushy-tailed
and boys who saw me only halfway home—
we all wore shoes we could run in

our grads Bernardo, Williams
years too late unmasked:
who else did that asshole Rocky cheer
with his eerie plush leer?

4.ffoaming at the mouth

on the grounds crew in the valley, 1993
clearing winter-damaged trees, notching trunks and
chipping limbs, still looking for Liz in the forest

the skull was in a stand of cedar,
bottom of Old Kingston Road
near Highland Creek—
a young raccoon, smooth cap of yellow bone,
all of her biters and elegant arches
cupped in my hands

that morning in the parking lot
a masked mother, fierce and frantic,
her babies trapped in a dumpster
’til from the safety of the truck bed
we slid a long branch in

at break, we read in the paper over bagels
how Karla and Dirty Debbie went dancing
when Karly Curls met her Paul—
in the photo, dark roots and frosted tips
feathered stiff, framed bludgeoned black eyes,
the horrors inside her drooping disguise

5.froadkill

late for work again, I flew the near-empty concessions,
burned past farms behind a cherry SUV I couldn’t pass,
dogs lolling out both its rear windows, sweltering
coats flat black against back window decal,
a baby on board

noon, three raccoons hopped out of the deep ditch
gallumphed across the road, day-blind
tangled with those fat tires up ahead, terrible timing
thump rolling chaos I braked hard, swerved clear
and two bandits ran from disaster
but striped fur whipped circles in my rear-view
while the road hog with the dogs drove on,
turned a corner beyond the stop

shimmers hovered above hot pavement
I reversed fast, braced myself, missed
last bits of life ticked, I worked the transmission
and long back feet kicked, clenched and spread little toes,
black velvet pads in thick cream
paddling the air like an infant’s
offered up, soft belly,
that helicopter tail

6. mentor

Oh old boy

you’ve taught me all you can,
your dousing days are done.

Lie down with your snout at the stream
to rest in woods behind my brother’s house.

Let season’s green weave through your nest of sticks,
set age along the top of your white brow
with sutures fused, full sagittal crest

and quiet
those sore worn teeth.

Them Apples

1. Pick

among the ghosts of September
are days emphatic as egg-calling hens
tilting on their pegs like cotton candy

I stretch to haul the red-cheeked harvest down
and smears of mealy rot and crumbled bark-
stained fingers poke through

your old gloves: with how many holes
can they still be good?
which rungs do ladders need?

lips grip curves and woodsmoke
suck the sour near the core
green stems slide, catch between uneven teeth—

I cast off the not-worth-its, the stingy and gnarled
save the bird-bitten and the bug-holed
with their healed-over tough-skinned hearts

truth rolls under my ankle
fills buckets
its roundnesses bobbing in water

2. Cut

slice and cone
dig for twisting brown tracks
free jagged curls of skin

grinding knuckles wrap the knife
work wet wood, erode bone
brass tacks emerging

think of swords

notch out the cores
open them like mouths
break their silence

3. Stir

bruises surface from the rosy deeps,
flesh wounds seep, sticky black grains in wrinkles,
peelings divine a cidery stink

my mill churns all afternoon, spits out pith
into steam: blisters, jars, rings, lids
counted by feather-layered light

arms loaded, feet worm into moccasins
heated by back room sun,
another half-wheelbarrow

I also carry your knotted fist, a spot
just here at the back of my hip
folded like a wing

4. Keep

afterwards, heart-queasy and acidic,
my hands are wizened little mummies
helpless as when our girl stopped eating

last pot off the stove and cooling,
joints squeak like dry flakes of paint
jarred by every lid-popping echo

sealing up sauce in glass like myths, in this
odd season of double yolks, northern lights
and doorknobs falling off, mixed in with rattling

stars, fruit still dropping from the branches,
the thuds of celestial shot putt
tremor loose small yelps and toads

I’ve gathered the burrs and the catkins of you
caught in my clothes with memory and cinnamon
pockets full of seeds

at the edge of the field
deer pause, chewing,
bone chips hiding in their meat

Late Bloomer

1. Born Late

I am past due
the days already gone to seed
know it in the bass-heavy pulsing of myself
all throbbing aorta

this old jacket shrunk and wilted to the touch
me and last year’s apples and the quiet ground
and shine-worn split trousers—lived hard in, discarded
I have outgrown even my shoes
done with these thrift store threads

I will ease grief from my throat

heat calls me up from the earth
grave-risen all the way through the rotting roots
come to moult
I hook myself on and haul away at the tendons
braced against light, working

all the doors from their hinges
cracked open, oh my frail and soggy new self
herniating out through the tender razor-scraping edges

I will shed my skin, busting raw and wet
climb right out of my hide and fly away, drop it
gently as cicada shells from bark

2. Cicada

diving head-first and backward into deep air
my eyes without their lenses
I am sawn in half, kicking my legs out
shoulders up around my head

I will breathe open glass-paned wings to the next life
leaving behind gravity
and my clawed digging arms

just one entomological Rapture
your deserted hands
pinching crisp brown casings

trees all heaving and veiny lungs, my work half-done
distension rocking the sky
with songs of rods, reels, and muted brass
cooking, casting, and resonant monks rattling distant joy

I will bring warm and sticky life from my humming pockets

you think it won’t end—the pain or the singing—then it does
borne late into the season
my belly tympanic in the empty
our whole selves arched, hairy with need and
fast unhooking days from the year

3. The Singing Season

with each wing-click, I flip this mirror
trading dark packed dirt for dusty leaves

these vibrating voices turn tall cliffs to liquid
richer than sap from the source

when sound soars shaking so far
over creaking crevices and lines of vicious little ants
I will remember that I could be somewhere else

you may yet hear me keening in the branches
or hollering downhill with my feet lifting off the pedals
back-slit like coffin clothes, the living gone on from here

—Amber Homeniuk

Amber Homeniuk works as an expressive arts therapist and sustains a variety of individual and collaborative arts practices. Her writing appears in The Malahat Review, The Fiddlehead, and here at Numéro Cinq, as well as in Windsor Review’s tribute to Alice Munro. Amber’s poems are anthologized in Beyond the Seventh Morning (SandCrab, 2013) and Window Fishing: The night we caught Beatlemania (Hidden Brook, 2013). Her first chapbook is Product of Eden: Field of Mice (Norfolk Arts Centre, 2013). So far this year, she’s been a finalist in the PRISM International poetry contest and shortlisted for Arc Poetry Magazine’s 2015 Poem of the Year. Amber lives in rural southwestern Ontario, blogs groovy outfits at Butane Anvil, and is kept by a small flock of hens.

The Mermaid: A Conversation with Fides Krucker — Julie Trimingham

Aug 012015

I live by the salt water, and look out every day on a rock where seals sunbathe; my distance vision is impressionistic, the bodies lounging where rock meets wave might as well be mermaids. Traditionally half-fish, half-woman, and drop-dead gorgeous, mermaids, at some point, got confused with the traditionally half-bird, half-woman sirens, whose singing voices were notoriously beautiful. Both animal-woman forms caused shipwrecks, or brought bad luck, although some could bestow boons, as well. In today’s popular imagination, the mermaid/siren is commonly thought of as possessing great physical beauty and an irresistible soprano, and she seems to have lost her danger along the way. Weeki Wachee Springs, in Florida, has been featuring professional mermaids in an underwater stage with glass walls since 1947. There are now mermaid schools in Los Angeles, Montreal, Colorado, and the Philippines, among others. Students pick out a colorful monofin and dive in. Mermaiding is now a verb, a hobby, a job. It seems all fantasy, fetish, and sparkle. But I was interested in a mermaid’s interior life. And now, my friend has become one. A mermaid. So I thought I’d ask her.

Fides Krucker is an internationally acclaimed singer specializing in contemporary vocal repertoire. Based in Toronto, she is also a teacher, writer, and vocal composer. Her current role is the Mermaid in DIVE, a work she co-created with writer Richard Sanger and composer Nik Beeson.

— Julie Trimingham

Fides Krucker singing “The Pearls” from DIVE.

Fides Krucker singing “Lyghea’s Idyll” from DIVE.

Julie Trimingham (JT): Before you were a mermaid, you were a girl in baker’s whites. You’ve told me about arpeggiating in front of your first singing teacher, an Italian soprano who would clasp her left breast, squeeze it, and demand, at the end of your run, Another one for baby Jesus! I love this image. Can you please elaborate?

Fides Krucker (FK): When I was young, hardly twenty, I ran my father’s bakery. This was industrial baking, we made thousands of croissants an hour… flaky, buttery, high-end ones… but it was not glamorous or romantic in any way. Lots of flour in the air and in my hair (which was big and curly at that time). I’d show up for singing lessons still in my baker’s whites…a short sleeved dress, apron, little socks and safety shoes…practical! Maria would actually do what you describe as she taught…the squeeze, the ‘baby Jesus’… What I wish I had done in those first lessons was just imitate the way she sang…not her sound… but her healthy vocal process. She had been taught in Italy and came to Canada as a teenager. She had such an opulent voice, and the real ‘bel canto’ approach. I was only with her a few years as she did not seem ‘intellectual’ enough for my tastes. Silly me! If only I had been ready to understand how healthy she was in her animal body, embodying a sustainable singing technique due to a pure and uninterrupted line of operatic training. She would have been a great mermaid.

JT: The Pastry Chef in DIVE, is she drawn from your life?

FK: There is a pastry chef in the original story, but he is male. Even though the scene is not from my life, when I sing the vowels of all those Italian and French pastries, I take them quite personally! The words taste good! Panettone, tiramisu, cream puffs and eclairs I used to bake and brioches , cannoli and palm-leaves, I simply love to eat…I’m a bit sweet and flaky myself.

I ended up marrying too young (the first time) thanks to a cheesecake I had made and given to a cousin, who gave it to a Sicilian friend…who proposed. I think agreeing to that marriage was how I got myself out of the bakery. I did not know how to say ‘no’ to my father, so accidentally said ‘yes’ to another man. I wasn’t raised by a feminist, you know! I was impulsive and unconscious at that time. It has taken a lifetime to try and change that!

JT: DIVE is based on The Professor and the Siren, by Giuseppe di Lampedusa (http://www.nybooks.com/books/imprints/classics/the-siren/). The story follows the lovelorn narrator as he walks into a bar and strikes up a conversation with an old professor. The Professor tells a story of how he once fell in love with a mermaid. He did not follow his love, and he now regrets the dry life he’s lived. The narrator later learns that the Professor has subsequently jumped into the drink, presumably to chase some fishy tail. You are the mermaid, yes?

FK: Oh yes I am! And just at the right time in my life! I am undoing so many things that no longer serve me, and she is part of the undoing.

The mermaid I play in DIVE is amoral. (With the exception of Disney’s Ariel I imagine all sirens and silkies live somewhere outside of human rights and wrongs). She is fun to inhabit, she gets to break all sorts of vocal rules, and she will have a great costume. In the script she tells us that she is Lighea, the daughter of Calliope. No little mermaid here…she is descended from the biggest muse of all.

You know, a mermaid is utterly undomesticated. She is not domiciled. She inhabits the ocean. She lives far beyond of my idea of ‘house’. To bring her to life I have to use this house, my body.

JT: How did you become her?

FK: The mermaid’s songs were a real collaboration between Nik, the composer, and myself. I improvised, singing with wolves and with whales. I imitated their sounds and I let myself be wild…I ululated, howled and shrieked. The mermaid is a stand-in for the parts of me not yet fully present…for the parts of me I have learned to hide because they seem dangerous or threatening to society, to men, to other women. This is not because the sounds I am making are inherently rough or aggressive or damaging…it is because they’re real…and unfettered.

JT: What is the hardest thing about being a mermaid?

FK: Getting past predictable behaviour. I realize how conditioned and patterned I can be. Sometimes I overreact, sometimes I repress. These are not part of the mermaid’s repertoire. She is animal and divine. An extra challenge is that this mermaid appears as jilted girlfriend, pastry shop waitress, barmaid and house keeper, as well as her elemental self. I play them all, and in each of these assigned female roles, there needs to be a little of her pointy teeth and fishy scent.

One thing I dearly love about this mermaid is that when she asks Rosario to come with her under the sea and he says he can’t, she simply slips back into the water and goes about her business. I can feel her sadness, but still, she lets go and returns to her element…swims in what is current.

JT: Are you worried about ocean acidification, or is it only the crustaceans that are complaining?

Yes, I am worried. When I was at college, I took Marine Biology. I thought for a few years that this would be my career. Embodying this big mermaid reminds me of that early passion, takes me out of Toronto, and plunks me back into the ocean. I remember scuba diving at Race Rocks, off the southern tip of Vancouver Island. We were in the water at least twice a week swimming with the extraordinary invertebrate life….colours and shapes galore…sensitive anemones, prickly sea urchins, sluggish sea cucumbers, and masses of bull kelp. Acidification absolutely affects any sea creature that makes a shell. It upsets other processes in virtually all varieties of sea life…reducing an organism’s ability to reproduce, heal, grow and respond to stress. Sea life is sensitive life! We need to listen.

JT: DIVE is set in Mussolini’s Italy. What’s the relationship between fascism and your mermaid?

FK: That’s a great question. Fascism refers to a bundling together in order to find strength. This is a good idea. But the fascism or ‘bundling together of peasants’ in Italy at that time was under the dictatorship of Mussolini.

The mermaid is elemental. She is as wild and powerful as a storm, she has an intrinsic violence. In the way she uses her voice, we can tell that she knows how to reign that violence in. Mussolini just rages and roars. I suggested to the composer that we stretch out his voice to really explore the sounds within his yelled speeches. This made them more musical and more animal all at once. Nik did beautiful work with this stretched vocal material, and I respond as the mermaid to it through my own stretched, nonconforming sounds. Mermaid and Mussolini go toe to toe, howl to howl.

JT: Mermaids can’t spread their legs. What do you make of this?

FK: Heaven! Peace of mind! Power! A different type of intimacy…and maybe a little loneliness?

In ancient Greece a woman’s voice was equated to a woman’s vagina. A physician from that time would say that you could hear when a woman was menstruating, thanks to the sound of her voice. Women were also expected to speak in pleasing tones within the city walls of Athens. Women did not have the vote, could not own property. They were not full citizens. To make loud sound they had to leave civic space. Out in nature or in the suburbs they could engage with the ritualistic female sound called the Ololyga. This high piercing cry would have functioned cathartically, a communal blowing off of steam.

So a mermaid making any sound she pleases…dangerous sound to boot…and not spreading her legs, seems logical and useful to me. Very undomesticated. It makes me want to re-read the Lysistrata. The women in Aristophanes’ play withhold sex as a way to try and secure peace and end the Peloponnesian War. That’s a whole society of women closing one mouth with the hope that the words coming out of the other will be heard and heeded. This strategy has been used in modern times to protest violence and corruption and effect change…Nigeria, Kenya, Togo, South Sudan, Liberia, The Philippines and Colombia.

