May 092015
 

Macdara Woods Cuisle Limerick City International Poetry Festival 2014Macdara Woods at the Cuisle Limerick City International Poetry Festival 2014 — photo by Robin Parmer

Macdara Woods unquestionably possesses one of the most singular voices in Irish poetry. He has published eleven collections of poetry since 1970 with his Collected Poems appearing in 2012. In addition he has published two collections in Italian and has poems translated in twelve languages. In 2002/3 he worked on two collaborative commissions: the first, In The Ranelagh Gardens, a sequence of  twelve new poems to go with four new pieces from the Irish composer Benjamin Dwyer, first performed by both, in Dublin, in the Bank of Ireland Mainly Modern Series, February 2003.  In July 2003 he completed the second, The Cello Suites, a six-part sequence of 480 lines, in response to a performance of the Bach Solo Suites by US double-bassist Richard Hartshorne at Verbal Arts Centre, Derry, in 2002. It was premiered by both in Harrisville, New Hampshire, December 2003, and performed again in Toronto, New York, and Dublin. He has read and lectured extensively throughout the world over the last fifty years, most recently in Brazil and Argentina.

Perhaps Bernard O’Donoghue, in his Irish Times review (2001), put it best, “Macdara Woods has been an absorbing and relatively unplaceable presence in Irish writing since the 1970s, because the internationalising tendency of his poems to push the boundaries of Irish poetry outwards was always balanced by a rooted use of Irish language and tradition.” And push those boundaries he has, but in a careful measured way. While living mainly in Dublin, he also resides as much as he can in Umbria, where the poem featured below, Sons Are Older At The Speed Of Light, is located.

Macdara has described this poem as “a serious statement of record and intent arising out of a nightmare progression of medical catastrophe, starting from a fairly routine surgical intervention.”  Five days after the routine surgery he collapsed with a severe near fatal sepsis which necessitated a second surgery and a further eleven week stay in hospital. Upon release, he suffered excruciating pain in his back and leg which ultimately led to a hip replacement, “but I was so wrecked from the sepsis, and because I also had a still open wound, the surgical team was very hesitant about going ahead. So they hit upon the idea of keeping me semi-knocked out, to try and control the pain, until January when they hoped I might be stronger and a bit more healed. In the event, two days before Christmas Eve, there assembled round my bed 4 serious faced harbingers, the man who had done the first and second operations, the man who would be doing the hip replacement, a beautiful and high-powered Romanian anaesthetist, and a microbiologist. There to tell me that I was getting worse instead of better, that in fact I was as good as I was ever going to be…”

The following day he had his hip replacement which required him to learn to walk all over again. It was more than a year after his initial surgery that Macdara was finally well enough “to get back to Umbria, a place I had begun to feel I was never going to see again, to start reassembling myself.” The poem was written last September after he managed to climb up to the top of the hill-town of Nocera Umbra.

—Gerard Beirne

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Sons Are Older At The Speed Of Light

I.

My father did not finish things
Such things as rows
Or playing parts ..And breakdowns
Retiring early ..Died too soon
His final words to me — A
Half a question ..Half unasked
At no point answered ..Comes there
Any answer ever? ..Do you…
Do you remember…When…and there
It stops unfinished in my head
Do you remember when we… ..Lost
The points of contact maybe
Or lost the faith ..Or lost our nerve
Lost certainty along the way
As is the way of things ..And now
That I am gathering speed
The train tracks meeting in the distance
Far behind ..The fearsome nameless
City rearing up in front ..where I know
No one ..and none know me
But where we all get off
It is too late to even think of asking questions
And of whom? ..The young Eastern
European with the tea-urn
Has passed up and down the corridor
Three times ..has disappeared
And gone for good
As has the man who checks the tickets
And the district nurse ..who is
The only one that anyone could trust
Out of the whole shebang and calaboose
Or – to use my mother’s phrase –
The Slaughterhouse
This travelling slaughterhouse on wheels
We call a life
……………..But not an unconsidered one
Out of the four last things
This one remains ..Impervious to fashion
Time or doubt: ..the flame ..it flickers
And goes out
The bird across the banquet hall
No more than that
………………………..And yet we
Mostly ..stand our ground ..because
It is expected
And what I am trying to understand
Even now at this late hour
Is your unhappiness and thus my own
Beyond the dopamine deficiency
And those endorphins
Creatures of ..the vasty deep
Who do not come when they are conjured

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II.

Yesterday I climbed ..lungs heaving
Up the earthquake damaged street
……………………….Nocera Umbra
Much ..chiuso per restauri
And simple minimal ..so beautiful
So free of traffic ..free of noise
Mid-Wednesday afternoon
One self-conscious policeman
Checking doors so tightly shut
Not even dust could penetrate
And near the top
Two men are laying cobble stones
In sand ..tapping them square
Into the roots of time
In shadow
In the lovely buttered ..honey light
Of mid-September
……………………..This constant need
For rehabilitation ..Spells in John Of God’s
Cataracts removed
Appendices
Colonoscopies and cardiograms
Or how in 1991 in Moscow
So many Metro escalators stopped
Seized-up ..steep egress from the underworld
Sotto Restauro ..everywhere Ремонт
Remont ..we climbed up from
The marble bowels and chandeliers
Of Kruschev’s dream made real
But lacking maintenance
The way we do not finish things ..is
Where entropy comes in ..is Auden’s
Sinister cracked tea cup
And the Watcher in the shadows
Who coughs when you
……………………………would kiss
Or coughing ..labour upwards
On a stick and artificial hip
To the Civic Tower and campanile
La Campanaccia at the top
Built nine hundred years ago
And standing straight ..full weight
Erect proclaiming ..Eccomi
For I am here and have been here for all to see
And have been seen
………………………..As I too am here
And have been seen ..been part of this
Small space today between the Tower
And the Cathedral
All chiuso per restauri ..Have seen
The maintenance and putting things
In place ..Knowing that they must
And will go wrong again
And be put almost right again
Poor transients —
Until the Heracliten lease runs out

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III.

And one day indeed the words ran out
And we ..with nothing ..left to say
Consulted over menus
Read bits of news ..repeated saws
To get us through the silence — you
Didn’t know
……………………..And I had yet to learn
That few words ..A simple few
Could be enough ..could tell it all:
A tendency to stagger to the left
And sometimes teeter backwards
Which could explain
My dreadful fall in Fiumicino
Too much saliva
Varied tremors ..Hands and chin:
And sometimes fingers clawed
In sudden spasm
…………………….Do I go on
Into the realms of dysgraphia
Staccato speech ..Shoulders stooped
A slowing of the gait?
I prefer
To watch the dancers in the village square
The ballo in piazza
Sunburnt mirth ..Provencal song
That so caught Keats’ fancy
Out of reach
And I have had a longer run than that

And not yet reached Astopovo:
Still travelling
………………..To places all unseen
Invisible to those with open eyes
It needs a certain antic 20 20 vision
To housepaint in the dark
As we have done ..And plastered walls
Without a light in Fontainebleau
Not cowboys then or now
Just battling with addictions
………………………Drink and pills
And work ..At labouring ..And selling
Two hours of life to buy a third
The hell with that bum deal
I said ..And I have now grown old ..And someone
Cooked the booksbooks
……………………….Along the way
The way we knew they would – So
Who owes what to whom is moot
Irrelevant ..We last from day to day
No more than that ..That’s it .Enough
For now
The diagnosis works ..Of course it does:
Who ever died a winter yet?

………………………………September 19th 2014

—Macdara Woods

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Macdara Woods was born in Dublin in 1942. Has been publishing work since the early sixties. He is a member, since 1986, of Aosdána, (set up by the Irish Government to honour those who have made an outstanding contribution to the Arts in Ireland). Recent reading tours include Austria, Russia, the United States, Canada, and Greece. His Collected Poems were published in 2012 by Dedalus Press and his pamphlet, From Sandymount to the Hill of Howth, was published by Quaternia Press in 2014. He currently lives in Dublin, and when he can in Umbria. He is the founder-editor of the magazine Cyphers (1975 to the present). He is married to poet Eiléan Ní Chuilleanáin, and they have a grown-up son, Niall, a musician.

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May 092015
 

Early Autobiographical Work, age 5Early autobiographical work

Leona age 9Nine years old

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The pop machine

MY FATHER OPERATED a garage in the small prairie town of Bredenbury, Saskatchewan, pop. 500 or so, located just off the Yellowhead Highway 30 miles west of the Manitoba border. The garage was low and squarish, with a huge sign mounted high on the front that read ‘Hi-Way Service,’ navy blue letters against white. I don’t know how much that sign set my father back, but I know it was too fancy by half for a small-town shop in the sixties. A year or two after the sign went up, the new highway went in, skirting the town entirely. The unlucky Hi-Way Service now fronted on a low-traffic graveled street little different from any other street in town. Over time, the blue letters weathered to a colour close to purple.

Inside the garage, over to one side, was a pop machine built like a chest freezer. Sometimes, not often, on a hot day I would slip into the garage, into dimness after sunlight. The clank of a tool hitting a workbench, the pffft of an air hose, the earthy smell of oil. I would make for the pop machine, use all my muscle to push open the lid, and peer over the side at the rows of glass bottles. They hung in their separate metal tracks, NuGrape, Orange Crush, Seven-Up, Club Soda, Coca-Cola, suspended by their bulbous little chins, their lower parts immersed in a bath of ice-cold water. I could reach way, way over, feet lifting off the floor, and plunge my hot hand into the cold bath. Once in a long while, or maybe once, period, my father found a dime and slipped it into the coin slot, and I slid a bottle of NuGrape along its track and out past the metal guard. Ten cents bought one release of the guard and the satisfying slap as the metal fell back into place after the bottle came out. An opener was mounted on the front of the machine, a pry mechanism, and below it a cap-catcher shaped like a tiny pregnant belly. I held the bottle, sliding-wet from its cold bath, and my father gripped it further up, along its tapered neck, and helped me lever off the cap. It fell, clink, against the other caps inside the little belly. I have never lost my appreciation for the earth-sweet smells of gas and oil. I wasn’t really even supposed to be in the garage.

Hi-Way Service before the SignHi-Way Service before the sign

 

The pasture

I was a town kid, but Nickel’s pasture was my little bit of wild. I could get there by walking: across a gravel street, across the corner of a neighbour’s triangular lot, across a ditch. Not there yet: across the gravel road that used to be called a highway, across another ditch, and finally along a lane. I liked to sit in the pasture at the bottom of a little draw, low enough that I couldn’t see a single house or car or shed. The pasture was rimmed by scrubby bush: chokecherries, saskatoons, spindly poplars. Down in the draw I was in the Wild West, a place I knew from TV, in all its black-and-whiteness. Kicking around the house we had an Indian-princess hairpiece—a pair of braids made from three pairs of old nylon stockings. Bobby-pinned into my hair, the braids hung on either side of my white and pink and freckled face and draped onto my shoulders. I don’t recall if I was wearing the braids on the day I’m thinking about now, the day I was frightened by my own heartbeat. Crouched in the draw, summer warm on my hair, sun frying my freckled nose, I listened to the silence of that small world. And then I heard a beat, relentless, rhythmic. Indian drums! From the stand of poplars over there! I froze for a moment; then I ran home fast, listening as the drumbeat sped with me, inside my chest.

Years later, my sister and I and the girl from across the street put the pasture to another use. Hanging from a nail on our kitchen wall was a tin matchbox holder, and in it was a box of Eddy’s Redbirds. The tips of the matches were banded blue and red and white, the colours of the Union Jack. We’d grab them by the handful, couldn’t stop ourselves from licking them to taste the naughty taste. We’d make off with them to light our little fires. In the pasture we pulled together small, dense stooks of dry grass, lit them, and watched as they went poof, and flared and died. One day the flare didn’t die. We high-tailed it away and waited for a grown-up to notice the grass fire. Eventually, a grown-up did. The volunteer fire department came out in force to quell the flames, and we were either not found out or were silently excused without a fuss.

The _Little Kids_ (Leona on the left)The Little Kids (Leona on the left)

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The nuisance grounds

Small-town Saskatchewan kids were free-range kids in the sixties. We could walk along a country road to what we called the nuisance grounds, about a half a mile from town. On one excursion, we three girls found skin magazines, and we ripped out pictures of partially naked women and folded them into our pockets. Were we ten or so? In the heat of summer days, among the reek of rotting left-behinds, we found other memorable junk—one day the remains of the combination mailboxes the post office had disposed of after the conversion to keyed boxes. The old boxes had metal fronts, about five inches wide and four inches high, each with two concentric dials on the front that reminded us of the safes we saw on “Get Smart.” These metal doors were still attached by hinges to wooden drawers, and the drawers slid in and out of what remained of the wooden framing that housed them when they were still in use. Some of the frames were open at the top, and we could see inside the guts of the mechanisms well enough to figure out the combinations by watching closely as we turned the dials. Every kid needs a place to store her secrets. We had a wagon with us (of course), and we each took home a mailbox or two. We memorized the combinations, closed the open tops with nailed-on boards, and hid the dirty pictures inside.

Water lines

 

The Red Thing

We four sisters shared a bedroom. Two sets of bunk beds. I assume that The Red Thing, which stood at the foot of one of the beds, began as a display stand that came to the Hi-Way Service in the course of business, and once the product it displayed was sold out—oil, antifreeze, wiper blades?—my mother or my father carried it half a block to the house so it could be put to a new use. It was made of heavy-gauge wire, say three-eighths of an inch in diameter, and the wire was coated with a red material, silicon or plastic or some such. It had two or three shelves, and the back and sides were an open grid of wire. Into and onto this rig we piled books, teen magazines, comics, puzzles, paper dolls.

—Where’s my Nancy Drew?

—It’s on The Red Thing.

The Secret of the Old Clock, Donna Parker, The Curly Tops Snowed In (my first-ever hard-cover book, which my mother brought home from a magical place in Regina called The Book Exchange), Heidi, Treasure Island, Little Women, Call of the Wild. The bottom shelf was low to the floor, and the broom wouldn’t fit underneath; you’d have had to move the entire rig to sweep there, and so when I sat in front of it to sort through the sliding stack of Archie comics and colouring books I could see the dust curls underneath. We weren’t much for housekeeping anyway. Words were the thing.

We discovered The Red Thing was sturdy enough, and freighted with enough printed matter, that it could counterbalance the weight of a child hanging upside-down off the front of it, feet up top, hands grasping the sides halfway down. Every kid needs a members-only club, and every club needs a pledge. I remember one of my sisters, face blossoming red, hair dangling inches from the dust bunnies, reciting “I will hang upside-down, I will hang upside-down, I will hang upside-down for my club, the upside-down club.” I can recall no function of the upside-down club other than hanging upside-down.

One evening—I think I was about nine—I heard my three sisters laughing in the bedroom, and I walked in and grouched at them, because what could be funny when my mother had just told me we were about to lose the house, and we’d all be out in the snow with our furniture by Christmas? Snow falling on the bunk beds and The Red Thing, I supposed. And on all the books, the ones on The Red Thing and the others, hundreds of them ranged on shelf after shelf in the living room, the ones I had to stand on the back of the sofa to reach.

I don’t know how my mother succeeded, ultimately, in saving the title to the house. A lot of yelling went on, those years, and we girls managed sometimes to tune out the specifics. I do think it must’ve been my mother who saved the title. My father was smart in his way, a small-time genius as an inventor, mechanic and electrician, but he had no head for business or law, and he was so good at avoiding the tough questions that he knew how to leave mail unopened for years if he didn’t like the address on the upper left corner of the envelope. Long after my parents died, going through old files, I came across a sheaf of papers that had to do with the house, the garage, the courts: eight letters from the sheriff, seventeen from various creditors, fifteen notices to do with unpaid taxes, and three to do with court proceedings. A note in my mother’s handwriting attests that a letter from one creditor remained unopened for seven years; it was old enough that the mailbox the postmistress would have sorted it into would have been opened by combination rather than key. Through the years when all that was going on, I would sometimes sit in front of The Red Thing and open my copy of Heidi and bring it to my nose and sniff the pages. The smell of ink and binding glue and pressed paper would call up a feeling that I want to describe as friendship. I still do this with books; I still am surprised by that same feeling, whether or not I know beforehand that it’s what I’m looking for.

SistersWeavingSisters weaving

 

The garden

In the early years, we grew vegetables in the vegetable garden. One summer my next-older sister and I—we were the “little kids” and the two oldest were the “big kids”—were paid 88 cents each for a couple of days of hand-pulling portulaca and pigweed free of the stubborn clay. Why 88 cents? Because the general store was advertising an 88-cent sale and as part of this special occasion they’d brought in toys, a rare addition to their stock. When my sister and I walked into the store clutching our coins we learned that most of the toys were in fact priced at $1.88 or $2.88. We did each come home with something cheap and plastic and unmemorable, I’m sure we did, and I’ll bet we loved these things for as many days as we would have loved the more expensive bits of plastic. But weeding—we hated it. The garden became a wonderland only after my parents lost interest in using it to grow vegetables. In the area where a different family might have planted potatoes and beans and corn, my sister and I dug an enormous hole, an underground fort. Evenings, I would scratch my scalp and have my fingernails come away full of grit, a satisfying feeling, evidence of a day well spent. We dragged old boards from here and there and laid them across the top of the hole, and we crouched inside amid shadows and candlelight. The smell of a candle burning inside dirt walls gave me a thrill I felt low in my tummy. A finger in the flame, how long can you hold it there? Or drip some wax into the palm of your hand and feel the bite. The small rituals of our club of two in our safe little hideaway, built too small for grown-ups. We were the bosses down there. We owned the place.

Sisters in the Garden (Leona on the left)

 —Leona Theis

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Leona2014 #2

Leona Theis writes novels, short stories, memoir and personal essays. She is the author of Sightlines, a collection of linked stories set in small-town Saskatchewan, and the novel The Art of Salvage. She is at work on two other novels and a collection of essays. Her essays have appeared in or are about to appear in Brick Magazine, Prairie Fire, The New Quarterly and enRoute. She lives in Saskatoon, Saskatchewan.

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May 082015
 

walter

 

In 1977 Walter Bernstein was nominated for the Academy Award in screen writing. We met that same year at the MacDowell Colony in Peterborough, New Hampshire. To him I became “The Kansas Kid,” sometimes shortened to “The Kid.”