JT: Mermaids don’t wear clothes.

FK: My voice is an intimate thing. It is my familiar. It knows me and my job is to be naked with it and let it be naked. And then know where I left my clothes!

JT: Your mermaid screams and groans as well as sings.

FK: Screaming is a human survival tool. It sounds alarm. Growling, shrieking, sobbing, whining, these non-verbal sounds express exactly what is going on for us.

JT: When you are singing, where does the song come from?

FK: The place that aches behind my chest. Maybe this is my heart! But it feels more like soul or even a very specific intelligence. It is not always listened to or respected…by me, by others.

The ache is is a disciple of the emotions, learning all of their curves, no matter how painful, or how riskily bright and optimistic. It is devoted to the spaces between the notes on the page.

JT: Diving into the ocean is deep work. What do you think, Mermaid?

FK: This morning, that sentence makes me tired. I am too aware of all the work that needs to be done…in relationships within the family, within society, with the planet itself. For me, a woman with two legs, I am glad that I can go for a vigorous walk and let go of worry for a while.

The mermaid in our piece takes on big things, she represents big things, and even though I try to house her when singing…and many of us are housing these big thoughts and feelings every day…there is only so much any one person can do.

I am so grateful for art…for its ability to point things out and its audacity to imagine…and if that can inspire truthful and hopeful conversation within community, well, that is even better. That’s what I am interested in now…imagining a more expansive and flexible and integrated existence for us all.

— Fides Krucker & Julie Trimingham

Watch a bit of DIVE at http://www.nikbeeson.com/dive/

CDs available at http://www.nikbeeson.com/merch/

Sonic Theatre Performance
July 30 – August 9
Array Music Studio
155 Walnut Avenue, Toronto

For more information on the upcoming performances go to http://bit.ly/1KrirH0 or http://www.fideskrucker.com/DIVE/

Julie Trimingham is a filmmaker and writer. Her first novel, Mockingbird, was released in 2013. Way Elsewhere, a collection of fictional essays, is forthcoming from Lettered Streets Press. She loves writing for Numéro Cinq. Stories she has told at The Moth Story Slam are posted at www.julietrimingham.com.

Numéro Cinq at the Movies: Lisa Gunning’s Tales of Us — R. W. Gray

Jul 142015

[youtube width=”500″ height=”344″]https://www.youtube.com/watch?v=wCzoTQqEoFg&list=PLA2Qgq9zI2o80SfVTpdpm3qwOYhjmrML0&index=2&spfreload=1[/youtube]

For their fourth album, Tales of Us, British group Goldfrapp produced five music videos before the album’s release that they subsequently screened as part of a live event. The five films are meant to be part of a larger “film anthology” also titled Tales of Us.

All five films are black and white, establishing a noir-ish old Hollywood feel; they span various genres, from realism, to thriller, to what might be best described as romance. The resulting anthology film complements the storytelling the band does with this album. More to the point, the anthology haunts the viewer into tracing connections between the songs on the album, an aesthetic choice that is antithetical to the music industry’s current culture of the ‘single.’

Tales of Us, the anthology, is made up of the music videos for five songs from the album: “Stranger,” “Laurel,” “Jo,” “Drew,” and “Annabel.” The videos extend the album’s character studies taking us past the lyrics and music into cinematic expressions of the characters. Given this, and that the album is titled “Tales of Us,” it would have been strange for the band to release singles and videos one by one, the current music industry standard practice.

This anthology develops a sense of the first person plural “us” and also frees the band up to take a different approach to the individual music videos themselves. This is particularly relevant and significant for a song like “Annabel,” based on the novel with the same name by Kathleen Winter, both of which tell the story of an intersexed child. Goldfrapp notes that “if you just listen to the song, maybe you’d think it was just about a little girl . . . So it felt really important to make that film.” The song and the video provide both poetic and visual complements to Annabel’s struggle which is correspondingly both emotional and physical.

The third film in the anthology, “Drew,” is a peculiarly loose narrative that Dan Reilly for Spin Magazine describes as “Alison Goldfrapp wandering around a sprawling country estate, with a trio of nude friends following her and occasionally flying remote-control planes.”

The short film and the other four in the anthology are dream-like, cinematic, and shaped to psychologically offer more than just a sense of character and action. Kory Grow for MTV Hive describes the film as “shots of her loneliness intertwining with the threesome’s threesoming (pillow fights, entwined limbs, forest frolics, and so on), sometimes intersecting with the singer acting as a voyeur.”

“Drew” could be a simple music video with nudity if it were not for two interesting choices: the choice of three naked figures and the juxtaposition of past and present. Gunning chooses to include three naked figures, two men and a woman where a more conventional choice would have been two figures or a clear love triangle. Choosing three has the narrative of the film resist easy readings of what the three represent: are they past lovers, aspects of the protagonist, ghosts in the countryside mansion? Or do they represent more of an age or time in the character’s past, nostalgia passing over the mansion or by her as she rides her bike down the country lane?

Further, there are moments when these naked figures interact with her: the woman takes her hand and the man shows her how to fly the model plane, yet there are other moments where they run right through her as they do on the stairwell, ascending as she descends, rushing through the past as she steps down to the present. All told we never find out why she rides through the countryside alone, why these naked ghosts haunt her, and where they might be running off to together, a frolicking, haunting threesome. Nostalgia, though, seems the persistent point.

All five films are directed by Lisa Gunning in her first time director effort. Gunning is a film editor known for such films as Seven Pyschopaths, Nowhere Boy, and Salmon Fishing in the Yemen and she is the real life partner of the band’s lead singer Alison Goldfrapp. In a behind the scenes documentary, they describe how Gunning was around during the recording of the album and generated ideas rather organically alongside the album’s creation. They then shot the films on a limited budget all at once.

Gunning links the films through subtle repetitions: the various films locations repeat (the seaside, the woods, the large country mansion), two characters ride bikes along a country road, even the figure of Allison Goldfrapp herself repeats and links the tales. Also the black and white aesthetic, the simple narratives, and the choice to focus on one central character in each, connect these five films in the anthology into a larger whole.

The anthology music video concept has been around for a while, one of the earliest examples provided by iamamiwhoami who released all their videos in series, starting in December 2009.

More recently, this anthology concept found a different use in the mainstream with Beyonce’s album where she made music videos for each of the songs, a grand total of seventeen full music videos, and dropped them all at once, without releasing singles or doing any marketing campaign prior to the release. Lily Rothman in Time Magazine points out that “it used to be that fans heard one or two songs on the radio and had to purchase an album to check out the rest of it. These days it’s common for fans to have heard every song before deciding to buy.” The anthology of videos accompanying the album release were initially only available with the exclusive digital download of the album and these levels of exclusivity all draw a listening audience to experience the whole album rather than taste it single by single over time.

Gunning’s haunting visual tales avoid the literal and respond to the Goldfrapp songs and lyrics in a way that sublimates the traditional music video conventions. For the five characters in this anthology of music videos, this permits a more narrative and visual exploration of each of the characters and draws the five arguably marginalized individuals into a connected “us.”

–R W Gray

Decluttering: Fiction — Fernando Sdrigotti

Jul 132015

To Steve McQueen, who was that sort of guy

THE CAT HAS BEEN DYING for two days and two nights when Eleanor finally drops the Steve bomb. She says the cat’s suffering, someone needs to do something and we can’t afford a vet. Steve in my place would work things out — he’s that sort of guy. Now it’s either the cat or her: I never got over that thing with Steve.

“OK, I’ll sort Toto out,” I say and she opens her eyes wide.

“What do you mean you’ll sort him out?”

“I mean I’ll sort him out! Do you want to do it yourself?”
“Are you going to kill Toto?”

“Yes!” I say and she starts crying.

“Oh my God, poor Toto! He’s like the son I never had…”

“Eleanor: Toto’s suffering. We need to put him to sleep. It’s the only decent thing to do.”

“How will you do it?”

“I don’t know yet. But I’ll Google something.”

“Make it something painless,” she says and suddenly she isn’t crying anymore.

“I will. Give me a while and I’ll have him meet his cat god.”

“I hate it when you want to sound tough,” she says and goes back into the room where Toto is dying and the telly is on showing a rerun of The Antiques Roadshow.

Online I come across thousands of links discussing how to kill a cat. I click on the first result, a page titled “7 Things You Probably Have at Home That Could Kill Your Neighbour’s Pets”. Broken-glass stuffed meatballs: slow and painful and a hassle. Poisoning the cat with anti-freeze liquid: I don’t drive. Bleached milk: barbaric, for some reason. I search once more, filtering the results with words like merciful, nice, happy, practical, cheap and I end up in someone’s minimalist blog –– apparently the latest thing is decluttering and living a frugal life. The post discusses how to put suffering animals to sleep, humanely and without paying through the nose –– there’s a minimalist approach to everything. The methods discussed are: shooting the cat in the head, drugging and drowning it, or taking it to a shelter where they’ll do it for free. The shelter seems the best idea: we aren’t far from Battersea. But is this something Steve would do?

“I’ll drown Toto,” I say to Eleanor.

“You’ll drown him?”

“Yes, I found a way to drown him fast and without pain.”

“How?”

“I’ll feed him some of your Valium and then drown him in the river when he’s asleep.”

“Can’t you drown him in a bucket over here?”

“I don’t want you around.”

“That fucking river is rotten,” she says.

“I’m supposed to kill him…”

“I’m not sure… What will you do with the body?”

“Listen: I’ll take the bus to Richmond, where I can drown and bury Toto in a nice spot overlooking a garden or a stream or a mansion. By the way, did you know that Ronnie Wood lives in Richmond?”

“Do you really have to do this now?”

“You’ve asked me to do something! What else can be done?”

“What does Ronnie Wood has to do with this? Do you think this is funny? You’re so immature!”

“Chill out, honey. I’m trying to let off some steam… Let me handle this,” I say.

“No! You’ll fuck it up. You always do!” she says and slams the door shut in my face.

“Eleonor, open the door, please! We can’t let Toto suffer any more!”

“Fuck off!” she shouts from the other side.

“Come on, Els…”

“I’ll sort this out myself! WHY DO I HAVE TO DO EVERYTHING ALONE!”

A minute later she comes through the door crying with the cat in his cage. I lock myself in the toilet and feed Toto four 5mg crushed Valium mixed with milk in a syringe. He swallows every drop without moaning. I almost feel sad for him.

It’s cold and it’ll snow any moment. Toto seems to like it: he’s quiet — the cold must ease his pain. My hands are freezing, my whole body is freezing. I walk fast, changing the cage from hand to hand, and in ten minutes I reach Battersea Dogs and Cats Home.

The place smells of wet dog and cat shit, even from the door. I go in: dogs barking, cats meowing, and other unrecognisable animal howls coming from who knows where. I check the signs and get to the reception. I stop at the front desk and tell the security guard I need to put Toto down. He says he’ll get me to see a vet and tells me to wait. No questions are asked –– I guess many people turn up nowadays, because of this minimalist fad and the Tories, to get rid of their pets. Five minutes later a fat guy with a thick double chin, wearing a white apron, turns up.

“Come into my office,” he says.

I explain to him that Toto has been dying for days on end and that he’s almost twenty years old. Animal euthanasia, heavy doors, antifreeze, Richmond, decluttering, Steve, I keep thinking but I just say that I’ve found out that here we can put him down for free.

“It’s a terrible decision to make, but we can’t let him suffer anymore, you know what I mean…” I say and he nods.

“I know what you mean,” he says, “let me see the cat.”

“Sure.”

I open the cage and gently shake Toto but he doesn’t wake up. I pull him out onto the examination table and he doesn’t move. The vet looks at me with a blank face and then takes his stethoscope to the cat’s body and listens for a few seconds.

“Too late: the cat is dead,” he says.

“Is he?”

“Yes.”

“…”

“I’m sorry.”

“He was like the son Eleanor never had,” I say. He looks at me with compassion and I look at dead Toto, pensively, for like three seconds, to make up for very likely OD’ing him. Then I ask if they might be able to get rid of the body themselves and if it’s free. He says yes and that it’s free and what do I want to do with the cage? “You can keep the cage too,” I say and leave quickly after thanking him for not killing Toto.

It must still be early to go back home — I’m supposed to be on my way to Richmond. I check the time on my phone, and realise that I’ve missed eight calls. Before I can listen to my voicemail the phone rings again.

“DON’T DO IT,” Eleanor shouts.

“Don’t do what?”

“Don’t drown Toto,” she says, “I’ve changed my mind!” I stay quiet for a moment. “WHERE ARE YOU?” she asks. I don’t know what to say. “WHERE AAAARRRREEEE YOUUUUUU?” I hang up.

The phone starts ringing once more but I don’t answer. There’s nothing to say and there’s no coming back from hanging up. Now she’ll keep calling and leaving increasingly violent voicemails. Until she ends up bringing up that thing with her cousin and me. She never got over that thing with her cousin Anna.

It finally starts snowing and I cross the road and walk into a pub with my pocket vibrating. Perhaps after a few drinks I’ll be able to answer. Or not. Maybe it’s better if I never answer the phone again.

—Fernando Sdrigotti

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Fernando Sdrigotti is a writer, cultural critic, and recovering musician. He was born in Rosario, Argentina, and now lives and works in London. He is a contributing editor at 3am Magazine and Numéro Cinq and the editor-in-chief of Minor Literature[s]. His new book Shetlag: una novela acentuada, has just been released by Araña editorial, Valencia. He tweets at @f_sd.

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Uimhir a Cúig | The Ice House: Fiction — Jaki McCarrick

Jul 122015

“I went to the house but did not enter. Through the opening, I saw the black edge of a courtyard. I leaned against the outer wall; I was really very cold. As the cold wrapped around me from head to foot, I slowly felt my great height take on the dimensions of this boundless cold; it grew tranquilly, according to the laws of its true nature, and I lingered in the joy and perfection of this happiness, for one moment my head as high as the stone of the sky and my feet on the pavement.” Maurice Blanchot, The Madness of the Day

Kevin’s story about the nightclub once again propelled Lucy into a world of doubt about her recent return to Ireland. It was a sort of panic attack – and it had not been the first. The attacks had caused her to book her return flight three times since her arrival, yet she had not actually left.

‘Shambles? Not a great name for a nightclub, is it? Can’t imagine what made them call it that,’ her father said to Kevin, who was now getting fat in his twenty-fifth year.

‘It’s just a place to drink and dance,’ Kevin said. Her father’s pupil’s latest tale, about his peers openly having sex in the town’s most popular nightspot, confirmed to Lucy that the generation that had come after hers (and which was already leaving the country for work as hers had done) pretty much got straight to the point when it came to meeting someone in a club, and that they had no need for the foreplay suggested, perhaps, by the monikers of the nightclubs that had been in the town when she’d grown up in it, such as Whispers or Amber.

‘What did you get up to on the weekend, then, Lucy?’ Kevin asked, as he moved a chess piece across the board.

‘Went up to Dublin to a play,’ she replied. Kevin did not ask Lucy which play, nor with whom she’d seen it. It occurred to her then that she’d been living something of a double life since returning. There was her domestic life – taking care of her father, the house and garden; some writing (letters, emails, half-hearted attempts at applying for jobs), and her cultural life, which consisted mostly of lone visits to Dublin’s theatres and galleries.

‘Find nothing like that in this town, ‘the arts’,’ her father said, as if to say, I told you so. And in a way he had told Lucy so, for her parents, after sixteen years away themselves had also returned to the town, which they’d found to be largely as she found it now, many years (including those of the Celtic Tiger) later: dull, inartistic, beautifully scenic, a pleasant-enough place in which to await death. Yet, in London, Lucy had found herself pining for the place; real melancholic pining; had put aside its borderland small-mindedness and could not remove from her mind the swathes of persimmon-coloured heather that would appear each June on the hills outside the town, nor the late-summer hikes to those hills – where she might see a hawk or fieldfare dart out from the bog, nor her walks along Shelling Hill in winter where the sea could be as wild as the Atlantic Ocean. No, these memories, which all seemed less vivid to Lucy now that she was actually home, had been pivotal in her decision to leave London. And the longing for them, as well as the inability to inure herself to this longing, had, she believed, brought about her eventual incompetence at her job (over time she found herself unable to make the calculated decisions required of her to fulfill her initial promise). This yearning for the town in which she was born and reared was, then, finally, Lucy’s Achilles’ heel, and not, as her friends believed, Arthur Hackett.

Lucy had reached a point in her career where the fact she’d made no substantive mark upon it had become something of an embarrassment – to herself and to her work colleagues. The Gallery tried to avoid this by promoting her. Lucy was experienced enough to know that promotion in such instances is often a sort of skewed version of the Peter Principle, applied, in the Gallery at least, particularly to female employees, whereby the employee is ‘promoted’ to a job with an impressive brief but which has no real power. In other words, Lucy had been put where she could do no harm, either to the Gallery nor to block the way of more exciting newcomers. So, it had come as a terrible realisation to her that after eighteen years of devotion to Modern Art she was not the high-flier of her university years, but, rather, a bit of a deadweight, an earnest plodder, with an over-developed sense of fair-play, and that if one’s career could be measured like a degree, she would probably get a third, at best a 2:2. (It was, Lucy thought, as if the pastoral backdrop of her upbringing needed to be erased for any kind of progress in London to occur. As if Modern Art itself could sniff her out; needed her to stamp out the tone of nature she must have carried always about her before it would let her come close and trust her with its frosty cleverness. As if it could smell the heather and tawny hawks off her, the salt of Shelling Hill, and no matter how much Lucy wanted it – it clearly did not want her.)

Of course, the whole business with Arthur had not helped. He’d been her mentor (he was the Gallery’s first owner and, after selling, remained as Chief Consultant), and in her second year in the job she had moved in with him, into his superb flat in Brondesbury Park. She knew that at first she’d been indispensable to him; she was acquainted with most of the YBAs, had (as a student) attended Damien Hirst’s Freeze and been on intimate terms with a couple of friends of the Chapman brothers. Arthur had a nose for the new and cutting-edge but he was not young, and so was known to use young women as spies into the habits and trends of the youthful. He was also a shark, and had often said to Lucy, and not in jest, that in the business of Art one should always have friends in ‘low places’. He certainly had contacts with dubious people, and Lucy knew for a fact that he had more than once brokered deals for stolen artworks.

‘You should go to Ice House Hill next weekend,’ Kevin said, as Lucy slotted the plates into the dishwasher.

‘Why, what’s out that way?’ she asked.

‘Shakespeare. In the open air. Saw something about it in The Leader.’

‘There’ll be none at it,’ her father said, emphatically, his face aflame now with annoyance at Kevin’s inattentiveness to the game (as a result of speaking to Lucy).

‘Well, if everyone took that attitude,’ Lucy said, and enquired as to which of Shakespeare’s plays was being performed.

‘King something,’ Kevin replied.

‘They do take that attitude, isn’t that the problem?’ her father continued, cutting across Kevin who was still trying to remember the name of the play being staged on Ice House Hill. Lucy had always considered that her father rather relished the cultural poverty of the town, for it had let him off the hook all these years: the lack of any significant artistic activity (in his mind, all the ‘arts’ were grouped together) had become the perfect dumping ground for his many failures. For it was tangible enough evidence, for all to see (surely), that he had just been too ‘advanced’ for the people he found himself living among, hence their rejection of him and his inability to succeed in anything other than board games upon his own return. So when something ‘artsy’ did occur, especially something exciting or innovative, Lucy knew he would most likely shoot it down.

‘King Lear?’

‘That’s it,’ Kevin said, without looking up, ‘we done (sic) it at school.’

‘It’ll be the usual am-dram shit they have on here,’ her father said.

All the same, she had isolated herself, had not made friends upon her return, had certainly not linked up with her former school friends. The thought of having to explain her sabbatical from a flat-lining career to ‘the girls’, now middle-aged women, filled Lucy with horror. For ‘the girls’ would also want to know about her personal life. Hence, a scenario began to play out in Lucy’s mind, in which she would meet said girlfriends and they would judge her for her material lack and she in turn (as if defensively) would judge them for their lack of culture. (Prior to 2008 and the country’s financial collapse Lucy had observed the spread of what had become known as ‘status anxiety’ to a town once hinterland enough to have been referred to as ‘El Paso’ by the writers of The Rough Guide to Ireland (1989), and, despite the recent recession, she did not feel relaxed enough to accept her comparatively lowly ‘status’ amongst these ex-friends who in her absence had become doctors or lawyers or prominent business people or the wives of such people.) The reigniting of such friendships was therefore doomed and, Lucy considered, best avoided. Plus, she dreaded that awful question asked of every returning émigré to the town: when are you going back? Because she simply didn’t know when she was going back nor if she would ‘go back’ at all.

Lucy had done well at first, moving to London for her Masters, landing at twenty-two an assistant position (with the Gallery) while ‘the girls’ were still struggling at home in the remainder of the earlier recession of the 1980s. It’s just that after the acrimonious break-up with Arthur she remained in the assistant position (or some version of it, a fact that her various promotions failed to disguise), running out of ingénue years, never making a real mark, finding her instincts were not the market’s, and for one reason or another (most likely, she believed, as a result of Arthur’s malign influence) she had not found the right conditions in which to bloom. At forty-one, Lucy was, she considered, very much a thing unbloomed. She could easily have left the Gallery, and had been encouraged to by well-meaning friends, but was determined not to let Arthur Hackett think he held any power over her. Suddenly, as she pressed the dishwasher tablet into the plastic pocket of the machine, she remembered something she’d read.

‘Ice House Hill? Wasn’t that near the house where that woman was killed?’ she said, as she searched for a sharp knife with which to dig at the cuds of caked sugar now stuck to the worktop after her father’s slovenly attempt at making tea.

‘Aye,’ Kevin said, ‘the Ice House. They say the husband done (sic) that.’

‘They always say it was the husband, Kevin. Sometimes it isn’t you know.’ Of course Lucy knew quite well that (at least in the crime movies she’d seen) more often than not it was the husband, but she wanted to make a point.

‘Hadn’t he an alibi? He was at work in Dublin, in the bank,’ her father said.

Some of the details of the Imelda Woods’ murder returned in a flash to Lucy’s mind. It had been a gruesome act, which, she recalled, had seemed at the time to capture the town’s imagination (of all the other gruesome acts of the border region), perhaps, as it had come at the tail end of the Celtic Tiger and the beginning of the more recent recession, and was rumoured to have been connected to a property dispute. The town had gone quiet for months afterwards, as if the crime was the apex of something – perhaps that whole torrid period between two recessions that saw a simple house in a not-particularly-thriving part of the country valued at over a million euro.

‘Never mind that alibi. Supposed to have got three fellas to have done it for him,’ Kevin said. ‘The Doyles. From the Demesne Road. Hard fellas, them Doyles. Border heads. Father’s a Provo, has half his face missing from a beating. One of them Doyles was going out with Imelda’s daughter, battered her once with an iron bar. They done the job for next to nothing, too, I heard. Scumbag assassins is all they are.’ Lucy’s jaw dropped at Kevin’s elaborate new theory on the Ice House Hill murder. She felt that Kevin could easily have yammered on all day about the hard men that lived around the Demesne Road. For in a way he was a ‘hard man’ himself, and only that he’d developed a talent for strategy, for board games, chess in particular, at which her father fancied himself an expert and teacher, he may well have got caught up in town violence himself. She wondered how he was able to tell such stories while making his winning moves on the board. She made her excuses and left.

Lucy stood with her bike on the pavement. The Ice House did not look from the outside as if such a heinous crime could possibly have been committed within. It was an unfussy building with its name scored in white paint on a large rock set slantwise in the front garden. But despite the house’s cheerful new yellow paintwork (Kevin had told Lucy it had been painted by the victim’s family in an attempt to put behind them the horror of what had taken place inside), and the trimmed speckled laurel hedge, Lucy sensed something strangely knowing about it, something prescient and dark. Within, it seemed to her, as if represented by the two top-floor windows, were a pair of judgemental eyes looking out onto Demesne Road, to the back of the busy town. The house seemed to call out to passers-by, relaying the message that one of the town’s biggest secrets remained locked within its walls – and desperately required solving. It is possible in a small town not to know the slightest thing about some people, including those as apparently popular as Imelda Woods. Lucy, nor her father, had ever met the middle-aged aromatherapist. But, Lucy vividly remembered reading about the Woods’ murder, the twenty-seven punctures to the upper back, the image of which had haunted her mind because it was so brutal. She’d cycled down Demesne Road the year before and then there had been Garda cars everywhere. Now, with the white and blue tape gone from around the house, the longer Lucy stared and noted its ordinariness, its deceptive quietness, the more she saw that something was dreadful about the property. An atmosphere of pain engulfed the place, as if the unresolved nature of the crime had become a palpable thing, had entered the atoms of the freshly painted yellow bricks. What had happened to Imelda Woods seemed to sit there, still and heavy, stubbornly unhidden by the new paintwork, as if it sat also on the conscience of the whole town.

The fact that the house, at the end of a row of similarly square-topped Art Deco properties, cut into the edge of Ice House Hill gave it an added gloom. The Hill had once been a fort, beneath which, hundreds of years ago, people had supposedly hidden from marauding Vikings. The ancient forest on top descended to the edge of the house’s back garden. Lucy recalled reading that a couple of men had been seen running from the garden into those very woods on the morning of the murder. Something, too, about peaked caps. A shiver ran down her spine as she glanced up at the trees: black-green cedar, a few sally, some rowan and alder, all packed together on a heath that blocked the sun from entering the back of Imelda Woods’ now empty and silent home, but which, Lucy realised, would nonetheless make a perfect backdrop to Shakespeare’s moodiest play.

In the Tourist Office she came upon a leaflet advertising Chapterhouse Theatre Company’s tour of the northeast. There were to be two shows in Monaghan, one in Newry and one on Ice House Hill. The image of a castle, visible in the distance from the heath on Ice House Hill, featured on the front of the leaflet and was overlaid with an image of a woman cutting into a deep meat pie. (King Lear was in repertory with Titus Andronicus.) A few details on the reverse of the leaflet revealed the company to be local.

‘Have they been around long?’ Lucy asked the fair-haired man behind the counter in the Tourist Office’s modern wood-panelled foyer.

‘Sure,’ he said, in a local accent. ‘They won an award last year. I saw their Tempest in Stephen’s Green.’

‘Any good?’

‘Aye, they are,’ he replied. ‘A real physical company. Visual and intelligent. Are you thinking of going?’

‘Shakespeare here in the town? Doesn’t happen every day.’

‘Oh, there’s lots of stuff happening now. Oh yeah. Lots of bands, too, and exhibitions.’ The fair-haired man got up and walked to the front of the desk. He was lean and smelled of patchouli. He pulled a postcard from a carousel of postcards that stood in the centre of the foyer and handed it to her. The image on the card was of a voluptuous naked woman coiled around a tree. Lucy was embarrassed. Not by the naked woman but because she thought the work was terrible. She hoped the young man was not about to tell her that the picture was one of his. ‘That’s one of mine,’ he continued, and flicked through the cards to see if there were any more examples of his work in postcard form. ‘I’m in a group, you see. In Carlingford. You missed the exhibition in the Town Hall, but I’ve another coming up.’ Lucy nodded and said she’d love to see his next exhibition (while simultaneously feeling the enormous effort of lying course through her body). She noted the man’s name on the back of the card: Larry Doyle. She’d heard that surname once already that day (the family of psychos from Demesne Road). She pumped up her enthusiasm and left. On the way out she berated herself: Why did she have to know that the lad’s work was bad? Why couldn’t she think it good? Why did she have to be such a bloody expert?

Still thinking about her encounter in the Tourist Office, Lucy decided that twenty years in London, however difficult some of them had been, had, overall, spoiled her for anywhere other than big cities. She could not help but feel that everything at home was substandard; the theatre seemed amateurish, the visual art derivative and idea-less. What poets there were published themselves and went about local pubs selling glossy chapbooks of their rhyming quatrains. She’d been home two months – two months in the very same country it seemed the entire world believed was bursting with artistic talent, and still she felt starved of real, meaningful stimulus. She either needed to go back to London, fast, or move to Dublin or Belfast. Or, perhaps she needed to dig deeper; surely she had dismissed the place too soon. If she was to survive in this town at all she certainly had to stop coming across like a one-woman art Gestapo. Artistic mediocrity was not a crime: stabbing a woman in the back twenty-seven times as she washed the dishes was a crime.

As she cycled home, Lucy looked out at the streets once so familiar to her. There she had climbed a wall to pilfer apples, there she had stamped out her first (mint-flavoured) cigarette, there she had walked with her then best friend – hair slicked back, hands in cream Macintoshes with collars upturned, eyes heavily lined, faces pale as dolls – while loudly singing Ultravox’s Vienna. No, she would not, could not change her view. Artistic mediocrity was, she reasoned, very much a crime. Perhaps it was no coincidence, she considered, that when a town had no real art gallery, when the most popular theatrical performances were the local musical society productions of Oklahoma! and Guys and Dolls, when the Tourist Officer himself had a penchant for lurid Celtic designs, the benchmark was somehow lowered, and so this was why, in this town, murders, particularly of quiet aromatherapists, seemed somehow less horrific than they should be, and, as in the case of Imelda Woods, one year on remained unsolved. After all, Lucy reasoned, lows are really only perceived as such against highs, otherwise they can be tolerated. This town, she concluded (though she fancied she’d absorbed something of its grit and obduracy), seriously needed to raise its own personal bar.