The movie was the Marty Ritt film, The Front staring Woody Allen. I had not seen it, nor did I know much about film scripts, and I knew nothing about Bernstein’s accomplishments: Fail Safe and the Molly McGuires among other movies.

The other writers at MacDowell at that time included Lucy Kamasar (who had recently integrated McSorley’s Old Ale House in the East Village); the poet and playwright Honor Moore; Milton Klonsky (who would win a McArther Award the following year); Iris Owens, who had just published After Claude, Mary Higgins Clark, the author of Where Are The Children, and a George X , working on his second book about Russia (I cannot, even with the help of Goggle find him, nor obviously recall his last name, even thought he loaned me his house on Ibiza the following year. Madness.)

I had just published a novel set in the west and in a moment of youthful vanity, I gave a copy to the MacDowell library where Walter checked it out. For what reason I would soon learn.

MacDowell in those days was (and maybe still is) a gift of time and place for writers.

You could stay up to about six weeks; they furnished you a small cabin where you could write and even stay over night if you didn’t want to use the dormitories, also provided. Around noon a handy man arrived with lunch. My cabin (and I guessed others as well) had a fire place and when the man who brought you lunch saw that you’d used you stash of wood from the front porch, he brought you more. As I was there in January, I went through more than my share. It was the custom of the country that only the wood-and- lunch man were to stop by your cabin, and he never came in, nor even knocked.

For dinner you went back to the main hall where many of us gathered in a large room (also with a fire place) for drinks. I don’t remember if we brought our own (I think we did) or there was a bar set up. Maybe there was a bar. There was much quick-draw and rapid-fire talk about politics and art, much of which (being who I was then) left me behind. I remember Iris Owens saying she had once worked for Maurice Girodias’s Olympia Press in Paris. Her job was to edit the first draft of Lolita. I thought no one had edited Nabokov, much less Lolita.

“Oh, she said. “It was a mess of motels going all across the country running to 600 pages with the two of them entangled in the sheets every ten pages. I’d cut motels by states: there goes three in Ohio, there goes four in Illinois, there goes all of Kansas.” (And here she looked at me because Walter’s name for me had gotten around). I believed her at the time.

The one subject that was off limits was our writing—the day’s work that just ended, or whatever project was in progress for the stay. As I had never been around so many accomplished authors I missed to chance to hear them on their writing. And how I understood I was not to ask came about because one evening at drinks I said to George X: “How goes it?” To which there was a collective silence, then: “It goes.”

“Hey, kid,” Walter said one evening to me at dinner. “I read your novel. Very good. Would you read a draft of my screenplay? It’s a western and I’m a furtive Jew from New York. What do I know about cowboys?

Walter was then writing The Electric Horseman, not for Robert Redford, but for Steve McQueen who, it turned out, was about to die. When that happened the studio sent the project to Redford who fired Walter. But all that was to happen later. For the moment, Walter wanted to know what I knew about horses and cattle and cowboys. I was flattered. Sure, I said.

ELECTRIC HORSEMAN, THERobert Redford, The Electric Horseman

A few days later at dinner Walter gave me a copy of the script made from the MacDowell Xerox machine. Mark it up, he said. Or put lines down the side where I’m getting things wrong. Then we can talk. Sure, I said.

I had never read a movie script. There was “Ext.” and “Int.” Also “Cut To” and “Back To,” with sometimes “Continuous.” There were numbers running down the page which I took to donate scenes.  There were some (but not many in Walter’s script) camera shots. Flush left on the paper were descriptions. Sometimes accounts of what the actors were to do, sometimes of the setting. In between and indented, was the dialogue.  I had no idea how I could be of help, but I knew I wanted to.

If you want to see Walter from those days, rent the Woody Allen film Annie Hall. You have to go all the way down the reel (to use Walter’s term from before DVDs) but there he is, standing outside a movie theater with Woody Allen, Diane Keaton, and Sigourney Weaver. Walter is Annie’s date. The script might have read: Scene 47: Ext. Movie Theater. Alvy with unidentified woman; Annie with unidentified man. Gestures. VO (Voice Over):

I did run into Annie again. It was on the upper West side of Manhattan. She had moved back to New York. She was living in Soho with some guy. When I met her, she was dragging him to see “The Sorrow and the Pity”…which I counted as a personal triumph.

As to Walter’s script, at first I found myself so mesmerized by the form that I didn’t read it with care the way Walter wanted me to: But yes, there was confusion about horses, sometimes they were horses, then they were stallions, then they were mares (when in fact they were probably all geldings).  I had to untangle bridles from halters; I had to take horns off cows, and change cows to steers (with or without horns, but I thought unless they were Texas Longhorns for show instead of ranch cattle, they had probably been de-horned.)

Somehow Walter had learned the word hackamore (probably from an East Coast riding friend) and so I had to take the hackamore off all horses and put bridles and bits back in their mouths. I also added lead ropes otherwise Robert Redford and Willy Nelson (in the final version) would be tugging horses (or mares or stallions) along by their halters, unless they were using reins attached to bits and bridles, which in two scenes at least they were not.  Saddle blankets were fine. Stirrups as well. Saddle horns, yes. Chaps, ok, but we called them leggings. Spurs, fine. But from I could tell they were never needed. Still, the audience probably needed them. Most of this was description and while I felt comfortable making those changes, when it came to dialogue, I was less sure of myself. However, I did without hesitation make one change: Walter had written a Willy Nelson line as: Tonight I’m going to find myself a little keno girl who can suck a tennis ball through a garden hose. My rewrite (which, as it turned out, did not get me screen work) was: Tonight I’m going to find myself a little keno girl who can suck the chrome off a trailer hitch. Arthur Laurents, eat your heart out.

[youtube]https://www.youtube.com/watch?v=NNifXRRGo9A[/youtube]

“Thanks, Kid, “Walter said at dinner a few days after I had handed back the script. “I guess cowboys don’t play tennis.”

In this way, to paraphrase a bit dialogue from another movie, there began a beautiful friendship. But that was to be further down the reel for the two of us; in the meantime, it was the next week or so that Walter learned he’d been nominated for an Academy Award in screen writing which meant his picture was all over the papers, including New York Times that MacDowell subscribed to, plus various local papers when it was discovered that Walter was in residence at MacDowell.

I remember there was a toast in front of the fireplace one night. Then as well, pats and handshakes and cheek kisses over dinner as folk stopped. Our two person table grew chairs. Walter seemed pleased indeed.

About this time I got my first royalty check and I thought I’d like to share it with Walter by taking him to dinner. There was supposed to be a good place to eat in Keene, not far away: the Red something (Lion?) Inn. It will turn out that it is owned by a former student of mine from the college where I was then teaching. Not only was he the owner, but the chef as well.

“Sure, Kid. Thanks,” said Walter.  “But I have friends coming up in a few days, would you mind if they joined us. My treat.” Fine I said, but insisted the bill would be mine. “Then I’ll leave the tip,” he said. “We’ll use my station wagon.” I made a reservation for four in my name.

Why Walter didn’t tell me his two guests were Diane Keaton and Diane Carroll I don’t know, nor did I ask. He might have meant to surprise me, but it didn’t seem that way when we all met in the large hall, Walter saying to the two Dianes, this is Bob Day, he’s helping me with the Steve McQueen script. Bob this is…and… We all shook hands, although Diane Carroll gave me something of a hug and noted that it was about time Walter got the recognition. Then off we went out the door, bundled up in coats and sweaters against the New England January. I wanted to look back to see who was staring after us, but I did not. Grace under pressure. Cut to:

EXT: The Red Lion Inn:

Walter goes through the door first, followed by Diane and Diane. They stand there for a moment until Bob enters: Cut to:

INT: Full Shot: The restaurant is busy. A pretty receptionist asks for a name.

Bob

Four for Day.

Cut to:

Close up on Kitchen: A young man looks up from a steaming pot.

Back to:

Walter Bernstein, Diane Keaton, Diane Carroll, Bob Day

Young Man (VO)

My god, it’s Bob Day

Reaction Shot: (VO): Ad Lib: Audible Amazement. Fade to Close.

The End

—Robert Day

Read the entire “Chance Encounters” series here.

NCRobert 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.”

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May 082015
 

Gunilla JosephsonGunilla Josephson

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AN OLD WOMAN in a hospital bed leaks crystal tears.

Behind the windows of stalwart Stockholm houses we spot glimpses of chaos, fragments of high emotion pitching back and forth.

A woman is intently at work, seen only from the shoulders-up, her hair flying, and after a time her head distorts. What is she doing? Playing piano? Maybe. But we worry that she is falling apart or exploding.

“Everything I make is connected with the fibre of my life,” says Swedish-Canadian video artist, Gunilla Josephson. “But I point towards other artists. I’m interested in family– and death, more and more as time goes on.”

After receiving a degree in Sociology, Josephson attended the Stockholm College of Art and Design back in the 1970’s. She recalls a fine arts department dominated by modernist painters and when she declared an interest in experimenting with the then-clunky video equipment, her instructors were appalled: “What do you think you are – American?”

Josephson calls her work “anti-film.” For starters, she rarely uses dialogue. “I hate dialogue, even in books.” We laugh, bearing in mind that her spouse is the novelist, Lewis de Soto. “Dialogue is almost always banal,’ she goes on, being a bit take-no-prisoners in this regard. I flinch, mentally counting up dialogue sections in my own work. ‘Reading is very intense for me,” Josephson says. “I read books that you put down because they are so intense. Lewis in an ex-tensive reader and I’m in-tensive. Very different.”

I’m curious about how they live as artists together. Lewis paints as well as writes and he’s written a biography of painter, Emily Carr. “We talk about film, art and books all the time,” Gunilla says. “And grandchildren.”

Does she offer feedback on her husband’s work in progress?

“Not so much now,” she says, and adds, “to his detriment, if you want to know. I can be a little harsh at times.”

Josephson’s videos evoke feelings of fragility and tenderness in the viewer, yet also, at times, show a playful spirit. One feels an ongoing investigation of  inside/outside;private/public;seen/unseen.

The old woman leaking crystal tears is oblivious to her inside self falling from her eyes. We want to protect her, yet at the same time the viewer might think – “What is there to hide, ever?”

In Josephson’s world, the artist peels back layers to expose what may be alarming or cryptic, or even funny. Can emotions ever be fully contained, or is there always leakage, and if so, why are we so drawn to these moments?

—Ann Ireland

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Ann Ireland (AI): Can you tell us something about your background and education?

Gunilla Josephson (GJ): I was born and raised in Stockholm, Sweden, except some high school time in Caracas, Venezuela where my father, taught at the university. My mother and grandmother were both Red Cross nurses who when they married, in both generations had to stop practicing their profession. When I understood this fully I took on their indignation which made me a budding feminist.

clip_image004My parents in Stockholm, early 1950s

My dad was a civil engineer/ researcher and also taught at Stockholm University. He worked hard at two jobs, yet when he was with the family he was caring and kind, and never shunned a chore. One day he suddenly quit both his jobs, landed employment at UNESCO and took my mom, my sister and me into the world. We lived in Caracas, Venezuela, but hanging out with ‘radical’ art students after school scared my parents, probably for good reasons, and I was sent back to Sweden to finish High School. Directly after High School followed a year of studying printing techniques at Aquinas University in Colombo, Sri Lanka, where my dad worked at that time. I returned to Stockholm to complete a BA in Social Sciences at Stockholm University. After a few years raising my three children in England in my first marriage and continuing with art studies, we moved back to Sweden and I completed my education with an MFA at [Konstfackskolan] Stockholm College of Art and Design.

AI: Early influences?

GJ: I have an early memory of a yellowed booklet tied with a red ribbon on my Jewish grandfather’s ‘smoking table. It smelled of cigar smoke like everything else in that little room, but I didn’t mind. I opened the booklet and in it were colour prints of paintings, faces, that all seemed alike but and yet different. It said Rembrandts självporträtt. Rembrandt’s self-portraits. Under it I read a dedication Vi tu äro ett [We two are one] written in my grandmother Esther’s beautiful handwriting in blue ink. It touched me deeply and in my young mind my grandparents and Rembrandt van Rijn became one to me that day. I still connect with my paternal grand-parents when I look through the leaflet, now in my book shelf, or when I see one of Rembrandt’s self portraits in a museum.

As a teenager I developed a fascination with Surrealism (not uncommon for teenagers). Perhaps simply because Salvador Dali’s Enigma of Wilhelm Tell and Meret Oppenheim’s Fur tea cup and spoon were in the collection of Moderna Museet in Stockholm and thus were accessible to me. There were no reproductions of art in my family. Art was ‘real’, still held a mystery as the original. If you wanted to see art or know about it you visited museums. Like wine, art must aged to be ‘real art’. Hopelessly Eurocentric, and eccentric.

Later came early feminist artists, Judy Chicago’s iconic The Dinner Table, and Eva Hesse’s skin-like ‘transparencies’. I admired and loved Swedish artists Hilma af Klint and Vera Nilsson, both brave women and pioneers in painting who shaped their own destinies against the consensus of ‘woman as well behaved’ in the mid 20th century.

I took an early interest in films but never dared take the leap, not even in my mind, to apply to Film School. Bunuel and Dali’s Surrealist film Un chien andalou was probably the first art film I saw. It was the tail end of French Nouvelle Vague, and I went to see the films of seminal Belgian auteur Agnes Varda. In1967 Jean Luc Godard’s film La Chinoise hit the cinemas, at least in Northern Europe. It hit me right in the solar plexus and I came out from the cinema a new self, a budding Maoist and completely in love with the film and the actor Jean-Pierre Léaud. I acquired Chairman Mao’s Little Red Book and started ‘my real life’.

It was impossible to avoid Swedish film director Ingmar Bergman, whose looming presence made it almost impossible to get support to make a film in Sweden between 1950 – 1990. I was an extra at SF [Swedish Film Industry], hoping I would either be discovered as a new Bergman actress (I was 15) or somehow become involved in movie making. All in vain.

In 2001 I made a video, HELLO INGMAR, a short 7 minute cultural patricide in which I rearranged certain Bergman films and inserted myself as a character.

[youtube]https://www.youtube.com/watch?v=PUD-POHcBUo[/youtube]Hello Ingmar

It got the Festival Prize at Oberhausen Short Film Festival. Up until Bergman died in 2009 I was hoping the film would catch his attention, at least enough to irritate him, particularly when it showed in a program at Moderna Museet in Stockholm – but this never happened.

AI: What makes video such a compelling medium?

GJ: There are several aspects to why video can be captivating and gripping, both for artists and viewers.I fell in love with my first Digital video camera [1998] and slept with it beside me. I found the tool compelling, generous in its clarity and crispness of image.

I had not wanted to use video as an artistic tool until then, finding the cameras heavy and the striped image dull. Maybe it worked for the political, but not for the aesthetic and poetic aspects of art. It was in the late 1990s when the light-weight and more affordable digital minicams (handycams) appeared on the market. They prompted a new wave of video art, and to my mind there is a ‘before and after’ in the history of video art. This user friendly yet highly developed tool eliminated the need for heavy equipment. The means of production were now in the hands of the artists, significant for female artists who no longer depended on muscular strength. The MiniDV camera became an explorative instrument; ‘it could roam around, shift focus very quickly and go very close to an object and focus in less than a second. Artists could edit at home on their own computer systems.

AI: Do you see yourself as having an overall project that pulls together individual art projects?

GJ: The overall project is to investigate my encounter with the world. All my work is produced under the umbrella of my production company AHEDDA Films. What holds my productions together are the people I have worked with for many years. Most important to me is Swedish artist/painter, friend and comrade-in-arms Anna-Lena Johansson, who runs a farm with her husband in Normandie, and exhibits her paintings regularly at Gallery Hera in Stockholm. She is a frequent solo performer in my productions since 1999. Canadian, Berlin-based artist Benny Nemerofsky Ramsay performed in several works with Anna-Lena e.g. The Blood-Red Heart of Johanna Darke and ART THIEVES.

[youtube]https://www.youtube.com/watch?v=wY-Oy96ygNI[/youtube]HAPPY HOUSE. The Id, the Kid and the Little Red Fireman

[youtube]https://www.youtube.com/watch?v=R_3aV_hjOvI[/youtube]The Blood-Red Heart of Johanna Darke

[youtube]https://www.youtube.com/watch?v=GzusW_6JTw0[/youtube]ART THIEVES

For sound in my videos I have collaborated with Toronto musician Eve Egoyan since 2003 . She was the performer in E.V.E Absolute Matrixa 48-minute Floor-to-Ceiling Projection that premiered at Trinity Square Video for The Toronto International Images Festival in 2009. (Read about it in the Globe and Mail here.)

[youtube]https://www.youtube.com/watch?v=_fQHx-bxLt4[/youtube]E.V.E Absolute Matrix

I have also worked with Canadian visual artist and editor Aleesa Cohene since 2002 and with Toronto – based sound editor Konrad Skreta at Charles Street Video.

Last but not least, my life partner, writer Lewis DeSoto, has worked with me in many different ways: script writing, cameraman, computer wizard and as an excellent cook.

AI: You said to me that you are interested in exploring how NOT to be a well behaved woman. What does this mean to you?

GJ: In hindsight that was a general statement that needs to be developed: Today we are able to deal with feminist subject matter with a more analytical eye. Rebellion as a theme throughout any feminist discourse is an intrinsic part of my work. From the actions of the characters (or performers) to my own use of the video camera and later in the editing process I disrupt the norms, constructing resistances to the tyranny of orthodoxy, or, as in Twinning series 

[youtube]https://www.youtube.com/watch?v=ikwtgVYfKtI[/youtube]Twinning: Wall Flowers from the Twinning series

and How to be a Woman

[youtube]https://www.youtube.com/watch?v=-lBG0KYp688[/youtube]How to be a Woman

commenting on them. When shooting video and later in the editing process, I work in a way that exploits unbridled emotion and marries it to abstraction. I challenge the accepted conventions of art as an entertainment that is well behaved.

AI: Is there a Swedish sensibility that you share? What might it be?