Passing the Ice House on her way home, its dusty white nets hanging in dense creases so as to permit no view inside, for some reason Lucy thought of Arthur. Perhaps he missed her. Perhaps now that she was away, no longer part of the proverbial office furniture, he would realise the full extent of what he’d lost: a lover, a loyal employee. Or perhaps not. However bad this sabbatical thing was proving, that cold, empty life in London could not be rekindled in a hurry, she reminded herself.

She parked her bike outside the Centra shop her father frequented and went inside. She saw the headline in the local newspaper immediately: Woods’ Husband Declares Innocence. Lucy picked up the paper, turned the pages. Imelda Woods’ husband’s letter to the editor had been given pride of place. It read: Dear Editor, I would like to put an end to the terrible rumour that has been circulating through this town about my involvement in my wife’s murder. I am devastated at the level of hostility shown to me by the people here, some of whom I believed were my friends. The letter continued to the effect that Mr Woods’ life had been destroyed by the kind of remark Kevin liked to dish out casually in her father’s kitchen. The writer seemed a far more sensitive type than the money-hungry fiend Kevin had described. In fact, this letter suggested that Mr Woods was quite heartbroken. She felt distraught reading the man’s plea to the town’s gossipmongers to leave him alone. She brought the paper, along with a carton of milk and a small loaf of bread, to the counter, and paid.

‘Poor fella,’ Dympna, the young You’re a Star contender remarked, as she placed Lucy’s purchases into a bag.

‘People thought he killed her, right?’ Lucy said.

‘Only the fools. And there are fools every place,’ Dympna replied. ‘What would be his motive? Sure they’d been split for years and he still won’t get the house.’

‘How do you know?’ Lucy asked.

‘Because she sold it a month before she died. To the council. She sold it for a song, too, so they’d let her live in it till they were ready.’

‘Really?’ Lucy replied, ‘ready for what?’

‘Aren’t they going turning it into an arts centre? About time we got something like that. You’d swear we’d nothing going for us here only The Corrs.’ Lucy took her change. An arts centre in the home of a murdered woman: was that not a little weird, grotesque even? Surely there would be something still there – a residue, a ghost, a revenant of some sort? But then she thought of Drury Lane and other such theatres in London that were supposed to have resident ghosts, often carrying their own heads. She was glad then that something good was coming to the town at last and that Imelda Woods had had the foresight to sell her home for such an excellent cause.

That night, Lucy got a text from Cindy, the Gallery’s junior assistant:

– Lucy, ffs the grad intern covering u is now shacked up with Arthur. I thought u should know! Cx to which Lucy replied:

– Who’s Arthur?

She began to worry that she’d mentioned Arthur’s name a bit too often in the office – and that she’d been too keen to share (with Cindy – and therefore the whole office) not only her anger over how he’d treated her over the years but also her pain in knowing he’d moved on while she hadn’t, her ongoing sense of loss. She should have kept such things to herself. But the break-up had felt like grief, had followed the same key stages, and she had needed to talk to someone. That night she felt much more than a renewed determination to make a go of her new life at home; she felt that Arthur Hackett had pretty much brought her to her knees, and began to feel again her former intense grief-like rage, for he had, effectively, with his charm and promises and eloquent mentorship, robbed her of her future. And that night she not only passionately wished him a swift demise but began to think of what Kevin had said about the hard men from the Demesne Road, the Doyles, the ‘scumbag assassins’ who would kill for hire and at a cheap rate, too.

Neither Kevin or her father could come to Ice House Hill to see the play. But a large crowd attended nonetheless. Around seventy people laughed and cried (and screeched at the blinding of Gloucester). The company was, as Larry Doyle had said, very physical and it put on a good show. Then, just as Lucy was about to depart the spectral darkness of Ice House Hill, she spotted Larry Doyle – chatting to the heavy-chested actress who had played Cordelia. He saw Lucy and beckoned her over. Lucy congratulated the actress and within minutes was being swept up in a buzzing horde of people, actors from the theatre company, local artists like Larry, and a few others, all heading for a bar in town. Excitement crackled in the air. A few hours into the drinking session in the bar on Park Street it occurred to Lucy how talkative and cheery she was being, and that a slight trace of her former accent was returning to her voice. She felt ever so slightly happy – and was enjoying herself.

Larry introduced her to Don Shields, the town’s arts officer. Shields was very keen to know about Lucy’s work in London though she neglected to mention her lengthy sabbatical. As the evening went on it became apparent that it was Shields who had been responsible for the purchase of the Ice House and that he would be at the helm of the project that would transform it. He was full of ideas. The house would have a small cinema, he said. He had in mind already the first season: rotating weeks of Italian neorealism, German expressionism, weekends devoted to David Lynch, Tarkovsky. Lucy sounded her approval. She didn’t want to appear to know too much about the gory details of what had occurred inside the house, to which Shields referred only once. The man had a strange way about him; he spoke hurriedly, with a trace of hostility, and looked beyond the person to whom he spoke as if he expected a row of people waiting to speak to him. He made Lucy feel as if time with him was precious, valuable. He was also loud, strident even and managed to down an entire packet of cashews in one go while he spoke to her – making him seem more clinically efficient than rude. The crowd with whom she had gone into the bar seemed to hang on Shields’ every word. It was Shields, too, she learned, who had suggested the performance on Ice House Hill to Chapterhouse Theatre Company. His boundless confidence recalled to Lucy, one Arthur Hackett, and because of this she was not quite as impressed with him as she thought he thought she should be. But her slight disdain towards him gave her the courage to speak frankly. So when she mentioned that surely the murder of Imelda Woods would need to be resolved before the arts centre was established and a cinema set up inside, Shields became sharp and defensive.

‘We’ve been as cooperative as we can with the family,’ he said, ‘but the house is our property now. Besides, the town should really just move the fuck on.’ Even deep in the sticks, Lucy thought to herself, the arts world had its stonehearted men of ambition.

A few hours later, Lucy walked home, merrily drunk, from the bar (alone). She went into a restaurant with a busy takeaway section to buy chips, something greasy. True to the town’s reputation for violence, a fight broke out as she waited in the disorderly queue. Two men emerged from the back of the dining area and dragged one of the men who’d been in the fight out onto the street. Through the glass, Lucy could see the two men screaming at the younger man as they slapped him about the head. The young man’s slate-blue eyes were wild, as if he wanted nothing more than to burst back into the restaurant and continue the fight from which he’d been dragged. She guessed that he was brother to the other two as all were tall, long-legged, had the same chalky pockmarked skin, the same crazed unfocused look – and there seemed to be a kind of understanding between them. The owner of the restaurant, a little Italian woman, banged on the window for the three to move on, but the younger one, still full of bluster and rage, ignored her and the two men rebuking him and continued his attempts to re-enter the place. It began to rain then, a light summer rain, and the young man calmed, and Lucy watched as he and the other two took similar-looking black peaked caps from their pockets and fitted them snugly onto their heads before moving off.

Done the job for next to nothing, too, I heard. Scumbag assassins is all they are.

‘Fucking Doyles,’ she heard the man behind her say, ‘bad bastards, the lot of them.’ Lucy paid for her order and set off home on the balmy night with her oily chips and onion rings. She did not go home via the back of the town and so did not pass the Ice House, but walked along Park Street towards home. The Doyle brothers walked animatedly ahead, their dark round heads bobbing before her like a group of seals. As she observed their loud playfulness, at once humorous and violent, she became overwhelmed with a deep sense of belonging, of rootedness. Something inside her had finally relaxed. She wondered, how – when she would eventually catch up with the Doyles, as she was resolved to do – she would go about striking up a conversation with them (at least before they made the turn for Demesne Road). She wondered, too, if any of them had ever been as far a-field as London.

—Jaki McCarrick

Jaki McCarrick is an award-winning writer. Her play, Leopoldville, won the 2010 Papatango Prize for New Writing, and her most recent play, Belfast Girls, developed at the National Theatre Studio, London, was shortlisted for the 2012 Susan Smith Blackburn Prize and the 2014 BBC Tony Doyle Award. It recently premiered in Chicago to much critical acclaim. Jaki’s short story, The Visit, won the 2010 Wasafiri Short Fiction Prize and appears in the 2012 Anthology of Best British Short Stories (Salt). Her story collection, The Scattering, was published in 2013 by Seren Books and was shortlisted for the 2014 Edge Hill Prize. Jaki, who was longlisted this year for the inaugural Irish Fiction Laureate, is currently editing her first novel. Represented by AM Heath. Her blog, CloudNine, can be read here.

Here in Russia: A Review of Jeff Parker’s Where Bears Roam the Streets — Benjamin Woodard

Jul 112015

At its core, Where Bears Roam the Streets aims to strike a balance between Thompson-esque madness and serious journalism. — Benjamin Woodard

Where Bears Roam the Streets
Jeff Parker
Harper Perennial
368 pages($16.99)
ISBN 978-1554683826

As an American child of the 1980s, three well-known figures essentially forged my understanding of Soviet Russia: Odessa-born comedian Yakov Smirnoff (“Why don’t they have baseball in Soviet Union? In Soviet Union, no one is safe!”); Ivan “I must break you” Drago, the fictional pugilist from the cinematic travesty Rocky IV; and former Soviet leader Mikhail Gorbachev (though, to be honest, most of my interest here surrounded the various jokes about his birthmark).

To say that I grew up in a non-political household would be an understatement. I was a child living in blissful ignorance of the outside world, and the U.S.S.R. was simply a place with funny rules, mean boxers the size of horses, and a leader as strange as our own Ronald Reagan.

Jeff Parker, in his energetic new journal/travelogue/memoir, Where Bears Roam the Streets, admits to a somewhat different childhood. Raised in north Florida, he writes that, while his family wasn’t “tuned in” politically during his childhood, he developed a fear of the U.S.S.R. thanks to nuclear attack drills during school hours, coupled with the 1983 TV movie The Day After:

After seeing the movie The Day After, which solidified in me the understanding that Russians were my enemy, I asked my mom if we could put in a below-ground fallout shelter.

Of course, Parker expanded his worldview as he aged. A budding writer, he found appreciation in Russian literature—Gogol, in particular—and in 1999, while in graduate school, he began visiting the nation regularly to work at the St. Petersburg Summer Literary Seminars. During his first summer abroad, he bonded with Igor, a walking tall tale of a young man, and their friendship bloomed. Until the Literary Seminars shuttered in 2008, Parker and Igor spent summers together, and when Parker was back home, the pair kept in contact via Skype. Then, in the summer of 2009, as Parker’s marriage slowly deteriorated and Igor found himself suddenly unemployed thanks to an economic collapse caused by Russia’s armed conflict in Georgia, the duo decided to spend the summer traveling. The point of the trek was twofold: to unwind, firstly, but also so Parker could write about the land that scared him so in his youth. The result—Where Bears Roam the Streets—is a fascinating volume, equal parts examination of Russia culture and rowdy road trip, that rarely stumbles in its bid to illuminate the highs and lows of modern Russian life.

The book oscillates in time and location, with chapters chronicling Parker and Igor’s travels (first to the Black Sea coast, then to Siberia to visit Parker’s estranged wife) interspersed with sections devoted to a wide variety of Russian curiosities—from matchmakers to political activists—as well as Igor’s wild past. These shifts occasionally feel abrupt, derailing some narrative flow, yet all are important to understand the actions taken by those Parker encounters. Tales from Igor’s history, especially his time in England, working for pittance while being “trained” as a manager for a British muesli plant set to open in St. Petersburg, establish the man’s skepticism. Further, a brief account of Igor’s multiple comical attempts (and eventual success) to evade military service in 1999 permit the persuasive, suave Igor of 2009 to seem all the more fathomable. This story of draft dodging also resonates in the larger world when juxtaposed with Parker’s visit with writer Denis Burov and Ilya Plekhanov, both former soldiers who fought in Chechnya. When Burov, who suffered from poverty and intense PTSD following his service, tells Parker, “Service is not a noble thing here in Russia, unfortunately…Now the common point of view is a real man has to buy his way out of the service,” it’s hard not to look at Igor’s charm and persistence with a bit of disgust. Through these somewhat unrelated incidents, his character rounds out, so that as his journey continues, we feel for his triumphs and defeats.

Likewise, such encounters also bring to light some of Parker’s own unease, serving to expand his persona:

I always felt guilty around guys my age who had gone to Iraq while I prowled bars and wrote my stories. And unlike Igor, I hadn’t swindled my way out of fate…Put in the same situation [as Igor], I’d have done everything in my power—I’d have paid much more than Igor for an X-ray showing a non-existent crack in my spine.

Here, another heartbeat of Where Bears Roam the Streets is exposed, for while Parker claims his book’s overall agenda is to further comprehend Russian life, time and again his explorations prove he’s also searching for a greater understanding of his own nature. After Igor tells Parker of his own psycholinguistic method of working out problems, the author finds himself testing the technique on his own woes. Likewise, Parker chastises Igor’s treatment of women, claiming his friend suffers from a “‘man is first’ mantra,” yet the author sometimes describe the females he encounters with a touch of male gaze (it should be noted, however, that Parker does devote large chunks of his book exposing some of the horrible injustices faced by many Russian women: unforgiving romantic expectations, physical and sexual abuse). It’s in moments like these that Where Bears Roam the Streets chronicles Parker’s psyche as much as that of the world around him, a general feeling echoed about halfway through the book when Parker writes, “I wondered at the Igor part of me. And the me-part of him…” As the two roll across the land, consuming vodka, sweating in banyas, and mulling life, there are certainly times when these “parts” blur.

Gary Shteyngart, in a blurb that appears on the back cover of Where Bears Roam the Streets, calls the book “A kind of Fear and Loathing on the Trans-Siberian Railroad,” and while such a catchy quote will certainly help move paper copies, it ultimately sells Parker’s ambition short. Yes, the total amount of alcohol consumed during the author’s escapades with Igor would leave lesser writers dead, and scenes of hosting celebrations full of fellow travelers while staying in Listvyanka contain a fair share of combustible energy, but to paint Jeff Parker’s latest as a Hunter S. Thompson imitation would be a massive disservice. At its core, Where Bears Roam the Streets aims to strike a balance between Thompson-esque madness and serious journalism. As Parker speaks to his subjects, both casually and in more formal interviews, he does so with the interest of a man who truly wants to learn, who truly hopes to grow from each experience, and as readers along for the ride, we are all richer for having experienced the world via his curious nature.

— Benjamin Woodard

Benjamin Woodard lives in Connecticut. His recent fiction has appeared in Cheap Pop, decomP magazinE, and Spartan. In addition to Numéro Cinq, his reviews and criticisms have been featured in, or are forthcoming from, The Kenyon Review, Publishers Weekly, Rain Taxi Review of Books, and other fine publications. He also helps run Atlas and Alice Literary Magazine. You can find him at benjaminjwoodard.com and on Twitter.

And So, Ad Infinitum | Review of David Winters’ Infinite Fictions: Essays on Literature and Theory — Jeff Bursey

Jul 112015

As with any collection of essays or reviews, there are aspects to argue against and agree with, which is a sure indicator that Winters sparks interest. —Jeff Bursey

Infinite Fictions: Essays on Literature and Theory
David Winters
Zero Books
Paper, 210 pp., $22.95
ISBN: 9781782798033

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Introduction

Readers of new writing increasingly get a fair sense of what is out there, and how it’s viewed, by going to Internet journals or blogs run by reputable, trusted figures, and less and less from the review sections of newspapers that appear dedicated to safe choices. Occasionally an individual’s contributions to book reviewing warrant publication, as was the case last year, with Dzanc bringing out John Domini’s zesty collection that showcased familiar (Gilbert Sorrentino, John Barth) and less familiar authors (Lance Olsen, Dawn Raffel), drawn from over three decades of critical thought. It’s the work of a mature writer who is also a novelist.

David Winters is co-editor in chief of 3:AM Magazine, an Internet journal relied on for news about literary matters, and he is, according to his website, also “…a literary critic, currently based at Cambridge University, where I’m researching Gordon Lish’s influence on American fiction from 1960 to the present. Alongside modern and contemporary literature, I’m also interested in continental philosophy and metaphilosophy, the history of concepts, and the sociology of ideas and intellectuals.” A current book title containing the word infinite brings to mind not endless expanses but defined territories, either because the use of the word here has to be ironic or not serious, or because a contrarian approach rises up inside or is expected to be found in the pages. The three-part division of Winters’ book—“Introduction,” “On Literature,” and “On Theory”—indicates that theory, apart from its, well, apartness or maybe alien(n)ation (so to say) from literature, is an equally circumscribed and vast fiction. Hence, immense space can be conceived, but that thought often crumbles into thoughts of the continent lived on, the country inhabited, the city that hosts the seat of higher learning where metaphilosophy can be studied, or the neighbourhood lived in. In Infinite Fictions, tension exists from the outset.

A banker once asked a group to help define his occupation. “What do you call a parasite that lives on parasites?” Metaparasite sprang to mind. David Markson, in Reader’s Block, wrote: “Horseflies that keep the horse from plowing, Chekhov called critics.” A review of any fellow reviewer’s collection could contain this old verse: “Big fleas have little fleas,/Upon their backs to bite ’em,/And little fleas have lesser fleas,/And so, ad infinitum.” Despite the personal nature of a large amount of literary criticism—at times the confessional tone topples over into the ridiculous—it’s useful to keep in mind that Infinite Fictions is the object in the world that’s under consideration, though imbued with some of its subject’s nature—critics don’t have, or else aren’t granted, the same elasticity with regards to creating personas as fiction writers—but while it may be impossible to divorce one’s own obsessions from the obsessions of the subject, it is also, to a degree, impractical. A literary work of any meaning—and “literary” means anything that uses words, from flyers to a high-flyer like Foucault—engages with its contemporaries, its predecessors, and future writings not yet dreamed of. Or, to speak with, against, alongside, and over fellow fleas.

Terry Eagleton’s The Event of Literature and D.N. Rodowick’s Elegy for Theory frame the section “On Theory.” This is neat bookending in the sounds, in the event closed off by a lament for the dead genre, and the seeming capitulation of theory to literature. From Eagleton’s work, as quoted, mediated, and commandeered by Winters—don’t hold that word against him, or rather, hold it against most reviewers who try, in Domini’s words, to “honor my elders,” since inhabitation of a text is at times irresistible in order to winkle something out of it and make it a fixture in the armature of personal thought—the report arrives that literary theory had its best days in the 1970s and 1980s, and its energies, approaches, and concepts, unsurprisingly, have been subsumed by cultures small and large and integrated into general discourse (such as the way your eye just passed over the word discourse without a mental blink). Eagleton “attempts to retrieve some of literature’s strangeness and singularity” by calling on theory; “…Eagleton makes a persuasive case for returning to what could be called ‘pure’ literary theory… To theorize in this sense is to reassert the centrality of close literary analysis, recovering literature as a determinate object of study, distinct from broader conceptions of ‘culture.’” Free of humility, Eagleton’s view retains its savior complex, that theory is again able and ready, even from its recumbent position, to help literature go wild.

Discussing Rodowick’s book, which “excavate[s] the fossil record of theory, rather than adding another two cents to the increasingly tired arguments ‘for’ or ‘against’ it,” Winters writes that “academic disciplines… [are] increasingly keen to deny theory’s lasting effects; thus, theory is rather ritualistically declared ‘dead,’ and we assume that we’re safely ‘after theory.’” He sees hope in Elegy for Theory: “…perhaps [theory’s] historical closure leaves it newly illuminated, in ways which weren’t possible when it was pressingly present.” (Oppressively omnipresent might be another way to put it.) In this review Winters seems more comfortable, and he is more persuaded, than in his review of Eagleton—whose work he ends by judging as somewhat “diffuse” (129)—hence his writing picks up a bit and the sentences flow better.

At certain times in this section bias overcomes the usually even-handed treatment of the book at hand. Winters’s review of Daniel Levin Becker’s Many Subtle Channels, an insider’s look at Oulipo by one of its two American members (inexplicably, Harry Mathews goes unmentioned), is slightly condescending to the efforts of this group—encapsulated in “even if, like me, you remain unconvinced by the Oulipo, an outsider looking in” (140)—that may be understandable on its own (not everyone likes restrictions and games). However, when explaining the content of Martin Woessner’s Heidegger in America—a “‘reception history’” on how the philosopher’s ideas permeated the thinking of U.S. academic institutions—Winters stays mum on Heidegger’s Nazism, though Woessner doesn’t, and the omission looks selective.

Generally, however, throughout this section of the book Winters appears knowledgeable about a variety of theoretical approaches, and writes with confidence. His appraisals of Franco Moretti and Cathy Caruth are good introductions to the ideas of both, and he has some interesting things to say about Robert Musil when examining Robert Musil and the NonModern by Mark Freed.

II.

Winters is not a writer one quotes for the loveliness of his phrasing. There are no witty expressions and few surprising word choices, or viewpoints that catch one off guard, though there is the occasional alliteration. His sentences lack a firm enough individualistic rhythm, and this may be due to frequent quotations from others, such as when he quotes Derek Attridge using one word, “singularity.” Like environmentalists spike trees with metal, Winters deploys quotations and critics as a defence and bulwark for his opinions. In “On Theory” that habit of thinking or writing choice fits in with the topics, but “On Literature” covers 21 fiction writers who possess styles that leave the quotations from Roland Barthes, Pierre Bourdieu, and others jutting out in ungainly ways.

“On Literature” opens with a review of Micheline Aharonian Marcom’s A Brief History of Yes and closes with a review of Andrzej Stasiuk’s Dukla. It is worth quoting lines from the first paragraphs of each to demonstrate that, as in “On Theory,” Winters has chosen carefully his frame works.

Writing about the work of Micheline Aharonian Marcom is likely to leave one searching for words. Each of her books has been newly, bravely bewildering, in ways that are almost beyond paraphrase. That is, these texts assert such stylistic strength that they seem to resist the language of criticism, or any language other than their own. How can prose so poetically self-reliant, so set apart from our ‘ordinary’ discourse, be faithfully described, let alone criticized, from outside? Confronted with this kind of writing, any critical review—any act of writing about—could run the risk of redundancy.

I won’t say anything about Andrzej Stasiuk, and I’ll try not to say much about myself. About Poland, I’ll say nothing. This text doesn’t need to be contextualized. Equally though, Dukla shouldn’t be subjected to a ‘close’ reading. Perhaps the words on the page aren’t worth as much as we think. What matters is the way that a work presents itself. The experience it evokes; the constellation of images it conveys.

This is not simply something linguistic. Literary language is not what makes literature literature…. Books aren’t what we as readers believe them to be. There’s something beneath the words that we read. With Dukla, one way of saying this is that language is ‘backlit.’ The book is lit up by something shining behind it.

It is unclear what that “shining” background comprises and difficult to condense poetic prose in fresh words. A looming deadline and a waiting editor, as well as the irrepressible urge to provide a partial (in more than one sense) description of what a book does to the mind, in the hope that not too much damage will be done in the rendering, often combine to push scruples out the window. Winters spends several pages on two books he is reluctant to trap, as Domini put its, in “a kind of shrink-wrap that risks suffocating the artwork under consideration.” As a professor of mine liked to say, we must eff the ineffable; it’s a compulsion.

In the review of Dawn Raffel’s In the Year of Long Division Winters offers a view of publishing as well as one of many encomiums to the Great White Wizard whose shadow stretches across this section of Infinite Fictions:

Between 1977 and 1995, the American publishing industry witnessed a burst of avant-garde activity whose cultural impact has yet to be adequately assessed. The years in question correspond to the legendary (and controversial) career of Gordon Lish as senior editor for fiction at Alfred A. Knopf. For nearly two decades Lish was uniquely placed to, as he put it, “indulge my fantasies at the expense of a large corporation.” … From Diane Williams to Gary Lutz, Rudy Wilson to Jason Schwartz, Lish championed writers who challenged fundamental conventions of style and form.

Raffel “is an author associated with what some have called the ‘School of Lish.’ Yet this crude category does a disservice to what are often… strikingly singular writers and works.” Crude it may be, but the generality is enforced by Winters’s frequent evocations of his acquaintance and references to Lish’s literary invention, consecution, which Winters makes clear, while reviewing Lish’s Peru, can be defined as “less a methodology than a metaphysic; a miraculating agent; an instance of spirit or pneuma submerged in the world.” From potential savior and midwife (a mix of Eagleton and Ezra Pound)—in the mini-history above the authors are subordinate to their discoverer—to the mind behind “a miraculating agent”—if readers are not persuaded by this near-hagiography of Lish, then that will affect their opinions on Winters’s collection.

As with most review collections, there are ones that are successful and ones that are not. The virtues of Ivan Vladislavić’s The Loss Library and Other Unfinished Stories excite Winters as he explores a text that “…is brought into being by the tension between being written and unwritten, where neither ever overwhelms the other. In this way the work doesn’t work out, isn’t resolved into a work, but rather results, inevitably, from a field of forces…,” and his admiration leaps off the page in an infectious way. “Fictive forms preserved in infinite space,” says Winters of Vladislavić’s novel; it’s a remark that also evokes his own book.

Kjersti Skomsvold’s The Faster I Walk, the Smaller I Am, a novel that deserves to be much better known, is a well-told sad story about the predicament of its lead character, Mathea. Her state, as well as the calm tenor of the prose, encourages Winters to enter more emotional terrain. Mathea “longs to lose herself in a benignly entropic universe, obeying her mind’s inward pull toward dissolution and death. But an opposite impulse calls her to cling to her life’s specificity, searching for any attributes that make her unique…” This neatly captures the yo-yoing Mathea feels, and is respectful of her movement from one thought to another.

Some reviews fail to convince. Winters declares: “Marcom is not preoccupied with plot; her writing reads more like an open inquiry into her chosen emotion… Hence narrative convention is overturned by something closer to the lived experience of loss: rather like in life, a relationship’s end retrospectively alters its memory.” This review first appeared in The Quarterly Conversation, a home for unconventional works reviewed by unconventional writers for unconventional readers. (Regrettably, there is no clear indication exactly when and where reviews originally appeared nor is there an index.) After reading the preceding paragraphs Winters provides on the risks Marcom takes, it’s unclear what review reader would be so wedded to “narrative convention” or find Marcom so radical.

Christine Schutt, author of Prosperous Friends, and another Lish protégé, is the subject of a review that founders on a misunderstanding. Isabel tells Ned she’s “‘depressed’” and that she likes “‘melancholy,’” and it becomes clear that she treats these two terms as if they are the same. Instead of interrogating this word choice (it could be appropriate for the character) or outlining the differences, Winters leaves untouched psychology and neurological advances on the make-up of depression, turning to a literary theorist for instruction: “In this, [Isabel’s] condition recalls Julia Kristeva’s description of ‘melancholia.’” Summarizing more of Kristeva on this matter, Winters says that in her view “there’s clearly an ambiguity at the core of depression. In their inarticulate plight, perhaps depressives are like failed artists, blocked writers. But by accessing an inner world of poetic expression, each is also an artist in the making… One way of recovering,” Winters continues, “from melancholia is to craft an ‘independent symbolic object’—a work of art.” He has adopted Schutt’s interchangeable use of depression and melancholy. It’s a flawed review that never recovers.

As with any collection of essays or reviews, there are aspects to argue against and agree with, which is a sure indicator that Winters sparks interest.

III.

“Introduction” speaks about the reasons behind this book’s existence, and Winters’s experience as a reviewer. On the cusp of inviting the world to dive into a collection of his writing, he is less sure of himself than is illustrated in the attitudes and knowledge found in the pages ahead. Speaking on how reviewing can contain aspects of oneself, he make the good point (though few will agree with it) that “literary subjectivity isn’t always aligned with autobiography. Right now, I’m writing this in the first person, but I perceive that person as a perfect stranger.” It’s doubtful that “perfect” is any more accurate than “stranger,” unless Winters’s personality changes so uncontrollably it’s beyond his grasp. He elaborates: “Put simply, I’ve never known who I am. Nor do I feel securely in sync with the world. I intersect with it at an abnormal angle—my link with life is dislocated. Of course, this condition isn’t uncommon. I mention it only to emphasize that an initial alienation led me to literature.” If something isn’t uncommon then it’s not abnormal; it can be odd, eccentric, idiosyncratic, and even normal. Not to speak harshly or dismissively, but he must have his pose, as do other reviewers (though see above regarding the restrictions). “I wouldn’t say I give much away in my writing, but some of it still speaks obliquely of secret experiences: depression, religion, unrequited love.” He’s left most of his life outside the reviews, then—or to quote him, “About Poland, I’ll say nothing.” Yet if he’s a perfect stranger who doesn’t know himself, how does he know this, and what trust can be placed in his ideas? In one review he states that “personae in books are merely arrangements of surfaces, much like us.” Why, then has he assembled this book written by other David Winters, and what value does it have? He can’t be speaking from any position of grounded authority, although the reviews themselves carry a greater assurance.

The key to this work may rest in this line from the introduction: “I’ve tried to rationalize my critical practice, but finally it’s about something basic and frail: art as solace.” (Theory has a special place in his world: it is a “totem or talisman; a charm that we clasp to our hearts.”) Solace is a comfort one offers to others, in a positive way, as if to say, “Since art (or religion, or sex, or Pop-Tarts) has been a balm, for me, then maybe it can be the same for you.” This may be the impulse behind the collection. However, considering the role Lish played in getting people published—that is, in making commodities of artists’ utterances—and in furthering the careers of other writers who have gone on to earn money through publishing and/or teaching, it’s unusual that Winters regards books solely as artistic creations. He’s aware that part of a reviewer’s task is to bring notice of novels, poems, essays and such to readers so they’ll purchase them, and many are delighted when their words are placed on a book jacket. (His expression recalls a totally contrary belief voiced by Gilbert Sorrentino in The Moon in Its Flight: “Art cannot rescue anybody from anything.”) Hence (a word Winters frequently uses), the question of whether he has a blind spot here is an open one.