GJ: There is an intrinsic sensibility that is connected to that land of intense polarities between the extreme summer light and the winter darkness that I share. It manifests as a worship of nature in the warm season and as the cult of the lit candle in the dark and cold season. Swedes celebrate the solstices intensely. There are many pagan rituals in Swedish culture and seasonal shifts are ritualized since Prehistoric time in that forbidding place. This is just a nostalgia for the infinite. The Swedish model is long dead. Sweden is now a European country politically divided by the rise of a small but ultra conservative party whose priority is to stop immigration. The pagan rituals have been usurped by the Neo-Nazis.

I would also say that ingenuity/inventiveness is a Scandinavian trait. Perhaps a people so long in isolation develops ways of surviving which become methods, then inventions. Hundreds if not thousands of hours huddling by the fireplace seem to be conducive to inventiveness. I would also say that Swedes have a social conscience extending far beyond one’s neighbour.

AI: Do you see yourself as fitting into any school or niche in the Canadian or North American art scene?

GJ: I might not be aware of the niches but what struck me soon after my arrival in 1986 was the powerful position of female artists, and writers, in Canada. I experienced a huge artistic thaw shortly after I left the North European tyranny of Modernism. I soon found the world of moving image art and felt at home and welcome there. That might be my niche..

AI:  Which video artists do you pay attention to and why?

GJ: The art market and the art star system bore me, but I pay attention to my contemporaries with whom I move through the world. Probably the most important image of profound humanity and intensity in expression is Mother and Son, a film portrait of a dying mother and her son by Russian filmmaker Alexander Sokurov.

Finnish artist Eila-Liisa Ahtila is known for her psychological videos. Her work is highly intellectual and at the same time has a certain stark beauty. Abel Gance’s film Napoléon from 1927 was intended for more than one screen, which was unheard of at that time, and it ran for more than twice the standard feature length. I think of it as the first Art video. That kind of product was relegated to a category called the Third Cinema and was often feared in Sweden as a possible Communist propaganda tool. My films belong to that category too.

I pay attention to Vancouver artist Stan Douglas, in particular a work called The Sandman where the mise en scene is a German allotment on a partitioned sound stage rotating in two directions. The title comes from a found letter about two children and the Sandman. This is a kind of art piece that can only be experienced and is too complex and mysterious to fully remember. Very interesting and inspiring to me.

AI:  Video artists don’t have ‘objects’, exactly, to exhibit. How do you go about installing your work in a gallery or museum setting?

GJ: I work in two veins. I make a moving image that is placed on the wall, playing on a monitor like a sort of painting, as in Nothing is True, a video diptych exhibited at Ryerson Image Center in Toronto, from January 21 to April 5, 2015.

Or, I envelop the viewer in a totality of images and sounds, usually a more epic video, large format video projection, video installation. Occasionally I exhibit film props from the production in the gallery to animate the space.

AI: In the past you made sculptural objects and paintings. How did the transition to video come about?

GJ: It was a love affair between a first generation digital video camera and me. We met at Vistek in Toronto in 1989. Love at first sight. I shot my first video and I edited it using two VCR players. I was invited to participate in a couple of independent Toronto group shows in 1998-99 and simply showed my video playing on a stripped airplane TV monitor with a large pillar balancing on top. I joined Vtape, an excellent international distributor of art videos in Toronto learned computer editing at Charles Street Video and haven’t stopped since. I have changed camera a couple of times as they develop but I’ll never forget the first love, the Panasonic Digital Mini Camcorder.

AI: How much do you map out a video?

GJ: Most of the mapping out happens in my head during a lengthy gestation period. I make a simple drawing for an idea, a concept, and pin it up on the wall. Occasionally I draw a storyboard, I research. I trust my intellect and my life experience to steer me. We scout for places and spaces as shooting locations. A mise en scène gradually comes to life, working with the same people. I am not interested in control. I don’t have a Director’s chair. I do guerrilla filming. I want to destroy the One Man’s perspective dominating the history of film. For instance if you take the camera into the Catacombs in Paris along with your character in WW2 Resistante costume, you cannot be sure what will happen. The story line/narrative is created, in part, depending upon the material we come away with, but always following the loose narrative, even for my ongoing series of video portraits. There is always some kind of story told. I then go home and write the next scene, often together with my husband, Lewis de Soto. He thinks linearly, which can be useful when you assemble a video for a rough cut. Later you can destroy it. A good example is The Blood-Red Heart of Johanna Darke produced during a four months Canada Council Residency at Cité International des Arts in Paris in 2003.

JD is an anti-narrative feature -length video about a Quebecoise nun who thinks she works as a courier for the Resistance in WW2 Paris, roaming in tourist spots like the Louvre, Père Lachaise Cemetery, the Catacombes, Notre Dame Cathedral, les Quais, etc. The cast were Adrienne Le Coutour as J.Darke, Anna-Lena Johansson as Evil Gestapo Nun and Berlin based Canadian artist Benny Nemerofsky Ramsay as Jean MalreuxResistant.

We collaborated and improvised, discussed, wrote and shot. In the end we did not make a movie, which was my concept, but a strange meandering document where the camera had its own will, sabotaging the story and ultimately turning into itself. It is the story of a video that refuses to become a movie. With this film I am commenting on and parodying the clichés and tropes of the WW2 Resistance Movie genre while consistently pointing to paintings, music, books, and all kinds of histories, as the more important, and fun task. In the last scene when Johanna is in jail I use the text of the last two pages of Albert Camus’ L’étranger. I have always wanted to press those lines into art.

AI: Some of your work is narrative in structure, other pieces focus solely on image and sound. These are two distinct ways of working. Care to comment?

GJ: Every image suggests a narrative, even a still. As much as I would hate to confuse anyone I don’t really see a distinction between a narrative and a slowly moving portrait. The only difference is that the narrative in the portrait is that of the viewer.

AI: There is always an element of mystery in your work, something hidden or half-hidden, or seeking to be exposed. Comment?

GJ: I am seeking. Truths are always hidden or suppressed in our society. A mystery revealed loses its allure. Questions are more interesting than answers.

AI: Role of sound?

GJ: It is good to start with the proposition that sound tracks are the enemy of the moving image. Soundscapes are the antidote to an illustrative sound track. I use sound as a psychological dimension that operates in parallel with the image. Sound in an art video is the opposite of multiple sound tracks in commercial movies. Sound does not illustrate, it comments on and makes a work more intimate, more accessible. Often I create a kind of silence. Silence is quietly noisy. Complete silence hurts the ear. Sound should nor be heard but felt.

AI: The work often evokes a feeling of tenderness in the viewer, a desire to protect the fragility of what is  being looked-at, whether it be a person or an object. Why are these feelings/sensations interesting to explore?

GJ: These feelings are yours. Humanity evokes tenderness.. Both happiness and suffering evokes tenderness. I love life, its cruelty, fragility and beauty.

AI: You said to me, “Everything I make is connected to the fibre of my life.” Can you expand?

GJ: I don’t see a separation between art and life. The art work is the manifestation and the residue of living. It is not interesting to produce art for the sake of producing art.

AI: What are you working on these days? And what shows/exhibitions do you have coming up in the next year or two?

GJ: Dinner in my new kitchen which I will be exhibiting to all my friends. You can come too.

Ok seriously, I have a work in an exhibition at Ryerson Image Centre ANTI GLAMOUR, running until the end of April. I am currently working toward “Ways of Something”; a commission for a one minute video interpreting a segment from John Berger’s 1972 BBC Television series Ways of Seeing”, curated by Toronto artist and curator Lorna Mills. Simultaneously I am producing a commissioned short film with Canadian writer Russell Smith. As well, a lot of thought and research goes toward a solo exhibition in September 2016 at Rodman Hall Art Centre, St. Catharines, Ontario, curated by Stuart Reid.

In process and closest to my heart is a film Pieta, of my mother’s last hours. A difficult but ultimately beautiful process.

—Gunilla Josephson & Ann Ireland

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Ann Ireland’s most recent novel, The Blue Guitar, was published by Dundurn Press in early 2013. Her first novel, A Certain Mr. Takahashi, won the $50,000 Seal-Bantam First Novel Award and was made into a feature motion picture called The Pianist in 1991. Her second novel, The Instructor, was nominated for the Trillium Award and the Barnes and Noble’s Discover These New Writers Award, and Exile was shortlisted for the Governor-General’s Award and the Rogers/Writers Trust Award. She is a past president of PEN Canada and coordinates Ryerson University’s Chang School of Continuing Education, Writing Workshops department. She lives most of the time in Toronto and part of the time in Mexico.

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May 072015
 

A koan- or haiku-like style of description in bursts of short sentences…Lish’s writing is as composed as a soldier: methodical, precise, on mission. —Tom Faure

Preparation for the Next Life
Atticus Lish
Tyrant Books, November 2o14
417 pages, $15.00

Many challenges can assail the lost person in a single given night—when there’s no bed, no radiator nor space heater, no roof nor figurative womb to enfold and heal the daily shredded spirit. The forgotten characters of the night wade through a dark terror punctuated by McDonald’s arches, Chinese calligraphy, imperfect halogen, and harsh sounds like billy clubs dragging down fence railings and cash register ka-chings tearing at the tired mind’s fractious sense of reality.

Such muddled, taurine-riddled minds are front and center in Atticus Lish’s outstanding debut novel, Preparation for the Next Life. Released in November by boutique publisher Tyrant Books, the novel just won the 2015 Pen/Faulkner Award for Fiction. Lish’s characters live on the margins, but this is not a pity party. If anything, it’s an introduction to globalization. We do not distinguish between the empty roads of Queens and those of Mosul. Nor their trash-filled alleys, nor their migrant workers, nor their deceptive blue skies. The difference is not even clear to the well-trained eyes of Brad Skinner, a stop-lossed, three-tour Iraq War veteran who sees IED risks even in the tumbleweed saunters of an empty plastic bag. Now in the United States, Skinner and an undocumented fast food busser, Lou Zei, are star-crossed lovers trying to get by in the melting pot of Flushing, Queens.

Skinner and Zou Lei (Thunder, in her Uighur dialect) are from near-opposite worlds, but Romeo and Juliet is not the only analogy to draw—Lish’s protagonists are a Beauty and Beast who discover each other literally in an underground food court, an apt crossroads for an aspiring illegal worker and a traumatized, depressed soldier. Lish’s touch is so deft that he does not come off as cloying or contrived in choosing an overtly fitting setting like a black market for these lovers struggling to survive in the shadows of the crumbling towers of the American dream. On the contrary, the novel, while deeply empathetic, seems uninterested in heartstrings. It is caring, but unpitying and unforgiving.

Looking for work early one day, Lou Zei walks from neighborhood to neighborhood, noting that Roosevelt Avenue’s graffiti changes every few blocks, but what does not is the steady sound of locks pulled down and shutters pulled up—of business, the great Sino-American common ground, cranked manually by the working poor in the liminal limbo between twilight and dawn. The lucky ones still are senseless, hearing nothing: they are asleep. The rest are senseless, too: they are exhausted. The problem for Zou Lei and Skinner, ultimately, is that this melting pot of multicultural poverty does not mix well. Violence spills over, not willing to spare young love.

The most devastating aspect of Preparation for the Next Life is not its rich, understated description of wealthy nations and poor people in the Age of Terror. It’s the love story. It’s the characters in general—convicts, cops, veterans, immigrants, and the many combinations thereof. Everybody’s just trying to get by. Skinner rents a basement room, goes to the gym, and relives the horrors of combat on the internet. He sees mangled corpses in folded pizza slices; he holds his gun to his head and dreams of relief. His landlord’s son returns from a ten-year stint in prison; the house is not big enough for the both of them.

*

How to explain Atticus Lish’s prose? It reads first as if he is overly fond of sentence fragments—but he actually does not use fragments in abundance, save for the occasional litany of descriptive images. The seeming effect comes from a koan- or haiku-like style of description in bursts of short sentences, as well as the omission of dialogue indicators. A typical passage intertwines calm eddies of four- to eight-word sentences driven by rich, concrete verbs, with the occasional hypnotic sentence that stretches into Fitzgerald-like lyricism, employing active participles and gerunds to string images and observations together in a style resembling almost the stream of consciousness—though his prose does not suffer from the hectic spasmodic urgency of Beat sentimentality. Lish’s writing is as composed as a soldier: methodical, precise, on mission:

His body jerked. He moaned. […] In his dream, he knew what was happening. When they had first arrived, they hadn’t known, having yet to learn. Their unit had provided security for a colonel on daylong sector-assessment missions called SAMs that lasted into the night, and they had seen very little action. If this is war, I’m disappointed, Nowling said, pulling security in the spectacular heat. […] It was hard to sleep. People said I miss my girl. I wanna get some. They manned a checkpoint and shot up a car. Their doc from Opa-locka poured a bag of clotting factor in an Iraqi’s chest. Mom’s head was gone. White-faced, Sconyers ran and got a beanie baby for their daughter.

[…] In the basements, they found electronic equipment, stiffened rags, a crumbling prayer book. Children stared at them. The corpses were few at first, but then they started finding bodies every day. Some were mummified by fire. A bomb went off and spit a person out of a doorway. That smell is burning hair. A truck drove by them full of men with beards and satisfied expressions. Why are we letting them go? Sconyers asked. I don’t get it—Sconyers who carried a copy of the Report of the 9/11 Commission in his assault pack.

Because this is the army. Because this is their country. Because this isn’t supposed to make sense.

Lish’s writing is allusive without lacking concrete immediacy. The description mixes panoramic observations with implied exposition. Implied—because, he laces new expository detail into his scenes without pause or explanation. This is expertly done and contributes to the unsentimental tone of the novel. Take for example this revelation that Skinner has proposed to Zou Lei:

When she came outside in the purple dusk at quitting time, he was waiting. They ate pizza slices while the streetlights came on, went down past the gas station and walked along the river.

She was so moved she didn’t talk for nearly a mile.

What are you thinking?

You have a great heart, Skinner!

He liked it that she was happy

Just you say you will marry to me, it’s incredible.

Lish has suggested he avoided seeking help from his father Gordon—the renowned author, editor, and Raymond Carver’s blue pencil—but there’s something Lish-like here. Maybe it’s in the blood. The answer to this authorial originality question doesn’t matter. What the link does, rather, is illustrate how this author still early in his career is well on his way to becoming a master of story-telling:

The house was two houses. On the first floor, there were the lace curtains and plastic on the couch, the kitchen had a cuckoo clock on the wall, and there was a velvet picture of Elvis looking handsome above the couch his mother sat on. The saints and elves were in the yard. The rooms upstairs were a mess of clothes and junk where his mother and Erin lived among bottles of perfume and shampoo and tarot cards and curling irons and maxi pads and beer can empties and cigarettes and photo albums. You could open a drawer in a broken dresser and find a stack of Polaroids of people and scenes you did not recognize, then look at yourself in the mirror and wonder who you looked like.

He begs rereading.

I don’t know exactly when it was—maybe page 40, maybe 50—but I started rereading some of Lish’s pages backwards. I would reread each of its sentences in reverse order. This reading contained a strange wisdom. Here’s a glimpse of a typical Lish page in which we see the city, the lovers, and his writing style:

When she went back into his room to get her jeans, she saw what they had done to the bed, the mauled sheet. His camouflage gear and clothes were all over the floor. He slept in his poncholiner. On the bedside table were his pills and his lifter’s magazine and a strip of four condoms with blue wrappers. The room smelled like him and her, their sweat, latex, and tobacco. All about the room were empty beer cans he used as ashtrays. Under the bed, there was a used yellow wet latex condom. Another one was twisted in the poncholiner. Her eyes scanned over his cigarettes, his jeans. His boots were lying where he had kicked them off. A pair of blue faded cotton panties had fallen on them, hers.

He came up behind her and put an arm around her waist and put his face in her neck. She held his hand. His face smelled like tobacco. They rocked back and forth like that.

[…] They went out into the quiet night and started hiking down Franklin Avenue until the small American houses gave way to ghetto buildings and then the huge cathedral of Chinatown, over the hill through the dark trees and down the longblock that extended out to the freeway like a jetty.

Now you have to go all the way back, she said.

That don’t matter. I can’t sleep anyway.

[…] The sheds were built open at the top like changing rooms, and when she pulled the chain, her light disturbed her neighbor, who muttered behind the plywood. She switched the light off and kneeled down on her broken mattress, on her coverlet bought in Chinatown, showing teddy bears in bowties. By feel, she plugged her cell phone into the charger, her link to him, and the screen lit up indigo in her hands for several moments shining through her fingers.

Combined with the other characteristics of his writing style, the unified yet non-linear nature of Lish’s prose reminds the reader of the vast multitudinous nature of the various wars the characters are facing. There is no one voice in control, there is no up or down, no central organizing order or clear causality, no beginning or middle—but there is an end. A devastating end.

—Tom Faure

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Tom Take 4

Tom Faure received his MFA in Fiction from Vermont College of Fine Arts. His work has appeared in Waxwing Literary JournalZocalo Public Square, and Splash of Red. He lives in New York, teaching English and Philosophy at the French-American School of New York.

Contact: tomfaure@old.numerocinqmagazine.com

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May 062015
 

Madison Smartt Bell

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THE HILL PASTURE SPILLED upward like a green tongue probing the dark trees on its borders. There had once been red horses. Then the square black cows. Then sheep, unshorn, their wool gone grey and matted with bramble, dung clotted under their fat, heavy tails.

Now the deer brown as dry leaves, wind-rustled over the greensward.

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At night I heard coyotes, but it was rare to see them. There was one once in the low pasture; I saw him hunting mice. Ears pricked, attention perfect, everything in him concentrated on his prey. Perhaps not mice after all, but larks in the lengthening grass, a bird pretending to be wounded, circling wider away from the nest. I could not detect the prey, only the coyote’s sharpening perception, straining forward, then the quick, spring-loaded pounce.

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Since everything had been destroyed I lived in the feed room of the middle barn, with a board floor raised hip height from the dirt, and a door still stout. The heavy planks of the wall were thick with a fine dust and plastered with nests of the dirt dauber wasps. There were empty gunny sacks once full of sweet feed and others stuffed with uncarded wool.

In a shaft of sunlight slicing between the boards, a black dirt-dauber droned harmlessly.

In the creek was cress and water; I was no hungrier than that. By night I peed or crapped like an animal on the ground outside the barn.

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The white wolf’s muzzle probed rotten burlap, avid for the taut pink bodies of the blind mice nested there. Each morsel burst on the wolf’s long teeth like a berry.

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 *

*   no words   *

no words

 *

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The white wolf was my daughter, child of my heart.