In the introduction’s closing paragraph, Winters talks about the “triviality” of reviews, and about “the vanity of assembling this kind of collection…. Really, they’re only records of my desperate autodidacticism.” In contrast, the last line quotes Bourdieu (a touchstone in this book) referring to “‘a collection of unstrung pearls…’” Wealth and trivia; there’s one more tension. The reviews themselves have little of this nervous throat-clearing, and show, more fully, that David Winters wants to be included in conversations around ideas, letters, and figures that are heard throughout the republic of letters. There’s no need for modesty, real or false, and no need to apologize. “In a way, to write a review is to hide behind what another, better writer has written.” Or to jump on the back of others—like a flea—and draw sustenance and courage from them.

—Jeff Bursey

Jeff Bursey is a Canadian literary critic, and author of the forthcoming picaresque novel Mirrors on which dust has fallen (Verbivoracious Press), and the political satire Verbatim: A Novel (2010), both of which take place in the same fictional Canadian province. His academic criticism has appeared most recently in Henry Miller: New Perspectives (Bloomsbury, 2015), a collection of essays on Miller and his works by various writers. Bursey is a Contributing Editor at The Winnipeg Review and an Associate Editor at Lee Thompson’s Galleon. His reviews have appeared in, among others, American Book Review, Books in Canada, The Quarterly Conversation, Music & Literature, Rain Taxi, The Winnipeg Review and Review of Contemporary Fiction. He makes his home on Prince Edward Island in Canada’s Far East.

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

Jul 092015

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Ray said he’d heard that lecture as well.

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

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

Before I could finish, Ray took over:

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

He had been there before.

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

—Robert Day

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

Undersung | Ernst Jandl: Out on the Playground — Julie Larios

Jul 082015

Ernst Jandl 1925-2000

This is the pleasure of Jandl’s Reft and Light. Not only does it introduce us to Jandl’s originals, it goes on to show us how any poet trying to wake up tired words can do so by putting an improvisational spin on them… What Jandl’s wordplay accomplishes in general is a toning up of the poetic muscles. Over the years it has provided me with several good workouts, and it has been a reminder that recess is part of the kinesthetic education of a poet, too. — Julie Larios

Ernst Jandl’s book Reft and Light opens with this word of warning from editor Rosemarie Waldrop: “Most of Ernst Jandl’s poems are so engrained in the German language that they are impossible to translate.” Notice that she doesn’t say “extremely difficult.” She says “impossible.” That doesn’t bode well for English-speaking readers who, like me, know only a few words in German – principally those used by fictional Nazis in old WWII movies – “Achtung! Verboten!” – or for readers who, also like me, have been puzzled by the long controversy over whether John Kennedy, in a 1963 speech, called himself a jelly donut or declared himself to be a citizen of Berlin (“Ich bin ein Berliner.”)

The jelly-donut controversy no doubt would have pleased Ernst Jandl, an Austrian poet and translator, whose work often explored the strange malleability of words. He was philosophically if not officially a member of the Oulipo school of experimental poets (the moniker “Oulipo” formed from the French words Ouvroir de Litterature Potentielle, meaning “Workshop of Potential Literature”) who played with formal constraints as a means of re-examining or re-awakening language. Inventive word-morphing, reconstructions, deconstructions and deliberately misdirected readings and soundings of words at the sentence, word and phoneme level – these were his strong suit, at least as far as Reft and Light is concerned. Waldrop’s note introducing the book helps explain why few people in the United States have heard of Jandl, despite his popularity among German-speaking readers. Reft and Light is one of only two collections translated into English (the other is Dingbat, translated by Michael Hamburger) and Jandl’s “poems” in this book are not lyrical in the traditional sense nor are they narrative. I’m not sure I would characterize most of them as poems; in fact, and I can’t recommend Jandl’s other work to you since I can’t speak German. Reft and Light is not likely to satisfy people looking for poetry with a capital P. But for people looking at language at the word level and taking pleasure in innovation and experimentation, reading the book is like spending recess on a school playground.

I was handed Jandl’s book several years ago by Christine Deavel of Seattle’s poetry-only bookstore, Open Books. “You’re the perfect reader for this,” she told me, and she was right. I’m a recess junkie when it comes to poetry, which is not to say I can’t go back to the classroom and enjoy the quieter lessons when recess is over. But I admit to liking the dizziness of a ride on the dangerous Big Spinner, word-wise, especially if it creaks and groans at unnerving intervals, and even more so if I feel like I might just be thrown off by the G-forces at work, heels over head and away. Jandl’s book is for punsters, anagramists, riddlers, jumble solvers, Scrabble players, crossword addicts, and poets who respond to sound as much as they do to images and ideas. You get off the ride and don’t quite know which end is up.

So if his work is untranslatable, as Waldrop states, how successful is Reft and Light? The entirety of her Editor’s Note tries to explain:

Most of Ernst Jandl’s poems are so engrained in the German language that they are impossible to translate. But their procedures can be imitated. Here is an experiment: several American poets respond to each poem so that original is encircled by multiple English analogues. The responses (which range from close imitations to freewheeling versions that continue Jandl’s thinking into other semantic areas) form the first part of this book. The version that seems closest to Jandl’s text is usually the first to follow the German.

Part II presents, in roughly chronological order, poems by Ernst Jandl either left in their original form (including visual poems and poems that he wrote in English) or translated/adapted by Anselm Hollo or myself.

The characterization of the translations as “analogues” is a good one: they are comparable, but not equal to. They are not literal translations. They are re-interpretations; they “continue Jandl’s thinking” and find ways to express his thought-process in English. Take this short experiment (again, not what I would call a poem) where Jandl turns a simple counting list inside out:

reihe

eis
zweig
dreist
vieh
füllf
ächz
silben
ach
neu
zinc

The correct German numbers 1-10 would be ein, zwei, drei, vier, funf, sechs, sieben, acht, neun, zehn. Translated literally, the title means “series” and Jandl’s list reads (if I’ve got it right) ice, twig, fresh, cattle, fill, groan, syllables, oh, new, zinc. We hear the similarities in the German pairing – ein/eis, sieben/silben, etc. But how to translate this into English when all the wordplay involves German sound variations? In Reft and Light, various poets try their best with a comparable English version of counting 1-10. The poet Keith Waldrop offers this basic possibility:

series

won
toot
treat
for
fife
sex
several
ate
nylon
tense

It’s a simple enough bit of play. I often asked my students at Vermont College of Fine Arts to give it a try, just to shake up the way they hear their own language (in the firm belief that we stop really hearing our own language because it’s too familiar – idiomatic speech is sometimes inaudible and metaphors are flattened by over-familiarity. Finding alternatives for the numbers is not hard. But if I asked my students to take it a step farther, to see if they could create a narrative of some kind out of the words, it became more difficult and more interesting. Here is an excerpt from Julie Patton’s extended variation on Jandl’s wordplay; her version incorporates both German and English equivalents and moves beyond sound imitation toward storytelling – it “sounds” like it could be counting from one to ten, but it’s not:

hide
wine
dry
for
fun
except
seepin’
out
‘nuf
said

Ray di Palma’s versions (five lists) even play with the title “series,” changing the title for each list to cherries, ceres, seers, jerries and cerise. This is the pleasure of Jandl’s Reft and Light. Not only does it introduce us to Jandl’s originals, it goes on to show us how any poet trying to wake up tired words can do so by putting an improvisational spin on them. In another example, “Otto Mops,” a univocalic, Jandl goes for the o’s to tie things together, sound-wise:

ottos mops trotzt
otto: fort mops fort
ottos mops hopst fort
otto: soso

otto holt koks
otto holt obst
otto horcht
otto: mops mops
otto hofft

ottos mops klopft
otto: komm mops komm
ottos mops kommt
ottos mops kotzt
otto: ogottogott

Okay: it’s not W.B. Yeats. But Jandl is not going for mystery and moonlight. He’s going for Abbot and Costello, in their classic skit, “Who’s on first?” He wants to make us sit up and make us notice how confusing and playful language is. With my meager German and a good dictionary, I can discern this loose story in the Otto poem: ottos pug defies / otto: away, pug, away / ottos pug hops away / otto: so so. // otto brings coke [can that be right?] / otto picks fruit / otto listens / otto: pug pug / otto hopes // ottos pug knocks / otto: come pug come / ottos pug comes / ottos pug throws up / otto: ohgodohgod.

Notice that the poem uses only the vowel “o.” And notice that the German words do more than rhyme, they morph in terms of sound: trotzt, fort, soso, koks, mops, obst, horcht, hofft, klopft, komm, kommt, kotzt, ogott. Elizabeth MacKiernan’s English version, below, uses only u’s and o’s, having changed Jandl’s o’s to ooh’s. Our Hero become Lulu rather than Otto – fair enough. MacKiernan loosely follows the narrative thrust of the original but her words rhyme a bit more, morph a bit less:

Lulu’s pooch droops
Lulu: scoot, pooch, scoot!
Lulu’s pooch soon scoots.
Lulu brooms room.

Lulu scoops food.
Lulu spoons roots.
Lulu croons: pooch, pooch.
Lulu broods.

Lulu’s pooch drools.
Lulu: poor fool pooch.
Lulu grooms pooch.

Lulu’s pooch poops.
Lulu: oops.

This play with vowels is typical of some of the best known work by Oulipo poets. The French writer Georges Perec made enough of a splash in 1969 with his 300-page lipogrammatic novel La disparition (in which the vowel “e” is never used) that a translation into English (The Void) was commissioned – the translator was Gilbert Adair. This was followed three years later by a companion novel, Les revenentes in which no vowels other than “e” are used (it was translated by Ian Monk in 1996 and given the title The Exeter Text: Jewels, Secrets, Sex.)

Georges Perec

One of Jandl’s sound experiments is a little more haunting, less comedic; more zen, less Big Spinner:

canzone

ganz
ganz
……..ohne

völlig beraubt

canzone

ganz
ganz
……..ohne

völlig beraubt

Translated loosely, this says “all/ all / without // completely bereft // canzone // all / all / without // completely bereft.” Jandl arrives at this quiet moment by way of the original Italian word “canzone” (song, ballad) — to any German speaker, “canzone” sounds immediately like “ganz ohne,” which means “all without.” Gale Nelson offers up this English equivalent:

madrigal

sadly
sadly
………full

wholly undone

madrigal

sadly
sadly
……..full

wholly undone.

The English version doesn’t work quite as well because “sadly full” does not match “madrigal” quite as well as “canzone” matches “ganz ohne.” But it does continue Jandl’s thinking. Jandl also offers up a form which changes how we see the relationship between two words when a single letter gets replaced by another. He places the words on the page so their similarity is clear (this isn’t rocket science: it’s easy to imagine a good elementary school language arts teacher having her students do the same):

….o
fr sch
….i

In German, “frosh” means frog and “frisch” mean fresh. The Englsih translators do even better with this form:

…..i……………… is……………….o………………n…………..s
ch…mp || po…on || str..ng || bo y || .re . olve
….o………………. ti……………….i……………….d…………..v

Occasionally, the serious side of play shines through, as in this poem:

tee……….:….ein stück
:
lieber…..: tee
:
:
[egal]…..:
ich……….: tee
:
:
fragt……:
[er nie].:…tee

Craig Watson comes up with an excellent translation:

My…….:….T

:
liber…..:….tea
:
[fr]…….:
eterni…:….tee
:
[equ]….:
all a…….:….tease

Is this a poem? I think this one is. Are some of the other, simpler experiments poems? Not in my opinion. What Jandl’s wordplay in Reft and Light accomplishes in general is a toning up of the poetic muscles. I was grateful that Christine Deavel put the book into my hands. Over the years it has provided me with several good workouts, and it has been a reminder that recess is part of the kinesthetic education of a poet, too.

Here’s one last Jandl poem, written in English late in his life and cited in the obituary the New York Times published when he died:

When born again
I want to be
a tenor saxophone
if it’s up to me,
theres gonna be
total promiscuity.

Ernst Jandl was born in Vienna in 1925 and died there seventy-five years later; he was called up into the German army during World War II but was strongly anti-Nazi and criticized the Austrian government for its cooperation with Germany during the war. I can’t tell you whether the majority of Jandl’s untranslated work consists of poems that play less and paint more. I’m only familiar with Reft and Light, which might be the sorbet in between other courses of a more substantial meal, serving to cleanse the palette. I do know that Jandl was voted one of the ten most important German-language poets of the 20^th century by a group of 50 writers, scholars and critics; the fact that he has next to no name-recognition in this country makes him qualify as undersung by any standard.

As an experimental poet, Jandl is not to everyone’s taste – experimentation, by definition, is not mainstream, and to honor sound at the expense of image and meaning is dangerous. But an old-fashioned playground is dangerous, too. At the very least, be brave, whether reader or writer or both: Climb up on the equipment and give it a spin. Try some of Jandl’s experiments: break up words, bend them. Above all, re-hear and re-fresh them. Meanwhile, keep the sound of that Abbot and Costello bit about “Who’s On First?” in your head. Why does that classic routine continue to appeal to us? Comedy is often located in miscommunication, and confusion makes us laugh, makes us wince, makes us listen more carefully and sends us new directions. Not a bad agenda for the creative spirit.

—Julie Larios

Julie Larios has contributed several Undersung essays to Numero Cinq over the last two 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.

Shenanigans: Robert Musil’s Thought Flights | Review — Mark Jay Mirsky

Jul 072015

Robert Musil

Thought Flights: Stories, Glosses, Literary Fragments of Robert Musil
Translated and with an introduction by Genese Grill
Contra Mundum Press, 348pp.
ISBN 9781940625102

here are writers who draw readers into their magnetic fields so that everything they write is of interest—because the author’s dreams, thoughts, questions, do not simply mirror the reader’s but take him or her through the looking glass into a secret world. Literature in this sense is not an entertainment, but an initiation. The writer may be dead, but the words still hold life and in the case of Robert Musil, whom I know only in translation, it is the electric current of thought that seems to pass from his pages to me—teasing, taunting at times; asking me to accompany him into a zone of danger. There are other great novelists at the end of whose books or stories I have found myself changed, Kafka, Proust, Joyce, Virginia Woolf, come to mind, but I confess that none have exercised the continual hold on me that Musil does. And yet, Musil remains for all his frankness, elusive, perhaps because he often found his own existence and mind so.