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The dark of the moon was a black circle where the moon once had been. A socket from which a white tooth was pulled.

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The bronze, oiled Indians, mostly naked and smelling of lard, dashed out my baby’s brains against the doorpost. She was no bigger than a rabbit. She never had a chance to cry. They had already scalped my father in the corn field, then broken his head with his own hoe.

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The white wolf walked in the cornfield, disguised as a black-robed crone. Black crows moved elliptically around her, keeping the same safe distance from her fearfulness, lifting and lighting among the dead yellow stalks, the long narrow leaves that whispered in the wind.

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Upon a day I will no longer have the strength to pull myself up onto the high floor of the feed-room. I may still crawl underneath, however. There I will be sheltered but not so secure.

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Rain lashes the tin roof of the barn. The front stalls leak, along a faulty seam. Tomorrow their dirt floors will be a bog. I can smell hay rotting in the next chamber (also ground level like the stalls) but in the feed-room it is dry. Extremely dry, as I forgot to fill the rust-brown feed can with creek water for the night. This situation could be remedied by holding the can out under the rain through the open door, but I am too drowsy among the old sacks, and rattle of rain on tin is a great comfort.

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Under the twisted half-dead hackberry wait the remains of an old wagon: paint bleached away, wood rendered back to earth, the metal wheels and tree and springs more slowly dissolving under rust. There is a wagon in skeletal form, infinitesimally more transparent day by day.

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The white wolf was my mother, and I her favorite son.

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On the edge of the creek I watched the water spiders darting over the water, their movement so abrupt as to be invisible. They disappeared from one place and appeared in the place and no line could be drawn between the two locations. A water spider gripped its spot on the water with its legs crooked like fingers of a mechanical hand. The points of its legs dented little dimples into the surface of the water, without ever piercing it.

At that time the creek water was perfectly clear, no more than a few inches deep in most places, so I could see the rounded rocks on the bottom, slightly magnified, and sometimes a crawdad moving among them.

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Once I laid the corpse of a lamb on the bottom of the wagon bed beneath the hackberry tree. The lamb was the weaker of two twins and never stood up to find the teat. It was still warm though its life had scarcely spanned an hour. Its cooling wooly surface was limp as a wet rag in my hand. On the board of the wagon bed it stiffened into a shape of running with its neck and tongue stretched out. The grey beetles wandered in and out of its mouth and anus. Presently the flesh had withered away and there was wool still shrunk onto the bone, then the wool rotted and was washed by the rain and only a pattern of bones remained. Then a frail light imprint on the board to show how intricately those tiny bones had lain.

Now the boards are gone themselves, at the end of an imperceptibly slow burning which reduced them to ash, to dust I mean—to infinitesimal points of carbon scattered to the wind.

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When the white wolf dropped the milk jug to shatter on the kitchen floor we did not know if it was the accident that infuriated her or if she had thrown the jug down deliberately in a rage that had already begun. We never learned the answer because we were afraid to approach her, my father and I, lest the wolf tear out our throats with her white teeth.

I picked up the large pieces of glass from the floor and mopped the half gallon of milk with a towel which over and over I wrung into the sink, and finally found the last near-invisible shards by cutting my fingers as I moved my hands over and around the floor like a mesmerist, mingling the milk with blood.

The white wolf paced an angry circle in the yard, hour upon hour.

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I was afraid in the high garden, alone, also bored, discontent, recalcitrant if I had been sent there to pick beans or thin new-sprouted corn. It would be evening, night’s shade approaching, sun broken on the points of the dark cedars sprouting up behind the gnarled apple trees of the abandoned orchard, drooling the last red light of the day like the yolk of a rotten egg. The corn rows were interminable and it seemed to take forever to half-fill a basket with green beans, hurry as I might, breaking stalks in my haste and sometimes even uprooting a plant from the row. Such carelessness would make the white wolf snarl. The high garden was behind the horse barn well away from the house—behind the barn was a field to cross and a passage through woods that seemed long to me on my short cub’s legs.

There were no more Indians then. The coyotes had not yet come and the deer were rare. Rabbits, groundhogs, quail rustling the dry leaves. Bobcats were there, but we did not see them. Bobcats were shy. There was nothing to fear coming out the arched shadows between the darkening apple trees; rather fear emerged from shadowy niches inside my head only; as much as I knew it to be true my unease grew as the darkness expanded, the bean basket obstinately refused to fill.

The white wolf was inside the house, melting bacon fat on hot iron; she could not see me or protect me there.

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An owl who cries by day is not an owl, except the screech owl who kept releasing its peculiar ululating trill into the midst of a sunny, snowy morning, perched on a chicken-wire corner of the henhouse roof, eyes squinched as if blind or injured or trapped, although, when we netted it and brought it inside, the owl proved to be none of these things.

We put the owl into a bird cage—an arched, frail and delicate thing, intended for a canary or a parakeet. The white wolf caught field mice for it, bringing them into the house pinched delicately between the tips of the wolf’s front teeth, so no mouse would be torn or punctured, save by the owl’s talons.

The cage must be covered with a cloth for the owl to kill and eat, so that the owl could operate freely in false darkness, and also as a matter of decorum. Afterward the owl slept on its perch in the dim daylight filtering into the room and after that I could pick apart the pellets to examine the dry shreds of hair and the warped little bones.

We showed the owl to visitors but these seldom came and we did not keep the owl in the cage or the house for long; it was a wild thing after all.

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Dry–rotted for a decade, the gunny sacks still hold an odor, like a memory of the sweet feed they used to contain: cracked corn and a kind of rolled pellet like the Indian money fossils we found around the edges of the stock pond, the mixture globbed together with molasses. I tasted it a time or two, attracted by the pleasant scent, but sweet feed was not for human digestion; it required the four stomachs of a cow.

I lie mottled among the rotten sacks, remembering: damp muzzles nuzzling the feed from my open hands, the rasp of a heavy tongue drying the last sweetness from my palm.

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With a start I woke and found the whole two sashes of window at my bedside filled with the head of a lion, maned and roaring. Terror stopped my heart—then the white wolf rushed in with her long jaws snapping and drove the lion away. She held me with her hands and calmed me, explaining that there was no lion at all, only an overgrown limb of the hackberry tree scraping its twigs against the window glass.

When the wolf had returned to her own nest, I lay in the dark considering; I did not feel the same fear as before, but no trust either. The wind still rushed around the house and the hackberry limb rustled on the window, with a sound that was nothing at all like that lion’s roaring.

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How then could my father have believed those owls were owls, crying as they did in the broad light of day, and shifting to surround the cornfield? How could he have gone to hoe the corn without a gun? The bleating of a ewe cutting off so sharply, what did he make of that?

And yet, in the house where I waited with my babe in arms, I heard these things myself and still did nothing. I could imagine things to do but could not do them.

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Horned owl at dusk.

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*

*   xx xxxxx   *

 

*

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I watched the tame hens watching the owl, great horned owl that settled on the barn lot pump-head—folding his long grey wings in the dusk. The large soft-feathered head was featureless in the gloaming, his wingspread wider than I could stretch my arms. The tame hens craned their necks and clucked. They were about to go to roost but going to roost would not help them.

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Some of the Indians came toward the house on all fours, covered in the bloody skins of the sheep they had slain in the middle barn lot, but it could not be for any purpose of concealment as others of their band came on their hind legs capering and howling in a tongue beyond my comprehension. One of these had my father’s scalp already strung to his lance.

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At this time the white wolf lay in a shallow grave with her head cradled between two roots of an old oak tree, with a wedge of bluish limestone piercing the ground to mark her feet.

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The rifle my father ought to have taken with him to the cornfield hung on its pegs above the fireplace. I knew the use of this instrument but did not reach for it. Nor did I shut the door and pull the latch string. I stood in the doorway, my babe in arms, watching, struck still as if dried blood had glued me to the spot.

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I was amazed when the white wolf first peered out through the eyes of my daughter. It impressed me also, how close my daughter could walk up on buck deer.

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Starlings drift over the stubble of the cornfield, lighting and lifting, a sheet of them moving in near-unison, curling up and away from the yellow-gray stalks like a strip of torn black lace. Wind or their wings carries the starlings over the fence post and forms them into a spiral, a helix—and then they are gone, or almost gone, a set of pin-prick speckles on the sky above the hills.

—Madison Smartt Bell

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Madison Smartt Bell is the author of twelve novels, including The Washington Square Ensemble (1983), Waiting for the End of the World (1985), Straight Cut (1986), The Year of Silence (1987), Doctor Sleep (1991), Save Me, Joe Louis (1993), Ten Indians (1997)  and Soldier’s Joy, which received the Lillian Smith Award in 1989.  Bell has also published two collections of short stories: Zero db (1987) and Barking Man (1990).  In 2002, the novel Doctor Sleep was adapted as a film, Close Your Eyes, starring Goran Visnjic, Paddy Considine, and Shirley Henderson.  Forty Words For Fear, an album of songs co-written by Bell and  Wyn Cooper and inspired by the novel Anything Goes, was released by Gaff Music in 2003; other performers include Don Dixon, Jim Brock, Mitch Easter and Chris Frank.

Bell’s eighth novel, All Soul’s Rising, was a finalist for the 1995 National Book Award and the 1996 PEN/Faulkner Award and winner of the 1996 Anisfield-Wolf award for the best book of the year dealing with matters of race. All Souls Rising, along with the second and third novels of his Haitian Revolutionary trilogy, Master of the Crossroads and The Stone That The Builder Refused, is available in a uniform edition from Vintage Contemporaries. Toussaint Louverture: A Biography, appeared in 2007Devil’s Dream, a novel based on the career of Nathan Bedford Forrest, was published by Pantheon in 2009. His most recent novel is The Color of Night.

Born and raised in Tennessee, he has lived in New York and in London and now lives in Baltimore, Maryland. A graduate of Princeton University (A.B 1979) and Hollins College (M.A. 1981), he has taught in various creative writing programs, including the Iowa Writers’ Workshop and the Johns Hopkins University Writing Seminars. Since 1984 he has taught at Goucher College, along with his wife, the poet Elizabeth Spires. He has been a member of the Fellowship of Southern Writers since 2003. For more details, visit http://faculty.goucher.edu/mbell

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May 052015
 

Adorno

 

That we live in turbulent times is a matter of consensus. We live in an age where people on one side of the world can engage in the most enthusiastic hedonism imaginable in the name of freedom and people on the other side of the world can shoot up school-buses full of children for that very same ideal. Uneven development is not always an evil of the global situation; more often for competent observers, it is local. It begs the inevitable question: if mankind is not sovereign as a species, what kind of species are we in being mankind? Have we any innate or potential freedom or are we, as the English philosopher John Gray suggests in his upcoming book, merely The Soul of the Marionette? Since the end of the Middle Ages, we in the West have based our entire historical tradition on the notion that we are sovereign beings living in sovereign states that, as history progresses, resolve into the sovereign nations we now constitute. But what if we were wrong in our original assessment, if we have lied to ourselves about our historical situation for centuries, if we have concocted freedom as a philosophical antidote to our real conditions of existence?

*

In order to understand our present we must exhume our past. In the 18th century, Immanuel Kant, the foreman of Western ethics, formulated his philosophy of human autonomy, a quality which he ascribed only to a certain segment of the world: the educated European who alone among the species was endowed with the capacity for pure reason. Kant’s philosophy found an enduring audience in the West, not least for its message of rational freedom and for its insistence on Enlightenment. The Europe of his time was utterly drenched in a presumptive racist and cultural supremacy. Kant’s later successor in German idealism, Hegel, thought that Asia and Africa were ahistorical regions that did not participate in the meaningful currents of history. Exclusion of the particular and inclusion of the general defined high thought in all its aspects. Despite Kant’s anthropological exclusion of the majority of mankind from meaningful history, his paradoxical universalism found a broad audience—and to this day his philosophy, internal contradictions and all, pervades American and European thought and neoconservative policy. The 18th century, with all its innovations in technology and social formations, soon enough ushered in the 19th century, with its nascent capitalism and internationalism, which in turn ushered in the 20th century and its ambition to relieve the world of its suffering only to provoke catastrophe after barbaric catastrophe. The philosophy of that century witnessed mass murder and spoke of it with the reverence it had once reserved for the Absolute Idea. Had Kant witnessed the terror his Enlightenment eventually provoked two hundred years after he wrote his Critiques, he might have enacted the modernist poet Fernando Pessoa’s observation that “could the heart think, it would stop beating.”

Following upon centuries of first ethno-religious and then specifically racist warfare against the Jews in the West, the German philosophers of the Frankfurt School Theodor Adorno and Max Horkheimer wrote their treatise on philosophy Dialectic of Enlightenment during the darkest hours of the Holocaust. They poised this book against their contemporary technological zeitgeist, which placed supremacy upon racial distinction, material domination, and the ruling of nature by a subsegment of mankind who thought themselves abidingly separate from Nietzsche’s reckoning of “the herd.” From the misinterpretation of Nietzsche and the forefathers of German nationalism, philosophy produced the horrors of Nazism and its own best criticism, a criticism Adorno thought equally poised against an America in ascendancy, whose intensive capitalism mirrored Nazi Germany’s own, along with its cultural ideals of law by caveat, family centrism, and international superiority.

Adorno did not locate in particular this parallel between America and Nazi Germany in, say, the alliance between Henry Ford and his model of conveyor-belt capitalism and the focus on efficiency the German wartime economy demanded. He located the parallel in American science and German science, and the cultural value they imparted to their scientific practices. For Adorno, the Holocaust was the dialectical result of technocratic rationality, of what he called “the administered world,” a social sphere completely opposed to egalitarianism or ethical Enlightenment but one rather geared solely to administering law as formatted into being by those who had attained historical power. Whereas Karl Marx, whose critical theory influenced that of the Frankfurt School, had located this power nexus in the European bourgeoisie’s relations to its proletariat, Adorno located it in the managers and the administrators of the world in their relations to those employed unto death.

These powers did not need truth in order to operate. They needed only the will to truth, and as the Holocaust set out to prove, the content of will was more important than the content of cognition when it came to realpolitik. The manifold insanities of Nazi Germany did not depend on the cognitive content of the reflective mind, since all they had in their cultural arsenal was a foundational myth so obviously wrong it could only be taken seriously by the cynical, the desperate, or the naive. “The fake myth of fascism,” Adorno wrote, “reveals itself as the genuine myth of prehistory, in that the genuine myth beheld retribution while the false one wreaks it blindly on its victims.” The Nazi philosophy depended on the administrative method and its ideal of rational conquest of nature, in which realm mankind too was included. Adorno, a Jew by birth if not religion, was expelled by the Nazis, who no doubt lamented that they could not kill him, that they could not, per the peculiar invention of the Nazis, administer the science of death to him and his inconvenient discontent.

The administrators of the Holocaust used the latest methods of social control then available, inverting the formula for human freedom into the formula of human extermination. Sovereignty, like the mythical Uroborus, consumed itself and produced its opposite. If man is not a sovereign species, whose every individual is sovereign, then what kind of species is he? For Kant, mankind was a paradox of freedom, for certain of its members were disbarred from participating in freedom by virtue of their race. Contemporary science, as in Dr. Sussman’s The Myth of Race, has once and for all done away with the biological concept of race and so too with Kant’s more destructive contributions to history. For the fascists, who adored capitalism in its every facet, man was not autonomous but a slave of the state and the necessity of its markets, which thought itself the perfect and utter representation of objective reality. If racism has been revoked by the biological sciences, what of the sciences of capitalism?

Fascism is the loudest boogeyman of history, its outermost dark and nihilistic undercurrent from which we think ourselves now permanently delivered. But for Adorno, that deliverance from fascism was only an illusion. It is not that Ford, the face of American capitalism, thought fascism viable in its mythical assumptions or its focus purely on power itself. Ford thought fascism was viable because of its method — its intentionality toward control, its will to method. The temporary political alliance denounced itself and assumed instead an alliance with its method, which, unlike the name of fascism, might hope to continue its aims nevertheless. In what kind of world do we in the West now live but a world governed by method, by administration? If we are not sovereign, it is because we have seen through the Church Militant, that bastion of medievalism, and replaced it with what we thought was a better form of polity: the secular government. Under its auspices we have prospered in virtually every human sphere imaginable. But, as all things occur in sequences, what has become of our secular government? Adorno might say it has become the godhead of administrative method, a hegemon and its semi-conscious dictates according to which all must live in obeisance. We are ruled not by atomic facts but by the inter-penetrative method of law which, even when liberal, regards all with total purview.

Dictatorship need not have a face provided it has hands. Certain of our actions under liberalism might now be permitted whereas before they might have been condemned by the theory of religious sin, as political philosopher Slavoj Zizek has it in his thoughts on “permissive oppression,” but they are all regulated in their method, by the method of our rational governmentality. In being moral agents we always locate authority not in the God of former ages but in the state and its legalism. It is as though, in launching the governmental method of the classical liberal John Locke and the American Founders in order to free ourselves from our originary monarchy, we have merely subsumed ourselves to the logic of our own abstractions, which have come to rule us all even though we ourselves first invented them. According to Adorno, in the transition from the Middle Ages to modernity, “number became enlightenment’s canon.” It is now unconventional madness not to conceive of the world quantitatively rather than qualitatively, for all quality has been subsumed by the technocratic rationality of Adorno’s forewarning. If theocracy abused quality in its endless theorizing, secularism has abused quantity in its applied form. Christopher Caudwell, the 20th century English Marxist critic, wrote in his Studies in a Dying Culture that “the unparalleled increase in productive powers has given birth, not to peace, plenty, and happiness, but to war, famine, and misery.” Caudwell had not heard of the Frankfurt School before his death; but such is the outcome of Adorno’s dialectic.