If I begin with my own experience of Musil’s hypnotism, it is to explain why Thought Flights, the most recent publication of Musil’s work is such a valuable addition to his published work. The handsome edition of Contra Mundum Press has a long, thoughtful introduction by Genese Grill. She speaks both to the complexity of translating Musil and to the psychology of his prose, particularly in the feullitons, short pieces which make up a significant number of the pieces in this collection. They may seem at first glance as Grill remarks, using a critical phrase of Musil’s like “soap bubbles,” or “shenanigans,” Spielerei, but in fact like his major opus, The Man without Qualities, they attempt to explore “the other condition.” She defines Spielerei in her introduction as, “timeless states hovering between decision and act, like Kafka’s.” I have to admit that as a storyteller it is the short narratives that fix themselves most in my imagination. Musil with a few short strokes gives, a portrait of young girl hovering between childhood and womanhood in the stare of a man fascinated by her; the tale of a young man who lures an older woman, married woman to a room in a country inn, where his game of eroticism turns dizzily from poetry to clichés, to a final madness. The method of the short essays where the unexpected jumps out at us like a jack in the box is operating in these fictions. One can witness Musil setting up the spring of his plots for the longer stories and his unfinished masterpiece, The Man Without Qualities. I have read several of these short narratives before (published in the magazine I edit, Fiction), but joined to others not available before in English they come into a further focus. Thought Flights by bringing together a number of these short pieces makes clear what is not so evident when one reads in isolation a story like “Susanna’s Letter” about a woman watching a man on a train watch her through his monocle—that Musil, the writer as scientist, is deliberately experimenting with what happens as you shift the lens of narrative. So in the brief pages where the author watches the fourteen year old, for a few moments on a streetcar, “Robert Musil to an Unknown Little Girl” and imagines her as a child then as a woman; or the man who sees a pony and begins to tells the story of boys who steal a wagon and pony and in doing so finds a way to glimpse something of what he defines as his soul. We follow what are both narratives and investigations. What Musil is trying to do in these brief stories, reflections, essays, is to question the nature of reality. Like the other important writers of the Twentieth Century who absorbed the idea of Relativity, fiction and the essay are tools to try to understand, or see into a universe that is apprehended as forever shifting. The bantering laughing voice of the “shenanigan,” masks the serious intent of the attempt.

Translator Genese Grill

There is of course another way to view Musil’s insights—and writers who have pledged their vision to right the wrongs of this world will relish the political edge of Thought Flights or the sharp eye for Viennese social manners and smugly ignore Robert Musil’s curiosity about “the other” world. Genese Grill’s critical volume on Musil, The World as Metaphor, challenged the conventional portrait of Musil as merely a social realist and detailed the mystical and philosophical influences on his fiction. Thought Flights exemplifies an intuition she articulated in The World as Metaphor, “Musil, although he did not completely reject the existence of a shared, measurable and to some extent repeatable a priori reality, was fascinated by the idea of a magical relation through human action, thought, artistic creation, and the real physical world, a relation wherein what a person does, says, and even thinks, affects and even co-creates a shifting reality.” Whether it is language as in “Talking Steel,” fashion in “There Where You Are Not,” or the taboos of murder and cannibalism, we can observe Robert Musil in this collection searching for clues to his own elusive persona.

The translation has many happy moments when Musil’s laughter is revealed. Among my favorites, is the characterization of an out of work theater director, met accidently in the street, “Human sorrow can collect in the worn-out knees of a pair of pants. His face looked like a cornfield cut with a sickle.” And I would be remiss in remarking on Thought Flights, if I did not mention the careful notes that illuminate the many specific references to individuals and events in the articles and glosses. These provoke one to return to its riddling moments and read them again as I did in “Page from a Diary” where Musil writes to define what flashes between himself and a woman, M, as they recall fragments of childhood and emotions tied to moments that can no longer be experienced since the context for them has vanished. Learning from the notes that M is Martha, Musil’s wife, I realized that he is giving us access to their intimacy, a sense of what passed between them through the medium of stories. To do so is to catch the writer as his thought turns magical in his mind.

—Mark Jay Mirsky

Mark Jay Mirsky is a Professor of English at The City College of New York.

When I’m in the Swamps, I Just Need Questions: Interview with R.W. Gray — Richard Farrell

Jul 072015

R.W. Gray’s fiction reexamines expectations of storytelling. His characters dwell in both strange and familiar places, often at the same time. Where paradox proves incompatible with reality, Gray reorders reality to accommodate, making room for delightful exploration. Questions, Gray says. He is not looking for answers when he writes, but he’s always asking questions.

Entropic, Gray’s second short story collection, has just been published by NeWest Press. Themes of hope, redemption, condemnation, and love swirl into a mesmerizing journey through deserts, parks, and cities, transforming ordinary landscapes into mythical, re-imagined worlds.

Gray is a filmmaker, poet, critic, teacher, and world traveler, and his stories are infused with elements of his life. He is also the editor of the incredibly popular Numéro Cinq at the Movies. We exchange a series of emails over the course of two months, building a conversation in which we discuss mad teachers, sleep disorders, and Gray’s uncanny ability to reimagine reality, invent unforgettable characters, and tell damn good stories.

Richard Farrell (RF): What were some of your earliest influences growing up? Did you always want to be an artist or did other passions grip you as a child?

R.W. Gray (RWG): For a few formative years, with a single mother living up on the northwest coast of Canada, we didn’t have a lot. Of course, I’ve seen far greater poverty in the world now, but we were poor enough that we were left to our imaginations more often than not. This, coupled with growing up in a place that was a little terrifying as a kid (bears, wilderness, swamp, ocean), kind of pushed me and some of the other kids who were more introverted into storytelling games. But I also grew up surrounded by tall tale tellers. Even my little brother has inherited this.

Reading didn’t come easy to me apparently. In the early grades I struggled. I am not sure where that flipped over. I had a draconian teacher in grade five and she probably scared me into it. But I also had a rather mad woman for grades one and three, Miss Neufeldt. The mad teachers were always the best I think. In grade three she explained to us how men in the trenches would urinate on rags and cover their faces to fend off chlorine gas attacks. As an eight year old that kind of stays with you. I don’t think she had a lot of filters and I still love her for that. I’d like to think that Miss Neufeldt’s storytelling encouraged me.

RF: At some point, many writers can describe a singular experience that set them on the path. Can you identify a single experience?

RWG: I think I was always surrounded by storytellers in my weird Irish family. But there was a moment of sort of condensation when I was ten, I had a rather epic dream one night, and the next day at school I felt compelled to write the whole thing down. I remember being frustrated at how I couldn’t get it all down fast enough, how the dream story changed as I tried to put it into language, closing off complexity, losing three dimensions, becoming a more two dimensional version of itself. The disparity between the dream and the story on the page was painful. Guess it still is. But I think there was a sense of wonder for me, how the dream had come out of nowhere, out of nothing, and then became a story on the page. It felt like a calling in that moment. When it was probably the fault of eating ice cream right before bed or watching that show Space 1999 that always gave me nightmares. The cause isn’t important I guess so much that I was born of storytellers and at last found the way I could tell stories in a less loud and less extroverted way.

RF: You mention a dream at age 10 and this teacher in grade 5. Would you care to talk more about this teacher?

RWG: Well, Miss Bautista was a ruthless dictator. Even the parents were frightened of her. She had this thing where she would shame you until your head would drop to you chest with the weight of it and then she would, pinching your chin, yank it back up insisting you look at her as she admonished you. I developed a sort of Stockholm Syndrome where another student and I made her an entire painted ceramic nativity scene that we worked on for months and presented her with it at the end of the school year. I’d never been to a church a day in my life, and I painted a baby Jesus, wise men and camels for this woman.

I can’t recall fairly, but I would guess that the watershed sort of moment when I first wrote a creative story might be a product of opposites: first knowing the unbridled mad imagination of Miss Neufeldt followed by moving to a new school and falling under Miss Bautista’s ruthless rule. Simple recipe to make a writer. Now try it on your children.

RF: Not to delve into your personal life, but how do you sleep? I ask this because at least two of your stories in Entropic deal pretty directly with sleep issues. A number of other stories use dream imagery. I suppose I’m wondering what so fascinates you about sleep?

RWG: That’s hilarious. Yes, I think the stories seem to imply I am addicted to coffee and have a fetish for sleep. I think I was wondering that too as the collection came together: why does sleep keep coming back, run through the stories. This book more than the first one seemed to be about adult relationships and, for me, that’s where sleep becomes really apparent. Milan Kundera, in Unbearable Lightness Being connects the desire for shared sleep as indicative of love. Yet I think relationships and sleep for me just draw out how strange a behavior this sleep is, this space where we are unconscious, vulnerable to those around us, like children again really. None of the sleep in the book is about dreaming.

I am on planes all the time, all my family in other cities, and I have become a finely tuned sleeping machine. I haven’t had a beverage on a flight in years: I fall asleep before the plane takes off and wake just before it lands. It’s uncharacteristic, since in every other way I seem to care what people think, but am willing to drool, snore, whatever it is I do in front of them on these flights. I can do it but I willfully suspend my worry about what happens when I am not conscious and in control. I think several of the stories play out that curiosity.

RF: A theme that comes up is erasure. Sometimes it feels like your stories are attempting to correct, rewrite or even obliterate history in some way. Thoughts on this?

RWG: I do think that’s kind of fascinating, the way we walk around as these little non-reality bubbles, editing out the parts we don’t want, seeing people the way we want to, forgetting history to protect ourselves.

On the other hand, it’s how we create memories cognitively, condensing and erasing unnecessary details. In a world full of so many people and so many details, it becomes a necessary short hand too. Most of us have to gist the world around us to hold onto it I think, and this is an error-prone process.

RF: What do you think is the function of writing, of telling stories, to make sense of reality? Given that many of your stories are interrogating reality (or the limits of reality), does narrative have a power to reshape the way we understand the world?

RWG: Increasingly, I think reality doesn’t need our sense. I keep thinking all our suffering, our struggles come from us trying to paint over, alter, make the world the way we want to see it, instead of the way it is. My sense of some of my characters is that they are coming to terms with how limited their perspectives are. Sometimes unavoidably. What happens when you can’t see and master all? What do you do with that and how do you shape meaning then?

RF: Can you talk about your reading habits? Not just what you’re reading (though I’d love to know that) but perhaps also how you read.

RWG: Well, thanks to the various careers (professoring, filmmaking, reviewing) I generally feel like I don’t read. This year I have been on sabbatical though and it’s been an anomaly where I am blasting through books, remembering the pleasure of these imaginary spaces, that communion of the self through reading. I read Anna Karenina in a cabin on Prince Edward Island, Wuthering Heights for the second time in an apartment in Montevideo, returned to the Alexandria Quartet in Hanoi. And a smattering of Marquez’s short stories while I was in South America as well. I find myself rereading I guess, lately. I remember some writer once saying at a certain age we stop seeking new pleasures and grow increasingly nostalgic for the old ones. I fear I am falling into that camp.

RF: Is there a confluence of other forms on your work? You are a filmmaker, a critic, an academic and a poet. How does a careful study of various media effect your fiction?

RWG: I think teaching and criticism are major ways I both educate and reeducate myself. Teach to learn, that old adage. It’s pretty obvious in my writing about film for Numero Cinq at the Movies that I am exploring films I admire and trying to see how they did that admirable thing.

As for how it affects my prose, I think for writers like me one has to become a better reader to become a better writer.

Well, film done right, rigorously demands the externalization of the internal, a sense of meaning and structure. It’s kind of a haiku exercise in my books. And when I get lost in developing a story I often fall back on screenplay writing questions.

RF: Would you be willing to share some of those questions? I’m thinking of David Mamet’s wonderful “three rules for writing a scene.” Do you have touchstones when you get lost? Writers hate to think in terms of rules, but are there are signposts? What gets you back on the right road?

RWG: I think any of those “rules” are just questions, or…

I bounce around a lot. If I am struggling with character, I turn to Dara Marks Inside Story. If I want to back up and look at plot I look at Joseph Campbell or Christopher Vogler. In any event, none of these can be rules, they just pose questions. And when I am in the swamps, I just need questions.

RF: I’m always curious about process for writers. So maybe take me back to your earliest writings. Has your process evolved?

RWG: I guess my process was initially a lack of process. Something would provoke or inspire me and I would write about it. And then wait to see if it would happen again or try to provoke it by listening to too much Depeche Mode.

I think it’s only recently I have really defined for myself a daily practice, where I write for a minimum amount of time each day and have a small stable of exercises I do each day. I think I went through a stage of being quite prideful about not needing to learn things. Slow to the realization that I want to be a writer who is ninety and still learning new things.

RF: At a point in many of the stories in Entropic, you shift into away from a simple portrayal of reality and into something more mythical. Lazarus comes to life, a woman who seems to have a magical power, even medical re-enactors. Reality in your stories is slipper, at best a tenuous construct. I’m wondering where you might place this type of storytelling in the literary tradition. I wouldn’t go so far as to say Magic Realism, but I confess the thought crossed my mind more than once.

RWG: I think the first collection, Crisp, was more strongly “magic realist” than this one. Impossible things still happen here but they are perhaps less gothic and grandiose. I really respect realist writers, but I think I am always a little more interested in what is unspeakable, unrepresentable, except by defying the laws of reality. Maybe for me what is interesting in myself and others is the more shadow aspect, the part we fight to keep from the outside world, that place outside our brain pan.

Also, I think it’s easier to see these subtle emotional states, griefs, joys, when mythologized a little. Like pulling focus with a microscope and projecting the image on the side of a building. Harder to pretend away or erase that aspect of ourselves.

RF: I was mesmerized by your story “Sinai.” You seem to imply that Lazarus and Jesus may have been romantically entangled. You basically show that being brought from the dead was no gift. But I was also drawn to the notion of how Lazarus as a character in the Bible is sort of thrown away after his purpose was served. I guess I’m fishing for what inspired you to finish his story.

RWG: I wrestled with that story a long time, initially thinking it would be a play, then coming around to prose with it. Initially, what intrigued me most was just the question of what would unrequired desire would be like after centuries of waiting. Lazarus’s story is peculiar: raised from the dead and then left in a sort of ellipses. What then? What would it be like to live a life in the ellipses? Then, I think, in the writing of it I became more curious about how we bury our beloveds in mythology.

Under it all, too, was my experience of traveling in Egypt on the Sinai when I was twenty-one, how disturbed I was by the landscape where Bible stories were set, now covered in burnt out tanks and traversed by cruddy taxis and travelers like me. There was something absurd and contradictory in that experience I wanted to capture.

RF: What are you working on now?

RWG: I have been working on a novel for a couple of years now and just spent three months in an apartment in Uruguay making headway with that. But I also seem to be experiencing this odd surge that I also experienced at the end of writing Crisp. There’s been a sudden rush of stories and maybe even a title for the next book of short stories. All very rough, but I’ve been basically rushing to get them down.

RF: Do you want to see any of your fiction writing turned into movies? I ask because you work in these two fields. More and more, short stories are being turned into full-length movies. Annie Proulx’s “Brokeback Mountain,” and Ken Kalfus’ “PU-239” jump to my mind. I’m curious about your thoughts on this.

RWG: Adaptation is intriguing for sure. Generally I am more intrigued by what other people come up with when adapting my stories and feel less of an urge to do it myself. Almost all my screenplays have been original material. At the start, when I have the germ of an idea, there’s a process of trying it out and seeing what form seems to suit what I am curious about. Once a story has become a short story, I am not really curious to test that in another form. Though I am excited to see what someone else would reinvision.

I have had two short stories turned into short films: “Blink,” and then a friend is in preproduction on an adaptation of the “Beautifully Drowned.” I enjoy the process of seeing how people change and make the stories their own generally. I’ve found I feel less attached to the details, really, than to the thematic elements of the stories. If someone takes a story I intended to be about compassion and it becomes about abuse, then I am not so keen.

—R.W. Gray & Richard Farrell

R. W. Gray (Numéro Cinq at the Movies) was born and raised on the northwest coast of British Columbia, and received a PhD in Poetry and Psychoanalysis from the University of Alberta in 2003. He is the author of Crisp, a short story collection, and two serialized novels in Xtra West magazine and has published poetry in various journals and anthologies, including Arc, Grain, Event, and dANDelion. He also has had ten short screenplays produced, including Alice & Huck and Blink. He currently teaches Film at the University of New Brunswick in Frederiction.

Richard Farrell is the Creative Non-Fiction Editor at upstreet and an Associate Editor at Numéro Cinq (in fact, he is one of the original group of students who helped found the site). A graduate of the U.S. Naval Academy, he has worked as a high school teacher, a defense contractor, and as a Navy pilot. He is a graduate from the MFA in Writing Program at Vermont College of Fine Arts. His work, including fiction, memoir, essays, interviews and book reviews, has appeared in Hunger Mountain, New Plains Review, upstreet, Descant, Contrary, Connotation Press and Numéro Cinq. He teaches at Words Alive and the River Pretty Writers Retreat in the Ozarks. He lives in San Diego.

Fever Dreams: Review of R.W. Gray’s Entropic — Richard Farrell

Jul 062015

Entropic
R.W. Gray
NeWest Press
200 pages, $18.95

The principle of entropy quantifies disorder in a system. The study of entropy is an attempt to comprehend the incomprehensible, to express the ineffable, to measure the un-measurable. Entropy isn’t chaos per se, but rather is an interrogation of the forces where chaos reigns, where ordered intentions and organized actions hold less sway. Much like dreams or poetry or love, entropy dwells in numinous spaces, pressing beyond the workaday din, spreading into territories where mystery and possibility still exist. Outside the well-ordered, rational world we often mistake as reality, another more resplendent, magnificent world exits. What a wonderful place for a talented writer to cast his net.

“The bodies of fishermen all wash up on this beach eventually,” R.W. Gray writes, an apt image for the ten stories in Entropic. Inside, Gray explores characters, ideas, and emotions all washed up on various strange shores. A massage therapist’s magical touch causes her clients to burst into tears. A son searches for his missing father on the grainy images of a VHS porn tape. A woman edits her flaws by erasing them from videos. Two former lovers stalk and then seduce a younger version of themselves. Gray’s characters occupy liminal spaces, teetering on the brink of transformation, or salvation, or damnation.

This is Gray’s second story collection, just out with Edmonton’s NeWest Press. Gray—a Canadian author, filmmaker, professor, and poet—leans on these varied disciplines to craft his work. The resulting stories are cinematic, lyrical, tightly structured affairs, carefully infused with intelligence, imagination, and meaning. Gray often repurposes myths, or re-imagines canonical texts with archetypal characters to tell his tales. And yet his characters are thoroughly original. They are recognizable men and women trapped in modern dilemmas, filled with desires and longings. Under Gray’s steady hand, we penetrate the unsteady scrim of ordinary reality and emerge far better for the journey.

In “The Beautiful Drowned,” two ostracized women, Lilly and Cora, wander the remote shores of a British Columbia fishing village. Lilly is searching for her inveterate, philandering, drunkard excuse of a husband. She dodges the stares and bitter gossip of the cannery women, the very same women who once burned Cora’s home and drove her to the grisly beach. The mixed-race progeny of a Japanese father and Tlingit mother, “Cora, they say, like all monstrous woman, had been a threatening beauty once.” Now she is a ghoulish shadow of her former self. Nightly she gathers the jetsam and flotsam on the shore, along with the dead bodies of local fisherman thrown back from the ruthless sea.

After a week of searching, Lilly finally stumbles upon her husband with a local girl, in flagrante delicto. Lilly reaches for a rock while the lovers reach for their britches.

And there he is, his white naked ass a grotesque mushroom in among the tree roots, rising and thrusting, a woman’s legs spread awkward shaking branches either side of him. Scramble of legs, her bare feet on gravel as she pushes out from under him and stumbles, falls to grab clothes, covering herself before the second rock hits the gravel next to them, Lilly reaching down for a larger one. She’d so expected she was going to be a widow, but instead she’s just a stupid girl with this skinny white assed, stray dog, poor lay of a man wailing, blurry drunk with his little erection, angry red rhubarb nub in spring.

Gray tempers the shock of the moment with a pastoral beauty. His flirtatious and fecund metaphors—coupling a naked ass with a mushroom, an erection with a spring rhubarb—simultaneously conjure high drama, humor, and ecstasy. By the story’s end, Cora and Lilly have ascended into mythical status, latter-day versions of Demeter and Persephone.

The story works by pitting these two women in parallel but reversed narratives. A wonderful inevitability guides to their twinned fates, laden with powerful sexual overtones and themes of exclusion. Through shifts in point of view, Lilly’s story moves forward in chronological time, while Cora’s story is told mostly in flashback. The effect is a dazzling meander, with the two plot lines winding their way toward a dramatic intersection.

In “Sinai,” a much longer story at forty pages, three travelers break down on the road into Cairo. The protagonist, Eric, clambers up a nearby hill to take a piss and then spots “a red cloth billowing in the wind.” Inexplicably, he sets out across the open desert. Cut off from the road and his companions, he loses his way back. The red cloth turns out to be a mysterious woman, who lures him further from the road.

The flag is not a flag at all. He stops in his tracks, face white, as the woman turns, wraps the billowing venous red cloth around her shoulder once and then again, drawing in the slack, then ascends the ridge and falls away from him. She must have stood there, still as a caryatid in the desert, for half an hour. She must have seen him. So why did she quit him now? And what could she be doing out here in the desert?

Who is this mysterious woman? What is her allure? Why does he keep going? Gray sprinkles in a few clues. Eric has been reading The Odyssey. The story’s epigraph comes from Joyce’s “The Dead.” And so we think we are onto the gist of the plot: Eric recast as the latter-day Ulysses.

But then this strange story descends (or ascends) into the surreal when a first-person narrator interrupts the on-going scene. The narrator, we soon learn, is no less than Lazarus himself, brought back from the dead but condemned to an eternal, sand-blasted decay, a hardening of body and soul but not consciousness. “A delirium of days passes over my face like flies.”

The two points of view continue to alternate, but eventually the Lazarus story takes over, as Eric wanders further into oblivion. The mysterious and elusive woman appears to be Mary Magdalene. “She is ellipses too, like me, an open-ended story, bleeding.”

For Lazarus, resurrection represents a cruel and unending fate, a story with a hell of a beginning but no ending. “It seems I can’t die. There isn’t even that to wait for.” But this story turns out to be about ancient grudges, when Gray creates one of the most compelling love triangles ever. Lazarus and Mary both harbored romantic feelings for the unnamed savior (the Christ figure is only referred to as ‘he’ and ‘him’ throughout). And two millennia do little to heal broken hearts.

The man we loved, his hands were soft, tiny. You wouldn’t know he worked with them. I remember his hands in his lap as he sat across from me in my mother’s yard. He was not disgusted, not sickened by my rotted flesh, the disease about me, and this somehow made my condition worse. I could have borne him not looking at me, eyes averted, but he looked right at me, right into my eyes, so I averted mine.

Gray is deconstructing the weight-bearing walls of the Western canon, subverting its appeal, questioning its meaning. Homer and Joyce and Christ himself are fair game, because in many ways, we remain trapped by these myths. Using an uncanny narrative, Gray reminds us that great stories can never be fully told or defined. We have wandered into the wonderful, swirling stew of entropy, where Gray challenges the very expectation of what a short story can do. He reexamines form, whether taking the conventional love story and twisting it into a macabre meditation on Christ, or turning the Odyssey into a journey with no end. You will walk away shaken, unsteady, but absolutely enthralled.

In the title story, “Entropic,” a man, M, is cursed with great beauty. “Strangers passing on sidewalks gaze up the length of him, in cafés and grocery stores they caress his back, his forearms, press into him on buses, the sighs of women inhaling against him on the subway and in elevators.”

M enlists the help of his more ordinary friend, the story’s narrator, to challenge notions of what beauty means. M has conceived a plan. He will rent a warehouse. The narrator will drug M unconscious. Guests have been invited. They will have forty minutes exactly to come and do as they wish while he sleeps. The narrator’s job is to wait outside the room and ensure that the guests are never alone. When their time is up, the narrator will wash M’s skin, check his pulse, and prepare for the next visitor.

There are echoes of Marina Ambrović here, and Matthew Akers’ award-winning documentary, The Artist is Present. In the film, Ambrović waits at an empty table in New York’s Museum of Modern Art, while patrons arrive and sit across from her. Subject and object begin to merge, opening a strangely intimate, disturbing, mesmerizing space. A similar transference occurs in Gray’s story as well, as one guest after another arrives to gain a tangible experience of beauty.

They are allowed to touch him. To even hit him if they need to. But nothing that will damage or alter his body. I police this. A baseball bat leans in the corner in case I need it. But he’s asked me to hang back, appear invisible if I can. He wants each of these people to feel alone with him.

Gray has mined deeply into the human psyche. Our fascination with beauty. Our covetous nature. Our objectification of the flesh. Behind this story stands a rhetorical inquiry—what would you do? Some cry, some masturbate, some sit frozen in awe. The implication is that the gap between our dreams and our reality remains forever unbridgeable, the finger of God eternally reaching toward the finger of man. Such longing, such indescribable curiosity, has plagued man forever.

In Gray’s stories beauty, hope, and possibility are set in opposition to a backdrop of modern life, hidebound by conventional thinking. Gray refuses the shackles of the ordinary. He privileges imagination over verisimilitude, wonderment over banality, entropy over order. He destabilizes the form just enough to leave us pondering, yearning, and forever searching for the lingering pulse that reminds—there must be something more out there. And through it all, Gray still tells a damn good tale.

—Richard Farell

Richard Farrell is the Creative Non-Fiction Editor at upstreet and an Associate Editor at Numéro Cinq (in fact, he is one of the original group of students who helped found the site). A graduate of the U.S. Naval Academy, he has worked as a high school teacher, a defense contractor, and as a Navy pilot. He is a graduate from the MFA in Writing Program at Vermont College of Fine Arts. His work, including fiction, memoir, essays, interviews and book reviews, has appeared in Hunger Mountain, New Plains Review, upstreet, Descant, Contrary, Connotation Press and Numéro Cinq. He teaches at Words Alive and the River Pretty Writers Retreat in the Ozarks. He lives in San Diego.

Where are my teeth? | Poems — Lynn Crosbie

Jul 052015

Author photo by Laura Meyer

Where Are My Teeth

Ou est mes dents? my father—whom I have never heard speak French, asks.
He is fluent, it turns out: he and Sofi, the blonde orderly, talk and listen to the same

50s hits CD: she holds his hand and spins around his chair.

His teeth go missing for two days.

I have his spare set, and send them express in a quilted jewelry box.

These are the ones he had made for him in Curacao, that turned out to be absurdly tiny, as if he had a necklace of seed pearls in his mouth.

He grew a mustache until he was able to replace them.

“Where did you put them, Dad?”

“I threw them under the railroad tracks.”

They turned up with the dirty sheets and towels.

In 1955, Elvis sings, “Train, train.”

He sings about a sixteen-coach monster that takes away his beloved.

And never will again.

Horticultural Savage

Is what my father calls Lily, whose roses are returned to me because “she will eat them.”

Every day in bright lime green, and beaming: we have all been called here, after he fell and would not wake up—

“His breathing is bad,” the nurse said, handing over the keys to the palliative room.

I made it there in a few hours, calling to him, “Don’t go, don’t go” and somewhere in mid-litany he sat straight up and asked for water.

We arrived on our mother’s birthday after all,

She looks wrung out and small as she opens card after card,

Holds up her sponge cake after the candles have been lighted.

The night I arrive, Jim has to get Mary and I clamber over the bars of his bed
And lie beside him.

Comme une singe, I later explain to the amused orderly.

I put on Motown hits and we talked as the sky changed from dead blue to
A rush of black,

And we talked about feeling badly for not doing enough; about little Michael being like an angel on loan and seeing the Temptations on a sunny day;

We talked until the others came back and Mary, so relieved, spun like a top and
Made up a song called “Papadoo,”

And we planned what we would do the next day, after tucking him under the fuzzy blankets he likes, with the snowflakes and stars.

We will get him 7-Up and a peanut butter sandwich, clean clothes and a board game.

And open the door a little nervously.

Still stuck between our shoulder blades the knife that says “Your father is almost dead,”

That holds in the blood of remorse and guilt, the vast stream comprised of all of the little losings so far and the red ocean to come.

Easter

Dad can see the grid of streets from his window, a slice of the Oratory.

Sometimes he sees my mother, on the balcony in just a light sweater, and worries.

Falling golf balls: they are birds, I tell him, and he is embarrassed.
“I’m just trying to figure things out,” he says.

What and when he sees is a mystery to us: suddenly, the bed screws are buttons that the cats might choke on;

The restraint on his wheelchair is one of his torturer’s devices.

One night, he must have spotted the enormous Laura Secord Easter egg my mom
Left on top of his closet.

She came at lunch and, seeing the empty box, asked if it was good.
“Yes,” he said, and smiled.

At Easter he would hide tiny foil-wrapped eggs everywhere.

For months I would find them in hampers and drawers; once, in the slot behind the telephone.

I dragged a chair to reach in the cupboard above the fridge and found one there.

This was proof to me of an Easter miracle. “My dad can’t reach that high,” I told one of my friends.

I had some problems with logic and magical thinking when I was a kid.

I ate paint chips, hearing only chips when my mother complained about the damaged ceiling.

I also slept lightly and cannot imagine how the big Bunny managed to hide so many eggs in our little apartment,

How the Bunny reached the top of that closet, how he stood up without help,

How his silken ears twitch, as he remembers the rush of yellow yolk then the sacred sweetness of the shell.

—Lynn Crosbie

Douglas Crosbie, Lynn’s father, reading to her and her baby brother James.

These poems are from the collection The Corpses of the Future, which is being published by the House of Anansi in 2017. Lynn Crosbie‘s most recent novel, a post-punk mystery featuring Kurt Cobain, is called Where Did You Sleep Last Night.

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