Western philosophy has long been enamored with the debate between human determinism and indeterminism, ranging from Saint Augustine of Hippo’s theodicy of free will to the later natural sciences. These last have for centuries suggested we are but limited points in the progressive logic of the world, not its agents but components of its relations. Wherever philosophy roams, mankind too is supposed to roam free, even when philosophy condemns him to a freedom he dislikes. The behaviorist sciences of the early 20th century, which denied free will completely, petered out into the neuro-cognitive sciences of our modern era. Science is at a crossroads as to the age-old question “are we free or unfree?” But whether such a question is even in the purview of science to answer is, itself, up for debate, for scientists and philosophers continue to claim the domain of human destiny for themselves. The more interesting question to consider is how method influences the questions we ask, a la the philosopher of science Paul Feyerabend and his unruly epistemology of scientific inquiry, and the parallels its internal discussions might uncover as to our larger condition. For, where Adorno and Feyerabend intersect, the question of method within the human drama comes to predominate. “Are we sovereign” sounds very much like “are we free,” only it seems much more a propos not of biology but of the structural violence of the state. For Adorno, “enlightenment is totalitarian,” a system proposing complete administration and the abolition of autonomy. The anarchistic aspects of Adorno’s criticism of industrial society sound chiefly like the whimpers of a man who saw mankind’s best hope plunged into its coffin prematurely, only to leave its creators enslaved to circumstance and each other. Under fascism heroism and capitalism were one.

Adorno and Horkheimer are often classified as European pessimists or mere aesthetes preaching doom through critical theory at the dawn and end of fascist Europe. Adorno suffers this indictment in particular, not least for his aphoristic monograph Minima Moralia, a long lamentation for bourgeois European society; though Horkheimer’s anti-Western Critique of Instrumental Reason certainly deserves a mention for his penetrating indictment of modernity. In “The Concept of Man” from his Critique, Horkheimer wrote:

In the historical period after Kant the material conditions for a rational administration of the world improved to a degree undreamt of… In the century of Enlightenment free thought was the force that knocked the solid supports of stupidity from under institutions which bad conscience had driven to adopt terroristic methods; it was the force that gave the bourgeoisie its self-awareness. In our own time, on the contrary, the feeling is abroad that free thought is helpless. Mastery of nature has not brought man to self-realization; on the contrary, the status quo continues to exert its objective compulsion.

Such a mood no doubt stemmed reflexively from postwar European self-criticism. But this philosophical duo was onto something whether or not their pessimism was misplaced: the rebelling students of the 1960s cited them in their chants against authority as surely as they cited the French Marxists, Thomas Paine, and Dr. King. In their angry optimism these students posed the question: “what is method, once it is taken from the realm of pure science, and applied to nature and mankind?” The fascism into which that generation had been born had posed method as the answer to human life, but America, a supposed bastion of liberty, had replied in kind: method is everywhere. Thus Adorno’s hallowed critique of the American culture industry and its paler reflections in the psychology of everyday life under late capitalism. The governors of the administered world “posture as engineers of world history,” spreading first the culture of representative democracy and then its neoconservative and neoliberal dimensions, which convert mankind into “mere objects of administration.” Whether by domination through sheer power, as with the military apparatus of the Nazi state, or through the pro-capitalist propaganda which Adorno thought identical with American cinema, the cultural potentials for subversion are now, as then, shunned to the realm of philosophy where they pose no threat to the status quo. The will to cataclysm has now super-imposed itself over the will to philosophy with the people at its epicenter: although Adorno was a bourgeois, like Marx, he despised the abolition of intellect from any class that could, with persistent theory and action, free itself thereby.

In the 19th century, although it was concerned with emerging markets in the private sector, the apparatus of American government was not quite so solidified as it is now. In America, at least, government simply did not want the purview of all human behavior that its European counterparts had sought to dominate for centuries. From antiquity to the Wars of Religion in the late Middle Ages, Europe had sought to intrude its governmental apparatuses into every sphere of human life, from the social and economic to the moral and private. Its popular history of libertinage was largely a response to its invasive government. America thought it had saved itself from this damning total purview: it was internationally reserved, except for its internal (and brutal) policies of expansion, until the 20th century, when it entered into the World Wars. From that decisive point on, it has sought to develop governmental method to its highest degree, first in its domestic and international markets, with Fordism at the birth of American economic dynamism, and then with our contemporary panopticon of surveillance and our unending series of Wars on Poverty, Drugs, Terror, etc.. Whereas once America left method to nature, it has now fulfilled Adorno’s warning, and turned nature into a method. We have turned ourselves into factota, our species-being into a being of servitude, and the world into an office-space.

*

If free will ever existed as a viable metaphysical postulate, the modern world has wiped it out. Postmodern insights have roundly condemned what used to be called “the human being,” after the manner of the humanists from the Renaissance to the 18th and 20th centuries, as merely “the subject,” an entity only biologically human but philosophically conditioned. From Freud to Foucault we have discovered we are not what we appear to be to ourselves — even Freud’s notion of the ego had something of the substantially determinate, if not determined, about it. But we have also lost the ego itself. Now, we have a sum of relations to compose ourselves, which are likewise but social products. The soul has been abolished by the intellect, which in turn was abolished by the condition of the global office-space. Bourgeois idealism, the creator of that office-space, assumes that man is substantially free of the social relations that took their most vicious form in the feudal restrictions but is apparently enslaved to them. Thus, the bourgeois will to freedom is not philosophical but social — in locating himself purely in himself rather than in the social totality, and with himself his laws, sciences, and arts, he wants to remove himself from mankind and exist as though in a vacuum. To be free is to be free from social relations, which throughout the centuries he has mistaken for the return to feudalism. From this he produces his Protestant Christianity and capitalist individualism; but it is an ignorance to assume that man is ever free from man. To even speak it is to acknowledge with a socially-received language that man is always social, never individual or at least not purely so, that man is composed by society which in turn is composed by man. Social relations constitute a man far more than do the private fantasies of not-belonging, of Cartesian and Freudian ego, of the willful alienation from the social into the self. Capitalism is the economic manifestation of this asocial tendency; Protestantism is its religious manifestation; America is its national form. In Adorno’s view, we moderns are administered from without, not determined from within. The ancient philosophical distinction between subject and object has been erased by capitalist relations and their larger, more modern applications.

What an impoverished accountant in Bangladesh does, as his paid labor, affects after a manner one’s own Western phenomenological consciousness — even if it is merely at the level of a two-cent increase in the price of beef. More expansively, what an archivist does in the US State Department affects entire feudal villages in the Middle East, from whether or not they can continue to wear their traditional garb without the imminent threat of retaliation from local extreme moralists to whether or not they can expect to raise children who do not die of starvation by the age of five. Globalization, the manifest destiny of Adorno’s pessimism, affects us all and does so totally — the very nature of the process ensures it affects we in the West as much as it does those more dismally disposed to it in the rest of the world. Between “the West and the rest,” we are composed by our global relations to capital and its desires, and by virtue of that relation, we are also determined: capitalism has never been a humanism. Augustine of Hippo and the other theorists of free will had sought eternal propositions, but it must not be forgotten that our current dilemma is decidedly modern in genesis. Adorno wrote in the Dialectic that:

Even the ego, the synthetic unity of apperception, the agency which Kant calls the highest point, from which the whole of logic must be suspended, is really both the product and the condition of material existence. Individuals, in having to fend for themselves, develop the ego as the agency of reflective foresight and overview; over successive generations it expands and contracts with the individual’s prospects of economic autonomy and productive ownership… The conspiracy of rulers against peoples, implemented by relentless organization, finds the Enlightenment spirit since Machiavelli and Hobbes no less compliant than the bourgeois republic. 

Adorno would locate the roots of this administration in the Enlightenment’s insistence on the rational distribution of both material goods and intellectual goods, such as values and the roles of ethical systems. Originally egalitarian, the enlightening tendency produced its own antithesis: Spinoza and his reason transvalued into Hitler and his myth. Enlightenment directly produced fascism, Adorno thought, because it provided the intellectual underpinnings and global desires of the fascist imperative. Thereafter, it syncretized global capitalism and value-universalism into the current American vision of monoculture, the “end of history” as characterized by the global spread of capitalist relations disguised as liberal democracy. It cannot leave things as they are: it must transform us all until we are on the clock. To be a Westerner is to be always already administered from without. What we used to attribute to the whims of God, we now must attribute to an absurdly impersonal history we once thought individual heroes composed.

To make the general particular, consider your job. It supports your entire material existence, for without it you would soon become homeless and perhaps starve to death. But your job, in turn, depends for its existence on the capricious global market, even if you are a lowly cashier at a franchised local grocery store, or a mid-level insurance agent. If the price of pork and broccoli plummets too low or raises too high, or if the set rate on return clashes with your overhead, you’re the first one downsized — and so your life undergoes a whole revolution involuntarily. Precarity defines your whole existence because precarity defines us all, but this precarity is daily manipulated by consumer price indices and capitalist lobbies in the political sphere. You, and therefore the rest of us, have very little control of your daily life, no matter how contrarily your unreflective thoughts might countenance this fact. Comfort is always a temporary phenomenon under capitalist dynamism. You are administered from the outside, if not by historical market forces, then by individuals expressing their class interests in the market sphere. And so, whether a product you depend on obsolesces into the rubbish bin of history, or the price of your labor specialty nullifies, you come to realize that our materialism is always aleatory, based on chance, and where it is not based on chance, it is administered from above. What you see at eye-level is determined by a constellation of actors far beyond your vision. Sociology, the paranoiac’s science, understands that human beings are always social, from the individual to the sprawling entirety of civilization in which we live without exemption.

Adorno’s philosophy of total administration owes some of its insight to the sociologist Max Weber and his theory of impersonal bureaucracy. For Weber, bureaucratic regimes, whether benign in scope or not, could act as automatic machines once they had access to a labor supply and a formally-rigorous operational system. The IRS is a good example of a Weberian bureaucracy. To be a bureaucrat, for him, was to be a nameless cog, an instrument of the institution rather than its actor. Its work could well be completed by the cyclops Polyphemus in Homer’s Odyssey who gives his name as No Body. Because administration does not depend on faces but on numbers — the tattooing of the wrist in Auschwitz being most prominent in Adorno’s mind — it can do its far-reaching work without resource to personal morality or the institutions of religious reflection. Speaking of the machinery of civilized man, Horkheimer declared in his Critique that “if the dream of machines doing men’s work has now come true, it is also true that men are acting more and more like machines.” Such is the admittedly pessimistic rendition of administration. It has its better sides, of course. We daily depend on its machinations in our complex civilization, in which literally everything is interconnected, from the maintenance of our streets to wage schedules. There are no islands in a nation-state of 300 million people.

Survival for the vast majority is not possible without administration. What the classical economist Adam Smith called “the hand of God” is now the hand of bureaucratic consensus and scientific management. Hegel himself considered the bureaucracy of his native Prussia a “universal class” removed from the competitive interests of civil society that, through its mediation, ensured a relative peace amidst commercial conflict. But for this abundance, Adorno asked, what resultant cost? We subject ourselves not to a “lordly gaze” but to an administrative network the size of which is now identical with global civilization. Amid such abundance, even the Hegelian slave might be well-fed as civil society directs him this way and that way, though he remains a slave nevertheless. Wage-slavery is not only an analogy but also a synonym for feudal slavery; in its succession of forms, it has only changed the slave’s relation to his directive imperative from the master’s dominance to the dominance of wholly impersonal capital. For the majority of mankind, even for those in the developed world, freedom from methodical determination is as fictitious as the City of God. What the formal relations of bondage encompassed for the medievalist, global Taylorism accomplishes for the modernist: Rousseau’s agony in endless repetition.

As to the philosophical condition in which this leaves us, our end is ambiguous. We are certainly not free, as bound by market forces and government forces and social forces as we are. In being administered, we are also fed and clothed, given as though children all that we need to subsist. We live within a liberal tradition, so at least nominally we try to avert future Holocausts, we try to support human comfort rather than human misery, and we try to use our technocratic methods for the common weal rather than the common woe. Outside of war — in which respect America is particularly adept — our administrations ensure we can count on having enough food to eat, enough adequate clothing to wear, and schools to send our children to in order to receive at least passable educations. Without rational administration of the division of labor, we would be lost, as though blind in the modern wilderness –– what philosophers used to call “man in the natural state.” Only there never has been such a natural state untainted by want and death unmitigated: with or without method, mankind has always lived as though above an abyss.

This rationalized organizing principle is double-edged, however, or as Adorno would declare, dialectical: in being fed, we are also enslaved to administrative circumstance. “Poverty,” he wrote in the Dialectic, “as the antithesis between power and impotence is growing beyond measure, together with the capacity permanently to abolish poverty.” Decades after Adorno and Horkheimer wrote their philosophical treatise on the encroachment of methodical administration, the will to abundance has become the will to impoverish, free will has become the will to governance, and the popular will has succumbed to mumbling resignation. Now that we are all poor we dwell in a worldly paradise so wealthy it “radiates disaster triumphant.” The nightmare of Adorno’s century has through our silent consent found a home in our own 21st, replete as it is with ever-increasing economic disparity, ever-decreasing historical literacy, fundamentalist religion become ascendant, drone strikes dubbed humanitarianism at a distance, and a structural fascism of global aspirations that first introduces itself as the very concept of freedom and which then proceeds to abolish freedom completely.

–Jeremy Brunger


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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.

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May 042015
 

IMG_4106 - Version 3

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Six years old in Phoenix, Arizona, and I wanted to sing country. I’d walk to Squaw Peak Elementary by myself; my two sisters too young for school.  There was a house on the corner with a desert yard, a looming saguaro instead of a tree. A low fence kept kids from kicking up the sand. In that sand was something shiny, a glinting by the base of the cactus tree. I’d eye it every day, and every day I wanted it more. Often, walking to school, singing under my breath, I’d practice my twang, the one I thought necessary for a singer. This aspirational twang is forever wed in memory to the shiny, forbidden object buried in the sand.

We are meant to sing. Words want to dive and swoop in the air. A considered tune wants words. I have wanted to sing for decades now, and I’ve sung to myself, quietly, or in closed spaces.

Too, I am drawn to things that need no metaphor. In looking for an invisible thing, my voice, I take singing lessons.

Your voice box sits atop your windpipe, which sits atop your bellowing lungs. Exhale through this apparatus while flexing your vocal cords, and you will make sound. Your head is a maze of boney caves. The notes you make will echo in the passageways and hollows of your body. You can pinpoint the thrum of each pitch. Middle C rings down at the collarbone, the C above by the eyes, High C springs from the top of your head.

HeadAndThroat

The voice is an instrument made of bone, modulated by flesh. It is wind squeezed through a hole. A bone flute.

In Mozart’s Magic Flute, the Queen of the Night sings a famously difficult, unreasonably high aria. She must hit the F more than two octaves up from middle C. Repeatedly. She must do so with trills – and the appearance of ease. She must launch her voice into the stratosphere.

Queen of Night Aria 1Mozart’s Magic Flute, Queen of the Night Aria

A recording of Edda Moser singing this aria is in included in the collection of sounds from Earth on the Voyager 1 spacecraft. This is what the inhabitants of  some future, faraway world will hear. This is what they will know of us.

[youtube]https://www.youtube.com/watch?v=ZNEOl4bcfkc[/youtube]

But since you are here, and now, listen also to Diana Damrau’s rendition. Watch her mouth.  The shape of the mouth shapes the sound.

[youtube]https://www.youtube.com/watch?v=WOQ7W8-_Ekg[/youtube]

It’s all about holes. Holes through which the world enters, and out of which come babies, words, blood, shit, song.

And it’s about bones, the structure for our living mess.

Or. A bone in the hole. The bone thrust in a hole at the start of a soul.  The baby grows amidst a confusion of metaphors and hypotheses and then, when that song has ended, the clatter of bones lowered into a hole.

People expire when they take their last breath.

Inspiration feels like talking to god, being filled with something beyond yourself.

Spirare, to breathe.

I can’t breathe, I have thought before, in panicked states.

When I lived in the Canadian Rockies, work would sometimes have me driving at night through blizzards. Being tailgated by trucks. I was terrified. The only way I kept calm was by singing to myself.  There is the song, with its own calmative force, and also the deep breathing it requires.

Singing lessons are mostly lessons in breathing.

When I was a girl, my father would bring home discarded x-rays from the hospital. My two sisters and I would cut out the bones and tape together skeletons. You would think I’d know what the inside of a body looks like; I thought the diaphragm was a vague thing shaped like a birth control device, wedged into the rib cage. It is, instead, as I learn in a singing lesson, a huge, thin muscle stretched across the bottom of the rib cage like goat skin across a drum. When we breathe deeply, the diaphragm expands downward. I imagine it like a balloon, and our lungs like balloons-within-balloons.

A diaphragmatic breath is the singer’s breath. You make yourself a loose and empty thing, a vessel. Air rushes in. The space between your gut and your sex expands. You are pregnant with song.

Sometimes I’ve wondered if aliens would see much difference between humans and nematodes, a basic worm type.  We are both bilaterally symmetrical animals, sharing what is called a tube-within-a-tube body plan. We are tubes with holes at the beginning and at the end. Tubes for air and food. When we die, we are worm-food. Alive, worms are bird food.

Songbirds can produce two notes at once. Some can imitate chainsaws, barking dogs, and crying babies. Swooping through the air, they echo the world around them.

Why are angels never described as bird people? They sing and they fly.

My ex-husband believed that some singers were angels and that’s why they were always crashing in planes. It seems to me that angels should stay aloft.

Plague doctors were another form of bird people. Convinced that pleasant aroma would prevent the inhalation of miasma, the foul breath blamed for plague, the men wore bird masks, and would burn sweet herbs in the beak.

The ancient Greeks feared bird women. They knew they were helpless when they heard the sirens sing.  Sappho was described as a nightingale with misshapen wings.

Hypothesis: Angel minus person does not equal bird.

Aviary. Loggerhead Shrike by Sara Angelucci 

When you sing, you can’t hear yourself accurately, the echo chamber in your head distorts your sound. You must learn to feel where the sounds are in your body, how to perceive the sympathetic vibrations. You must imagine that you are opening spaces you didn’t know were there, spaces you thought of as secret. You are a tube of air, a tube with holes that, when closed or opened, makes notes. A wind instrument.

A warm-up exercise has me singing a scale of “kee” sounds. Keys, I think. I might unlock something.  The hard k sound requires breathing into the lower belly and is a voiceless velar plosive. Explosive.

My husband, in his sixties, compares peri-menopausal women to volcanoes. Sappho lived on a volcanic island. I am in my forties, and just learning to sing.

The voice resonates in the chest, in the head, and somewhere in between. There are two breaks in the female voice, one between the chest and the middle voice, and another between the middle and the head voice. A break is where the voice can crack. A break is also known as a passaggio. How you navigate these passages affects the song. I can’t help but think of periods, monthly punctuation. Starting to bleed and stopping are the two passages of the female body. How do you navigate these passages? I was a hot mess of a teen.

Anybody could be in the high school choir, but jazz choir was for the elite. I could read music, sing in tune, and follow directions. I auditioned. The choirmaster rejected me on grounds that I shouldn’t be allowed to have everything I wanted, citing my good grades as proof that I was spoiled. I was a diligent, quiet girl; he was a soft-bodied man in beige slacks the same color as his skin. He wanted to hang out with the cool kids; jazz choir swelled with cheerleaders. I started throwing up. I am not saying that the choirmaster, that unwitting prick, caused my bulimia, but I am saying that if you have a song inside you, it will find its way out, it will erupt. It may no longer be a song, and it may not be beautiful.

The song will find its way out, a distortion. Or you will silence it, an erasure.  For a while, as a teen, I went quiet, I stopped eating. I thought spirit and bone were all that mattered. That flesh, my womanly flesh, was dangerous.

EpiglottisEpiglottis

Ancient Greeks thought the womb wandered around the body, causing a variety of female problems, another way of saying that being female was the problem. Foul odors repelled the womb; pleasant aromas attracted it. And so, a suffering woman would have garlic stuffed into her mouth, sweet herbs up her crotch. The womb could thus be held fast by smells. The wandering womb was described as an animal inside an animal.

The voice is an instrument inside the body, a living thing of and within us.  An animal inside an animal.

A wild boar lays waste to a kingdom; two brothers set out to kill it. The cowardly brother goes to a bar and gets drunk. The brave brother is given a magic spear, and with it, kills the boar. Jealous, Drunk kills Brave.  Drunk claims the prize, the king’s daughter. One of Brave’s bones is found and made into a flute. The bone sings out the story of what really happened. The king hears the song, hears the truth, and orders Drunk’s death. The princess is freed from the boor, and the brave hero, though dead, triumphs, thanks to his singing bone.

Mozart’s Magic Flute, Queen of the Night Aria

The Queen of the Night gives Mozart’s hero a magic flute, somewhat smaller than a spear, but perhaps size doesn’t matter. She wants him to save her daughter. The flute in Mozart’s opera can change men’s hearts, that’s why it’s magic. A skin flute, a meat flute. The hero triumphs, thanks to his melodious pecker.

I could sing about bones.

I could sing about the feeling of quickening desire, of a cock crowing, of a bone bonering against my back as I lie between sheets, embraced.

I would sing of domesticity and the marriage bed.

The echo chamber in our head distorts our sound, we can’t hear our own songs truly. We need each other to be heard.

When I was going through divorce, I listened to Keith Jarrett moaning above his piano notes and Glenn Gould above his.  These raw and moaning men.

When I was going through divorce, I made a film about a singer. The singer loses her marriage, her faith and her voice, in no particular order. She can’t tell the difference between falling and flight, her voice cracks on the high notes. My favorite poem at the time was an ancient lament with many translations. The last line: what was never one is easily split: our song together.

I went to Newfoundland. I’d had dreams about humpbacks, the singing whales, and the high cliffs diving into sharp water.  My heart was broken in several directions. I am a bad guitar player, but I needed to sing, and so I did, shut away in a little rented room. The song was another presence, it made me feel less alone.  One day, my landlady and I went out in a skiff, we were looking for whales. Two soon found us, they swam under and beside us for over an hour. I was over the moon. Blissed out, as in my singing whale dreams. One of the pair lifted its monstrous tail in dripping goodbye as he dove down and away. My landlady said, You’re looking for a whale in the shape of a man. I think what I was looking for was a song together.

Sappho-001Sappho

Sappho was described as a whorish woman, love-crazy, who sang about her own licentiousness. Looking for a song together, I fell in love like crazy, always with writers. I can see myself in scraps of their poems, their stories. A muse’s mirror.

I have settled on an island now, in sight of a volcano. I am married again and we have a boy. I write myself. And, I am learning to sing.

Hypothesis: Volcanoes are to love as sex is to singing.

It is discombobulating and also thrilling to learn that I might be a soprano. In high school choir, I was shoved to the back row of altos, and have thought of myself as alto ever since. My would-be soprano is faltering, fledging. Aspirational. Paper airplane rather than rocket.

To jump, one must push against the ground, against gravity. The deeper the knees bend, the harder you push, the higher you go. Same deal with voice. To sing the high notes, I press down, inside my self, down through my cunt.  Giving birth. At the same time, the high notes feel like flying. I feel them in my head, above my eyes.

The Greeks made much of the mouth/cunt connection, had the same word for them.  When I search the words “vagina” and “mouth” in an effort to learn more about Classical theories of same, Urban Dictionary tells me that “vagina mouth” refers to somebody who’s always talking about vaginas, or a person always down on their knees, open-mouthed and ready.

Classical virgins were open, ready for penetration. When a parthenos finally had sex, she was forever transformed by the man’s sperm and spirit.  All her words were an echo of the masculine presence now inside her, her songs were his.

The Oracle of Delphi, a virgin priestess open to Apollo, would sit astride a crack in the earth, a crack from which hallucinogenic fumes, the breath of god, spewed.  She breathed these vapors in through her cunnus, her cunning, her cunt, and out from her mouth came the word of god. Some say she raved, some say she spoke in poetic meter. Maybe she sang her advice?

The epithet for Echo, a nymph who was nothing but voice, was the girl with no door on her mouth.  She never shut up, and in her conjugal relations with Pan, she had sex with all of nature. No door, indeed. And no words of her own, poor thing. Poor thing.

How to love, and yet be essence as well as vessel, meaning as well as mouth?

Sappho stayed open, she stayed her self, she sang her own words. It didn’t matter whom she fucked.

LaSirenaLa Sirena

The ancient Greeks feared sirens.

In college, my roommates and I had our gimlet eyes fixed upon a lacrosse player, a frat boy with Greek letters on his jacket. There was a rumor that he’d done it in the bushes outside our dorm, and ever after, my roommates and I would tease each other with an ironic slam, well, you do it in the bushes with X. We were virgins; the thought of sex was terrifying and hilarious.  One day, one of us did do it with X.  According to the post-coital report, he emitted high-pitched squeaks as he came.

The sounds we make in sex are often honest,  spontaneous, and I have always loved these sounds almost as much as I have loved the sound of an unencumbered laugh.

The ancient Greeks, those old vagina-mouths, also had a word for a female scream of intense pleasure or pain. Ololyga is described as disorderly and/or divine.

I once heard a story of a woman who’d lost her voice in the range where she would scream. As I remember it, she’d been raped, had screamed, and hadn’t been heard. She wasn’t saved. Ever after, her screams were silent.

An old man steals the Queen of the Night’s daughter. The queen finds her girl, and gives her a knife. The Queen, in her famously high aria, commands her daughter to stab the old lech to death. The name of this fancy, super-femme song is Hell’s Vengeance Boils in My Heart.

The Queen of the Night gives the hero a magic flute, but she gives her daughter a knife.

My singing teacher teaches screaming. She also works with bel canto.  I practice breathing. I practice shaping my mouth. I practice, practice, practice. What we want, after all, is ease. Beauty. The wedding of order to chaos, light to dark, reason to rhyme. The voice made true, the word made flesh.

We are nothing if not memory. We are nothing if not together. We can’t hear our own songs truly.

Singing is a sympathetic resonance of souls across time, across space. We echo each other, with variations.

aviary_curlewAviary. Curlew by Sara Angelucci

The world needs more songbirds, more sirens, more humpback whales. We are meant to sing.

In the beginning, there were three muses. Memory, Practice, and Song.

Then, six more were added, I don’t know why. Nine total.

Sappho was called the Tenth Muse. The Mortal Muse. Her music clings to time-worn fragments like spirit to the bone.

What happens when a muse serves not as inspiration for someone else, but sings her own song?

Hypothesis: She cannot be erased.

—Julie Trimingham

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NOTES & SOURCES:

There are, of course, many interpretations of The Magic Flute / Die Zauberflöte. It is a complex work. Mozart was a Freemason. It is not original to note that the flute is a penis, a creative force; some readings posit the flute as the penis of Osiris, the Egyptian god who looms weirdly large in Masonic culture and in the opera.

Wulf and Eadwacer is an Old English poem, the only copy of which was found in the Exeter Book.  It, like the Queen of the Night’s aria, is famously difficult.  The narrator is presumed a woman; Wulf and Eadwacer might be husbands, lovers, sons, one might even be a dog. You can find a million interpretations. The woman is on an island, and she is speaking for herself. The line quoted above, about our song together, is hers.

Etymologies: Ancient Greeks used stoma to refer to the mouth that eats and speaks and also for the mouth of the uterus. Cunnus is another Latin word for vulva, and has a few possible sources, including Indo-European roots meaning woman, cover, and wedge. Cunning comes from the knowing root that gave us ken and canny. Cunt has tangled and uncertain etymologies, but seems unrelated to the Latin. Germanic in origin, cunt likely comes from a root meaning hollow space.

I construe marriage bed loosely. I like the sound of it, and it means, to me, a bed in which two people who truly love each other fuck, sleep, talk, and hold each other.  I am glad to live in a place where gay marriage is legal.

Laughter is the daughter of uncontained sound: Iambe, offspring of chatty Echo and wild Pan, was the Greek Goddess of Jokes. We get the prosodic term iambic from her, too.

Lyric poetry was meant to be accompanied by a lyre. These words were lyrics, words for a song. Sappho was a lyric poet; she sang.

aviary_fpigeonAviary. Female Passenger Pigeon by Sara Angelucci

Artist Sara Angelucci has created a provocative series of human/bird hybrid photographs, Aviary. Loggerhead Shrike, Female Passenger Pigeon, and Curlew are featured in this essay.

In A Mourning Chorus, women make beautiful birdlike sounds and songs in an elegy for disappearing songbirds.

In the video of the Art Gallery of Ontario performance, Fides Krucker and other bird women keen for vanishing species.

[vimeo]https://vimeo.com/119011580[/vimeo]

Fides Krucker is a Canadian singer, vocal composer, teacher and writer. She is also a friend and my singing teacher. This essay owes much to long conversations we have had about voice. Her teaching incorporates extended voice techniques, bel canto, and her own philosophies and techniques developed over years of personal experience. In particular, Fides talks about the dropped breath, about the pelvic floor, about effortlessness, about the female body and emotions in a way that is unique to her pedagogy.  The Girl with No Door on her Mouth was an opera Fides commissioned, produced and sang, and was based on Anne Carson’s work. She performs regularly in Canada and Europe. She is part of the Mermaid Collective, which will be staging the opera Dive, based on the Lampedusa story The Professor and the Siren, in summer 2015. The recording of Dive will be released in the spring of 2015. Fides is working on a book about her pedagogy, as well as a memoir.  You can read Documentary Singing, her blog.

Some years ago, I took an intensive and formative voice workshop with Richard Armstrong, who was a student of, and continues work influenced by, Roy Hart. After this workshop, Richard introduced me to Fides, and the three of us worked on Butterfly, a three part project:

Butterfly, a documentary;

[vimeo]https://vimeo.com/90229603/[/vimeo]

Opening Night, a music video;

[youtube]https://www.youtube.com/watch?v=8WOnDxweLX4[/youtube]

and From an Opera Without Divorce, a fictitious opera,

[youtube]https://www.youtube.com/watch?v=5OQsx94W-3g[/youtube]

all on the subject of voice. I also studied briefly with Susan Carr; I first really understood what the diaphragm was in a lesson with her, and her exercise using the “kee” sound are referenced above.

She has produced an extensive app featuring videos and exercises for all levels of students, as well as screaming techniques. Sue coached Seahawks fans on how to scream loudly and safely as they cheered their way to a world record crowd roar, recorded at 137.6 decibels.

Diana Damrau and Edda Moser are both German coloratura sopranos, famous for the their Queens of the Night.

My favorite male singer these days was, I thought, a woman. I am glad for such surprises. He’s no boy soprano, no castrato. He inhabits a female voice, an adopted voice, like an animal within an animal. In his song Bang Bang, Asaf Avidan blurs the line.

[youtube]https://www.youtube.com/watch?v=NL8DhZQofMM[/youtube]

If you are magnetic, the world is yours, is an example of a maxim from Vocal Wisdom, Giovanni Battista Lamperti, transcribed by William Earl Brown, Taplinger Publishing Company. Mostly, though, it’s a primer on breathing, diction, and other bel canto techniques.

Confronting the Classics,  Mary Beard, W. W. Norton & Co.

Glass, Irony, and God (1992) Anne Carson, “The Gender of Sound.”

Greek Virginity, Giulia Sissa, translated by Arthur Goldhammer, Harvard University Press.

The fairytale of The Singing Bone was formalized by the Brothers Grimm.

Sweetbitter Love: Poems of Sappho, translated and with a forward by Willis Barnstone, Shambala Press.

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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.

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May 032015
 

tumblr_msh9wzikn81rp46e4o1_1280Photo by Jowita Bydlowska

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After Joe moved out of his bachelor apartment and got back together with his wife, I started paying attention to public bathrooms. Precisely, family bathrooms, the ones you could lock from inside, ones with a baby change table. The change tables were sturdy. They could hold you up even if you were not a baby. If you were a grown woman, too, getting it from behind.

Wherever I went in the city–museums, restaurants, malls–I looked for bathrooms like that. I wrote down the locations in a little notebook. It would be easier to make notes in my phone but I was still too ashamed that I was looking for them, the bathrooms, and I didn’t want my phone to send me reminders of my humiliation.

There was enough humiliation. I felt it all the time as I moved through the city like an animal, stupid and wet.

*

After the first time we had sex in a bathroom, I sat on the floor for a while with my head between my knees. He didn’t ask me how I was. I didn’t want to get up. I wanted him to get out, to leave me alone. I told him to leave. I meant leave as in: go home.

But he didn’t; he waited outside with his hands in his pockets and when I came out, we walked toward a table and sat across from each other. What we had just done seemed like a procedure. Like a thing you’d do in a bathroom.

The waitress came and asked, would we like to see the menu?

Just a half-a-pint of Stella for me, Joe said.

Stella for me, too.

He didn’t look at the waitress. He was staring at me.

We should go see a movie sometime, I said. I imagined us cuddling in the movie theatre. I missed our intimacy that was no longer possible because there was no longer an apartment to be intimate in.

Sure, he said.

The waitress brought the beers.

We drank the beers, talked about music we hated, music we liked. When the beers were finished, we parted, went home: he back to his wife, me back to my three roommates.

We repeated the procedure two more times. A high-end restaurant with a bathroom with a chair inside it and a flowery wallpaper—I was proud of this finding— and a Starbucks.

*

But the first time Joe and I had sex, I was menstruating. He didn’t mind, he said and didn’t ask me if I minded – I didn’t. He said, he and his newly estranged wife used to fuck on a towel when she’d bleed, would I like a towel?

Do you mind if not? I said. He didn’t mind. It was his bed. He had just moved into the bachelor apartment.

I’m kind of sensitive so go easy, I said, and he said okay, but then shoved himself deep inside me as if he intended to hurt me.

I had never been in so much discomfort. It was stabbing, over and over, every nerve split and pounded. I tried counting backwards, multiply minutes by seconds, think of what colour to dye my hair… to distract myself but it was impossible to ignore the pain. Eventually, I gave up trying to move from underneath him, trying to slow him down. He pulled my hair hard; he bit my face, my neck. It was like being fucked by a giant cat. I knew that it would have to end at some point; nothing lasts forever, neither good or bad fucks. I simulated an orgasm; I thrashed and moaned. I had a headache. I was sore everywhere. He came inside me with a roar and I felt a sudden urge to laugh: at the roar or from relief? I don’t know. I turned my laugh into a squeak; it got lost in the roar anyway.

My body smelled foreign—I was covered in his sweat. He was wheezing. He pulled out, there was blood on the condom. He collapsed, half on top of me. I moved from underneath him, rolled him over onto the side. He looked at me with love in his eyes. My knees were shaking. I couldn’t stop my knees from shaking.

My knees are shaking, I said, pointing to them. That’s never happened to me before.

He smiled; he probably felt proud of himself.

I smiled back.

Throughout that night, he moved all around me, half on top of me—but not to fuck me— and he would pull and hold me tight as if I was a blanket. There was some deep sadness there, I felt—no lover has ever cuddled me like that, like I was a blanket, like I was his mother; there was this insistence in Joe as if he needed to absorb himself into my body. He had said he normally didn’t do that with his wife and whether that was true or not, I felt gratified but I also felt great and peaceful sorrow.

We would cuddle and talk and fall asleep for a minute and wake up and talk and kiss and half-fuck till it was 7 am and I had to go to school with bleary eyes.

The next evening after that, I was bruised up and down; the insides of my thighs were splotches of grey-purple. My neck was covered in bites. There was a knot in my hair that I had to cut out with nail scissors.

I came over to his place late, half-drunk.

How are you?

I’m drunk. I want to go to bed.

He said, Whatever you like, baby.

He pulled my silk dress over my head. I was naked underneath it. You couldn’t see the bruises in the half-darkness. I lay on the bed. I looked down on my body – it was silver and pale; it seemed to glow. A bruise on my thigh like a shadow. Joe kissed my neck; he kissed the bruises.

How are you feeling now, he said.

I’m okay, I said. I was still bleeding but I was less tender.

The sex was just aggressive as before, and, again, I faked my orgasm.

That was beautiful, Joe said. It always amused me when men said that, how beautiful an orgasm was, as if I perfectly played an instrument or as if I were an instrument that they had played perfectly.

I like you a lot, he said.

He went back to his wife a week later. So many things are predictable like that; rebound affairs especially. I cried, looked for bathrooms to be banged in; hated myself for looking and for crying.

 *

On the last day I would ever see him, right after we fucked inside the Starbucks stall, we were crossing the street together, me ahead of him. A fast car came from out of nowhere, from around the corner and I lunged to escape getting hit.

I looked behind me and he was standing on the sidewalk on the other side, big eyes. He ran across the street.

I should’ve pulled you to get you out of the way, I saw her coming. I’m so sorry I didn’t, he said. You almost died, he said. His voice shook.

I felt laughter coming up and this time I didn’t stop it. I laughed and he looked at me as if I spat in his face.

Fuck you, I said in case I wasn’t being clear enough.

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“Men are afraid that women will laugh at them. Women are afraid that men will kill them.” — Margaret Atwood

—Jowita Bydlowska

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AuthorJowita2014
Jowita Bydlowska is a writer and photographer living in Toronto. Her first book, Drunk Mom, was a national bestseller. Her novel, Guy, is coming out in 2016. You can view more of her photographs at Boredom Repellent.

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May 022015
 

AliceFulton_Hank De LeoPhoto Credit: Hank De Leo

The subject matter itself is often grim. And in their way, these lines can take on a bleak dimension of their own, a nihilistic push off the cliff of linguistic certainty. But silence, once it has been confronted, must be pushed out. — Patrick O’Reilly

barely composed_978-0-393-24488-5

Barely Composed
Alice Fulton
W.W. Norton & Company
112 pages ($25.95)
ISBN 978-0-393-24488-5

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Robert Pinsky once wrote against “the stupid, defeatist idea that poetry, especially modern or contemporary poetry, ought to be less ‘difficult.’” After all, he argued, “people still read the poems of [Marianne] Moore and [Wallace] Stevens because they don’t wear out, because they surprise and entice us—and maybe, in part, because they are difficult”{{1}}[[1]]“In Praise of Difficult Poetry,” Slate, April 23, 2007.[[1]]. Difficulty takes on many forms, and comes with its own rewards.

Barely Composed is a difficult piece. It is Alice Fulton’s first new book in more than a decade and in some ways I am still waiting for it because it continues to reveal itself in increasingly exciting ways. Employing virtually every linguistic trick there is, and lighting on themes from art to love to death to time, the poems of Barely Composed demand the reader parse the lines again and again in new and creative ways. In that sense, the book’s title is a taunt to the reader, a challenge: catch me, if you can.

The most striking feature Fulton’s writing is her maximalist approach to language. Barely Composed is built on a fragmentary style where shrewdly broken lines constantly heighten ambiguity. As they go, Fulton quotes Shakespeare and Celan while dropping in the occasional emoticon or snatch of Esperanto; puns and nonce-words abound. Repetitive artificial forms and meandering vers libre are equally welcome. High and low language coexist harmoniously, but not peacefully. One result of this approach: there is not a single page of this book in which I couldn’t find an astonishing line or image. I’m not sure I’ve ever read a poet who adventures through language so broadly and enthusiastically. Lines like these, from “Wow Moment,” exemplify the book’s usual tone:

……………………………..The gentle interface of yawn and nature.
It would soothe us. It would soothe us. We would be soothed
by that slow looking with a limited truth value. See

how the realtor’s lens makes everything look larger
and there’s so much glare the floor looks wow
under the smartificial xmas tree.

……………………………………………………………(24)

A Fulton line seems as effortless and thrilling as a Muhammad Ali spar session, but it can be just as dizzying if the reader is not paying attention. A tribe of disembodied pronouns roam across the landscape, and the purposeful ambiguity of the phrasing can send the reader on the wrong track unnoticed for lines at a time.

This difficulty isn’t frustrating if one is willing to be taken wherever the words lead them, and find an individual meaning in every line. Even a passive reading of this book offers more than the usual amount of surprise. This play-impulse becomes a powerful argument in its own right: what is poetry for, if not to test the limits of language, to bend things to the point of breaking, then cobble them back together? And certainly, a number of poems, such as “The Next Big Thing” and “’Make It New’” attest to poetry’s inherent value. As a defense of poetry, or of “art for art’s sake,” Barely Composed would stand just fine on its own. However, as Fulton writes in “Triptych For Topological Heart,” “Without ardour, / theory suffers” (19), and there is a more stable bedrock below the swift current.

Barely Composed is not merely a case of style in lieu of substance; the dense verbiage can occasionally obscure, but not replace or negate, the somber contemplation at the book’s core. For example, the longer poem, which begins the book’s second section, “Forcible Touching,” questions the ability of art to respond to trauma. True to form, the poem weaves a variety of narrative voices together, including the advice of a children’s grief counselor, a children’s story about death, the anecdote of an animal control officer whose voice is “Un-American,” and a modern re-telling of the story of Philomel{{2}}[[2]]In the story of Philomel, the titular woman is raped by her sister’s husband, who cuts out her tongue; she reports the assault to her sister by weaving the narrative into a tapestry.[[2]]. Throughout, however, more conscious poetic voice lurks within the text:

……………………………….The voice of the shuttle = =

as on a clumsy native loom she wove a brilliant fabric,
working on words in red. When the child colors One day
…………Chipper’s mom told him his sibling
…………had died it is all right
…………to suggest crayons for the blotchy insides
…………of the ears and the blank circles in the eyes
…………that indicate reflection. Unmellow Yell-
…………ow Cool and Crazy Blue. The Animal Control

guy trembled in the one tongue
…………that must do for all his days. I hear the animal soundings.

…………Cage cage scream scream. So pain.
…………In this point I scared. I sad

…………I’m gonna lose job here after.

………………………………………………….(30)

The blend of clinical jargon with broken English, and the application contemporary language to an ancient narrative, plays to the imagery of the Philomel story, while also conforming to the established style of the book (at least in the sense that one can “conform” to a style the strength of which is constant motion, incorporation, and evolution). More importantly, these stylistic jumps enact and reaffirm the impenetrability of narrative, forcing the reader to interrogate just how well narrative can convey trauma, let alone repair it. Nonetheless, the poem concludes “It is a good idea. It is quite surprising” (34).

No subject is explored more thoroughly than parental death and abandonment. The image of a dying mother recurs throughout the book, and especially in the fourth section, which deals with the topic most directly, and which is comprised mainly of elegies; the linguistic experiments, while present, are more restrained here than anywhere else in the book. These poems become a record of the mother’s passing and the child’s anxiety, a perspective in which “the future is a room / so small you can sit in the middle and touch / all the walls” (“Doha Melt-Down Elegy,” 73-74), and where the speaker passes time in the waiting room, editing “a sweat of student essays, changing is to was” (“Still World Nocturne,” 66). The language here becomes conspicuously scientific, making allusions to nuclear energy – a slight tonal shift which emphasizes the cold, post-traumatic space of the clinic. The grief swells and warps, reshaping all previous imagery; by the time the book reaches its ending, the “quietude” and “snow crystals” invited in the opening poem (“Because We Never Practiced With The Escape Chamber,” 11), are invaders, colonizing forces, best kept at bay by writing (“Personal Reactor,” 60); “Make It New,” 83).

The subject matter itself is often grim. And in their way, these lines can take on a bleak dimension of their own, a nihilistic push off the cliff of linguistic certainty. But silence, once it has been confronted, must be pushed out. The “gift” imagery which appears throughout the book reassures the reader, and the speaker as well. A continual appraisal of what a gift is, its purpose and reason and significance, begins in the very first poem and lasts to the very end. It is often mirrored by a self-reflective discussion of writing itself. Having spent the book refining the idea of “gift” – “Love is a gift” (“Triptych For A Topological Heart,” 19); “A gift cannot be cynical / unless the giver is” (“Triptych For A Topological Heart,” 21); “giving it away / doesn’t make a thing a gift” (“Malus Domestica,” 37) – Fulton concludes this thread with the lines “and when you said I gave you what I wanted / myself I gave you what I didn’t want” (“You Own It,” 92). That gift is grief, repurposed into language. Writing becomes a response and a salve for pain, “the fire / that burns fire” (“A Lightenment On New Year’s Eve,” 88). Seeking solace in reading, the speaker of “Doha Melt-Down Elegy” remarks “It was a good book to be lost with. I began taking notes / and by the end realized I’d transcribed every line” (76); that statement is such an accurate description of reading Barely Composed, one cannot help but see it as an anecdote about writing the book, as well. This book, more than most others, has not been completed until it has been read.

The fifth and final section of Barely Composed is fixated on newness – the newness of poetic language, and the newness that defines aftermath. One poem takes its title from Ezra Pound’s famous modernist axiom, and declares “New / breaks the reckoning frame and rests / in pieces,” before requesting “Let me collect its DNA / from the tears on your desk” (“’Make It New’,” 84). “End Fetish,” the last poem in the book, is made up of that DNA – the final line of the previous poems. Taken together, the end-lines serve as an inventory of what it took to crawl through grief, and an index of the gift now being given.

It happens sometimes that a reviewer encounters a book which is smarter than he is. He knows it’s good somehow, but articulating the reason or root of that good-ness is beyond his capability; he is overwhelmed and hyperactive, leaping from one highlight to the next, never pitching down anywhere just long enough, and must be satisfied to say “trust me” until he finally learns his way around. I’ve read Barely Composed a half-dozen times now, maybe more, and I like it a little more every time – each time, the darkness becomes a little more palpable, the structure more instinctual. But the language never becomes less surprising; I plan to reckon with it a few more times at least. Whatever work the reader puts in is well-rewarded here. Trust me.

— Patrick O’Reilly

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Patrick O'Reilly2

Patrick O’Reilly, from Renews, Newfoundland and Labrador, is pursuing an MFA in Writing at the University of Saskatchewan. He earned his BA at St. Thomas University (Fredericton NB), where he was a three-time winner of the Robert Clayton Casto Prize for Poetry. His poetry has appeared in Qwerty, untethered, and Numero Cinq.

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May 022015
 

karl ove
The fraught interplay between the teenage Karl Ove and his father, who is now divorced and living a different life with Unni, his girlfriend, is caught in this extract. One of the first changes the sixteen-year-old notices is the informal way of dress for a formerly carefully put-together man; the second is the steady drinking; the third is that infractions he commits that would have been punished before, such as spilling a drink, smoking, or having another glass of wine, pass by unremarked. The narrator’s disorientation is clear; this is not the father he once knew. However, everything can change back quickly, and the alcohol-induced state of cheerfulness on the part of both adults descends into anger once Karl Ove’s mother is brought up too many times for Unni’s comfort. Abruptly dismissed from their home, Karl Ove boards a bus. He doesn’t dwell on the mood shift any more than we consciously think of the air we breath. The narrative jumps forward a quarter century to when he has possession of his dead father’s notebooks that indicate Karl Ove’s visits, along with other matters.

—Jeff Bursey

 

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From My Struggle: Book Four
Karl Ove Knausgaard; Translated by Donald Bartlett
Archipelago Books

The following afternoon I went to Dad’s. I had put on a white shirt, black cotton trousers, and white basketball shoes. In order not to feel so utterly naked, as I did when I wore only a shirt, I took a jacket with me, slung it over my shoulder and held it by the hook since it was too hot outside to wear it.

I jumped off the bus after Lundsbroa Bridge and ambled along the drowsy, deserted summer street to the house he was renting, where I had stayed that winter.

He was in the back garden pouring lighter fluid over the charcoal in the grill when I arrived. Bare chest, blue swimming shorts, feet thrust into a pair of sloppy sneakers without laces. Again this getup was unlike him.

“Hi,” he said. “Hi,” I said. “Have a seat.”

He nodded to the bench by the wall.

The kitchen window was open, from inside came the clattering of glasses and crockery.

“Unni’s busy inside,” he said. “She’ll be here soon.” His eyes were glassy.

He stepped toward me, grabbed the lighter from the table, and lit the charcoal. A low almost transparent flame, blue at the bottom, rose in the grill. It didn’t appear to have any contact with the charcoal at all, it seemed to be floating above it.

“Heard anything from Yngve?”

“Yes,” I said. “He dropped by briefly before leaving for Bergen.” “He didn’t come by,” Dad said.

“He said he was going to, see how you were doing, but he didn’t have time.”

Dad stared into the flames, which were lower already. Turned and came toward me, sat down on a camping chair. Produced a glass and bottle of red wine from nowhere. They must have been on the ground beside him.

“I’ve been relaxing with a drop of wine today,” he said. “It’s summer after all, you know.”

“Yes,” I said.

“Your mother didn’t like that,” he said. “Oh?” I said.

“No, no, no,” he said. “That wasn’t good.” “No,” I said.

“Yeah,” he said, emptying the glass in one swig.

“Gunnar’s been round, snooping,” he said. “Afterward he goes straight to Grandma and Grandad and tells them what he’s seen.”

“I’m sure he just came to visit you,” I said. Dad didn’t answer. He refilled his glass.

“Are you coming, Unni?” he shouted. “We’ve got my son here!” “OK, coming,” we heard from inside.

“No, he was snooping,” he repeated. “Then he ingratiates himself with your grandparents.”

He stared into the middle distance with the glass resting in his hand. Turned his head to me.

“Would you like something to drink? A Coke? I think we’ve got some in the fridge. Go and ask Unni.”

I stood up, glad to get away.

Gunnar was a sensible, fair man, decent and proper in all ways, he always had been, of that there was no doubt. So where had Dad’s sudden backbiting come from?

After all the light in the garden, at first I couldn’t see my hand in front of my face in the kitchen. Unni put down the scrub brush when I went in, came over and gave me a hug.

“Good to see you, Karl Ove.” She smiled.

I smiled back. She was a warm person. The times I had met her she had been happy, almost flushed with happiness. And she had treated me like an adult. She seemed to want to be close to me. Which I both liked and disliked.

“Same here,” I said. “Dad said there was some Coke in the fridge.”

I opened the fridge door and took out a bottle. Unni wiped a glass dry and passed it to me.

“Your father’s a fine man,” she said. “But you know that, don’t you?”

I didn’t answer, just smiled, and when I was sure that my silence hadn’t been perceived as a denial, I went back out.

Dad was still sitting there.

“What did Mom say?” he asked into the middle distance once again. “About what?” I said, sat down, unscrewed the top, and filled the glass so full that I had to hold it away from my body and let it froth over the flag- stones.

He didn’t even notice!

“Well, about the divorce,” he said. “Nothing in particular,” I said.

“I suppose I’m the monster,” he said. “Do you sit around talking about it?” “No, not at all. Cross my heart.”

There was a silence.

Over the white timber fence you could see sections of the river, greenish in the bright sunlight, and the roofs of the houses on the other side. There were trees everywhere, these beautiful green creations that you never really paid much attention to, just walked past; you registered them but they made no great impression on you in the way that dogs or cats did, but they were actually, if you lent the matter some thought, present in a far more breath- taking and sweeping way.

The flames in the grill had disappeared entirely. Some of the charcoal briquettes glowed orange, some had been transformed into grayish-white puffballs, some were as black as before. I wondered if I could light up. I had a packet of cigarettes inside my jacket. It had been all right at their party. But that was not the same as it being permitted now.

Dad drank. Patted the thick hair at the side of his head. Poured wine into his glass, not enough to fill it, the bottle was empty. He held it in the air and studied the label. Then he stood up and went indoors.

I would be as good to him as I could possibly be, I decided. Regardless of what he did, I would be a good son.

This decision came at the same time as a gust of wind blew in from the sea, and in some strange way the two phenomena became connected inside me, there was something fresh about it, a relief after a long day of passivity.

He returned, knocked back the dregs in his glass and recharged it.

“I’m doing fine now, Karl Ove,” he said as he sat down. “We’re having such a good time together.”

“I can see you are,” I said. “Yes,” he said, oblivious to me.

***

Dad grilled some steaks, which he carried into the living room, where Unni had set the table: a white cloth, shiny new plates and glasses. Why we didn’t sit outside I didn’t know, but I assumed it was something to do with the neighbors. Dad had never liked being seen and definitely not in such an intimate situation as eating was for him.

He absented himself for a few minutes and returned wearing the white shirt with frills he had worn at their party, with black trousers.

While we had been sitting outside Unni had boiled some broccoli and baked some potatoes in the oven. Dad poured red wine into my glass, I could have one with the meal, he said, but no more than that.

I praised the food. The barbecue flavor was particularly good when you had meat as good as this.

Skål,” Dad said. “Skål to Unni!”

We held up our glasses and looked at each other. “And to Karl Ove,” she said.

“We may as well toast me too then.” Dad laughed.

This was the first relaxed moment, and a warmth spread through me. There was a sudden glint in Dad’s eye and I ate faster out of sheer elation.

“We have such a cozy time, the two of us do,” Dad said, placing a hand on Unni’s shoulder. She laughed.

Before he would never have used an expression such as cozy.

I studied my glass, it was empty. I hesitated, caught myself hesitating, put the little spoon into a potato to hide my nerves and then stretched casually across the table for the bottle.

Dad didn’t notice, I finished the glass quickly and poured myself another. He rolled a cigarette, and Unni rolled a cigarette. They sat back in their chairs. “We need another bottle,” he said, and went into the kitchen. When he returned he put his arm around her.

I fetched the cigarettes from my jacket, sat down and lit up. Dad didn’t notice that either.

He got up again and went to the bathroom. His gait was unsteady. Unni smiled at me.

“I teach my first course at gymnas in Norwegian this autumn,” she said. “Perhaps you can give me a few tips? It’s my first time.”

“Yes, of course.”

She smiled and looked me in the eye. I lowered my gaze and took another swig of the wine.

“Because you’re interested in literature, aren’t you?” she continued. “Sort of,” I said. “Among other things.”

“I am too,” she said. “And I’ve never read as much as when I was your age.” “Mm.”

“I plowed through everything in sight. It was a kind of existential search, I think. Which was at its most intense then.”

“Mm.”

“You’ve found each other, I can see,” Dad said behind me. “That’s good. You have to get to know Unni, Karl Ove. She’s such a wonderful person. She laughs all the time. Don’t you, Unni?”

“Not all the time.” She laughed.

Dad sat down, sipped from his glass and as he did so his eyes were as vacant as an animal’s.

He leaned forward.

“I haven’t always been a good father to you, Karl Ove. I know that’s what you think.”

“No, I don’t.”

“Now, now, no stupidities. We don’t need to pretend any longer. You think I haven’t always been a good father. And you’re right. I’ve done a lot of things wrong. But you should know that I’ve always done the very best I could. I have!”

I looked down. This last he said with an imploring tone to his voice. “When you were born, Karl Ove, there was a problem with one of your legs. Did you know that?” “Vaguely,” I said.

“I ran up to the hospital that day. And then I saw it. One leg was crooked! So it was put in plaster, you know. You lay there, so small, with plaster all the way up your leg. And when it was removed I massaged you. Many times every day for several months. We had to so that you would be able to walk. I massaged your leg, Karl Ove. We lived in Oslo then, you know.”

Tears coursed down his cheeks. I glanced quickly at Unni, she watched him and squeezed his hand.

“We had no money either,” he said. “We had to go out and pick berries, and I had to go fishing to make ends meet. Can you remember that? You think about that when you think about how we were. I did my best, you mustn’t believe anything else.”

“I don’t,” I said. “A lot happened, but it doesn’t matter anymore.” His head shot up.

“YES, IT DOES!” he said. “Don’t say that!”

Then he noticed the cigarette between his fingers. Took the lighter from the table, lit it, and sat back.

“But now we’re having a cozy time anyway,” he said. “Yes,” I said. “It was a wonderful meal.”

“Unni’s got a son as well, you know,” Dad said. “He’s almost as old as you.” “Let’s not talk about him now,” Unni said. “We’ve got Karl Ove here.” “But I’m sure Karl Ove would like to hear,” Dad said. “They’ll be like brothers. Won’t they. Don’t you agree, Karl Ove?” I nodded.

“He’s a fine young man. I met him here a week ago,” he said. I filled my glass as inconspicuously as I could.

The telephone in the living room rang. Dad got up to answer it. “Whoops!” he said, almost losing his balance, and then to the phone, “Yes, yes, I’m coming.” He lifted the receiver. “Hi, Arne!” he said.

He spoke loudly, I could have listened to every word if I’d wanted to. “He’s been under enormous strain recently,” Unni whispered. “He needs to let off some steam.” “I see,” I said.

“It’s a shame Yngve couldn’t come,” she said. Yngve?

“He had to go back to Bergen,” I said.

“Yes, my dear friend, I’m sure you understand!” Dad said. “Who’s Arne?” I said.

“A relative of mine,” she said. “We met them in the summer. They’re so nice. You’re bound to meet them.”

“OK,” I said.

Dad came back in and saw the bottle was nearly empty. “Let’s have a little brandy, shall we?” he said. “A digestif?” “You don’t drink brandy, do you?” Unni asked, looking at me. “No, the boy can’t have spirits,” Dad said.

“I’ve had brandy before,” I said. “In the summer. At soccer training camp.” Dad eyed me. “Does Mom know?” he said.

“Mom?” Unni said.

“You can have one glass, but no more,” Dad said, staring straight at Unni. “Is that all right?”

“Yes, it is,” she said.

He fetched the brandy and a glass, poured, and leaned back into the deep white sofa under the windows facing the road, where the dusk now hung like a veil over the white walls of the houses opposite.

Unni put her arm around him and one hand on his chest. Dad smiled. “See how lucky I am, Karl Ove,” he said.

“Yes,” I said, and shuddered as the brandy met my tongue. My shoulders trembled.

“But she has a temper too, you know,” he said. “Isn’t that true?” “Certainly is,” she said with a smile.

“Once she threw the alarm clock against this wall,” he said. “I like to get things off my chest right away,” Unni said. “Not like your mother,” he said.

“Do you have to talk about her the whole time?” Unni said.

“No, no, no, not at all,” Dad said. “Don’t be so touchy. After all, I had him with her,” he said, nodding toward me. “This is my son. We have to be able to talk as well.”

“OK,” Unni said. “You just talk. I’m going to bed.” She got up. “But Unni . . .” Dad said.

She went into the next room. He stood up and slowly followed her with- out a further look.

I heard their voices, muted and angry. Finished the brandy, refilled my glass, and carefully put the bottle back in exactly the same place.

Oh dear. He yelled.

Immediately afterward he returned.

“When does the last bus go, did you say?” he said. “Ten past eleven,” I said.

“It’s almost that now,” he said. “Perhaps it’s best if you go now. You don’t want to miss it.”

“OK,” I said, and got up. Had to place one foot well apart from the other so as not to sway. I smiled. “Thanks for everything.”

“Let’s keep in touch,” he said. “Even though we don’t live together any- more nothing must change between us. That’s important.”

“Yes,” I said.

“Do you understand?”

“Yes. It’s important we keep in touch,” I said.

“You’re not being flippant with me, are you?” he said.

“No, no, of course not,” I said. “It’s important now that you’re divorced.” “Yes,” he said. “I’ll ring. Just drop by when you’re in town. All right?” “Yes,” I said.

While putting on my shoes I almost toppled over and had to hold on to the wall. Dad sat on the sofa drinking and noticed nothing.

“Bye!” I shouted as I opened the door.

“Bye, Karl Ove,” Dad called from inside, and then I went out into the darkness and headed for the bus stop.

***

I waited for about a quarter of an hour until the bus arrived, sitting on a step smoking and watching the stars, thinking about Hanne.

I could see her face in front of me.

She was laughing; her eyes were gleaming. I could hear her laughter.

She was almost always laughing. And when she wasn’t, laughter bubbled in her voice.

Brilliant! she would say when something was absurd or comical.

I thought about what she was like when she turned serious. Then it was as if she was on my home ground, and I felt I was an enormous black cloud wrapped around her, always greater than her. But only when she was serious, not otherwise.

When I was with Hanne I laughed almost all the time. Her little nose!

She was more girl than woman in the same way that I was more boy than man. I used to say she was like a cat. And it was true there was something feline about her, in her movements, but also a kind of softness that wanted to be close to you.

I could hear her laughter, and I smoked and peered up at the stars. Then I heard the deep growl of the bus approaching between the houses, flicked the cigarette into the road, stood up, counted the coins in my pocket, and handed them to the driver when I stepped on board.

Oh, the muted lights in buses at night and the muted sounds. The few passengers, all in their own worlds. The countryside gliding past in the dark- ness. The drone of the engine. Sitting there and thinking about the best that you know, that which is dearest to your heart, wanting only to be there, out of this world, in transit from one place to another, isn’t it only then you are really present in this world? Isn’t it only then you really experience the world?

Oh, this is the song about the young man who loves a young woman. Has he the right to use such a word as “love”? He knows nothing about life, he knows nothing about her, he knows nothing about himself. All he knows is that he has never felt anything with such force and clarity before. Everything hurts, but nothing is as good. Oh, this is the song about being sixteen years old and sitting on a bus and thinking about her, the one, not knowing that feelings will slowly, slowly, weaken and fade, that life, that which is now so vast and so all-embracing, will inexorably dwindle and shrink until it is a manageable entity that doesn’t hurt so much, but nor is it as good.

***

Only a forty-year-old man could have written that. I am forty now, as old as my father was then, I’m sitting in our flat in Malmö, my family is asleep in the rooms around me. Linda and Vanja in our bedroom, Heidi and John in the children’s room, Ingrid, the children’s grandmother, on a bed in the liv- ing room. It is November 25, 2009. The mid-’80s are as far away as the ’50s were then. But most of the people in this story are still out there. Hanne is out there, Jan Vidar is out there, Jøgge is out there. My mother and my brother, Yngve – he spoke to me on the phone two hours ago, about a trip we are planning to Corsica in the summer, he with his children, Linda and I with ours – they are out there. But Dad is dead, his parents are dead.

Among the items Dad left behind were three notebooks and one diary. For three years he wrote down the names of everyone he met during the day, everyone he phoned, all the times he slept with Unni, and how much he drank. Now and then there was a brief report, mostly there wasn’t.

“K.O. visited” appeared often. That was me.

Sometimes it said “K.O. cheerful” after I had been there. Sometimes “good conversation.”

Sometimes “decent atmosphere.” Sometimes nothing.

I understand why he noted down the names of everyone he met and spoke to in the course of a day, why he registered all the quarrels and all the reconciliations, but I don’t understand why he documented how much he drank. It is as if he was logging his own demise.

—Karl Ove Knausgaard

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May 012015
 

karl ove

Knausgaard peels back his more youthful self’s skin to reveal confusion, desire, and ineptitude without once asking for pity. —Jeff Bursey

MyStruggleBook4_CatCover

My Struggle: Book Four
Karl Ove Knausgaard
Translated by Donald Bartlett
Archipelago Books
Cloth, 485 pp; $27.00
ISBN: 9780914671176

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1. Near the end of the latest installment of Karl Ove Knausgaard’s remarkable auto-fiction sequence collectively titled My Struggle, the nineteen-year-old narrator, angered by his family’s lukewarm reception to his short stories, makes a vow:

I’ll damn well show him [his brother Yngve]. I’ll damn well show the whole fucking world who I am and what I am made of. I’ll crush every single one of them. I’ll render every single one of them speechless. I will. I will. I damn well will. I’ll be so big no one is even close. No one. No. One. Never. Not a chance. I will be the greatest ever. The fucking idiots. I’ll damn well crush every one of them.

I had to be big. I had to be.

If not, I might as well end it all.

Born in 1968, Knausgaard won the Norwegian Critics Prize for Literature for his novel Ut av verden (Out of the World is a literal translation; it’s not available in English) in 1998, marking the first time the award had been won by a first-time author. A little over one year after the bulk of the events in My Struggle: Book Four Knausgaard had, if not crushed his family, established that he had talent. Six years later he proved the first book had not been a fluke when his second novel, En tid for alt (2004)—published by Archipelago as A Time for Everything (2009)—was nominated in 2005 for the Nordic Council Literature Prize, and other awards. He had become a notable writer on the Norwegian scene. The ego on display may be repellant or appear ridiculous, but for many writers the fierceness to exceed expectations can be ugly, and is often phrased in crude ways that most choose not to reveal. This passage, like so much else in the book, displays both the separation of a male teenager from his family as he sets out on his own for the first time, with only himself to rely on, and a confessional quality, without the shadow of catharsis often implied when we term poetry confessional. The statement that he’ll “crush every one of them” reminds us subtly that Min Kamp, the Norwegian title, is Mein Kampf in German, and is uttered with the earnest despair found in teenagers everywhere.

What put Knausgaard on the world stage, where he has been considered for the Nobel, the IMPAC, the Independent Foreign Fiction Prize, and other prestigious literary trophies, and seen his books published by Archipelago Books in hardback and in paperback under the Vintage brand, is the sequence of startlingly candid (or candid-seeming) works that, as has often been reported, took Norway by storm when they first appeared. Some are doubtful they are read with such intensity elsewhere. English novelist Tim Parks, resident grump for the New York Review of Books, in July 2014 wrote an article looking into how popular Knausgaard’s books are in English, and by implication questioning if they should be:

The curiosity with Knausgaard, then, is that the impression of huge and inevitable success was given not with the precedent of previous international success, but solely on the basis of the book’s remarkable sales in the author’s native Norway. Norway, however, is a country of only 5 million people—a population that is half the size of London’s—and of course the whole tone and content of My Struggle may very well be more immediate and appealing for those who share its language and culture; it is their world that is talked about.

Parks may have been quite right on the sales figures at the time of his article, but he ventures beyond statistical analysis. It’s always good to be reminded, particularly by an Englishman who has lived in Italy for over thirty years (and translated Italo Calvino and Alberto Moravia), that London embodies the British Imperial standard for literature worldwide. The expression “their world” makes it seem that Norway is Mars and its population so unrepresentative and odd—never mind the rhetorical ruse “may very well”—compared to everyone else that their experiences scarcely resemble what people elsewhere go through. By these standards, English readers everywhere can dismiss Grass and Bolaño, Dostoevsky and Goethe. Yet on a trip in February I noticed, in various Canadian airport bookstores, the first three volumes of My Struggle in paperback, clearly meant for a mass audience, perhaps drawn in by the photographs of Knausgaard on the cover of each volume (already repackaged with explanatory titles for the mathematically fearful as, respectively, A Death in the Family, A Man in Love, and Boyhood Island; now there is Dancing in the Dark).

There are at least three notable constants about these books: they have enlivened the spring release season due to the writing power within them; they contain tension even in those passages, or pages, that some might consider editing out; and they set readers off in either the Zadie Smith way (“I just read 200 pages of it and I need the next volume like crack,” she has been reported as tweeting) or with skepticism about the literary merits of depicting seemingly dull affairs. There seems to be little middle ground. The latest volume will not bring those two ends together.

2.

Focusing on his time in a fishing village called Håfjord (population 250) in northern Norway, where the eighteen-year-old Karl Ove, as he is referred to, takes up a job as a first-time school teacher (who “hate[s] all authority”), My Struggle: Book Four explores several themes: the effects of isolation, especially as the hours of darkness increase; the proximity of females both contemporary and underage (thirteen-year-old students); the break-up of his parents’ marriage and the navigation required in two households; his sexual dysfunction; the importance of music and literature; and drinking. This is by no means an exhaustive list. It might be argued that any good novelist could take two or three of those and consider that sufficient material. Knausgaard is nothing if not ambitious, as his own words indicate, and as the preceding volumes have demonstrated he is able to juggle and combine complex topics as well as banal details.

In Book One the narrator freely moved from addressing one time period in his life to discussing others. (This is a feature of all the books.) Among other topics, that volume introduced his first marriage, his feelings towards his children by his second wife (which we see more of in Book Two), and his views on art. But its two main topics take in different stages of his life: the teenage years—bands he likes, friendships, and drinking, with the lowering shadow of his father present at all times—and, in the last two hundred or so pages, how an older Karl Ove and his brother Yngve deal with the death of their father, and the mental decline of their paternal grandmother, in the wretched house they shared. Few pages have stayed with me in the same way as those. A seemingly sad and normal thing—going through a dead man’s possessions and tidying a home—are packed with insights, incident, drama, believable mood swings, and the fear that their father may not be dead at all, with excellent pacing. In Book Two the father is placed to the side, and the emphasis is on how Karl Ove presses ahead with writing against the demands for more time with the family from his second wife, who he loves, and the requirements of their children. This time the narrator has friends with whom he can talk writing, and his world has expanded. As in the first volume, there are scenes of drunkenness and self-denigration. Book Three is about his childhood, and here we are shown, more visibly than before, the cruelty visited on Karl Ove and Yngve by their father, and how their mother rarely intervened.

In each of the previous books there is one major line of tension that runs throughout. In the first and third volumes this is provided by the presence of the father (even when he is absent), and in the second it is generated by what might be termed as the intransigence of Karl Ove to bow to society’s demands that he embrace the role of father and husband above that of an artist. In the newest volume the strain is provided by his actions when teaching (he often feels nervous) and when drunk; he can’t be trusted not to make a misstep or to do something cringe-worthy. Knausgaard peels back his more youthful self’s skin to reveal confusion, desire, and ineptitude without once asking for pity. Karl Ove regularly embarrasses himself by drinking too much and not being able to recall how he got home, and he ejaculates prematurely with every girl he is fortunate enough to have sex with (and for that reason avoids spending too much time with some of them). His attempts to hide the evidence of his emissions from them and from his mother, who does the laundry, can be seen as pathetic or laughable or, usually, somewhere in between. There are frequent scenes where he is sneaky, belligerent, or a thief, and he is prone to tears when caught or called to account for his behaviour. When two male villagers come by his home he is acutely aware of their masculinity, “it filled the whole flat and made me feel weak and girly.” He regards himself as “a kind of freak, a monster…” Only a portion of this can be attributed to normal teenage angst.

Karl Ove is a social misfit who nevertheless becomes quite popular in Håfjord with the young girls he teaches. Lessons begin well enough, but he doesn’t have the training to keep his composure. When three of his thirteen-year-old students, all girls, visit him at his home—a common practice in a small place where children and teenagers look for escape from boredom—he is discomforted. He has already had to hide erections in class. That he is a virgin, a state of affairs he is desperate to change, sharpens the edge of his appetite. Given the Scandinavian setting, one is inclined to think a porn movie will break out at any moment. There are many lines like this one: “[Liv] was walking beside Camilla as I arrived, and she sent me a stolen glance as she turned into the corridor. I eyed her slim firm backside, formed to perfection, and a kind of abyss opened inside me.” Balancing this, he is trusted by a young boy named Jo when they’re out walking the school grounds. “Didn’t he understand how this would look to his classmates, walking around hand in hand with the teacher?” The unpopular boy draws comfort from his teacher, something that Karl Ove notices, and he does not withdraw his hand despite reservations on Jo’s behalf. It requires work on the part of the sensitive teacher to create distance.

Despite his growing interest in one student, Karl Ove does not cross the line. His more important struggle is with what he wants to do with his life. On his first day as a teacher he emerges from a classroom “almost jubilant” at how things went only to realize, a few moments later, that “this was not what I wanted, for Christ’s sake, I was a teacher, was there anything sadder than that?” Against that he sets aside time to write those short stories his family will read, but that time comes between parties and binges, walks and short trips to other communities, and humiliating himself.

3.

Music and literature play significant roles in My Struggle. Book Four shows Karl Ove deepening his appreciation for both, partly as a way of keeping some semblance of familiarity around him in new surroundings, and partly in an effort to extend his knowledge of what is happening in both fields. At age sixteen he had started writing a new music review column for newspapers. “Thanks to music I became someone who was at the forefront, someone you had to admire, not as much as you had to admire those who made the music, admittedly, but as a listener I was in the vanguard.” He brings Roxy Music, Fripp and Eno, David Bowie, Talking Heads, the Smiths, and Simple Minds, as well as Scandinavian bands, to Håfjord, though in his temporary home there are few who regard his taste with the appropriate respect, “but there were circles where it was seen and appreciated. And that was where I was heading.” In literature, his preference is for regional writers and figures more familiar to English readers (Hubert Selby, Jr., Jack Kerouac, and Charles Bukowski), but he wants to be more aware of new thinking about fiction, such as the innovations of Jan Kjærstad in The Big Adventure. When Karl Ove encounters an article on Ulysses for the first time he slots that unread book alongside works by Hermann Broch, Robert Musil, Arnold Schönberg, Thomas Mann, and Knut Hamsun.

The latter plays more than one role here. The quiet, and natural-seeming, introduction of Hamsun occurs in a book that includes the opinion Karl Ove’s paternal grandfather has on refugees: “‘We’ve slogged our guts out and we’ve done well, and now they want to take over. Without lifting a finger. Why should we allow that?’” (171) Unlike his father, Karl Ove is open to helping the refugees. Hamsun’s own views were racist and right wing, in line with many Norwegians of his time and with the ideology of Nazi Germany. “Tolerance has never been Norway’s strong suit,” wrote Adam Shatz in the London Review of Books, discussing two books on the Norwegian mass killer Anders Breivik, who used a bomb and bullets to murder 77 people on 22 July 2011 (injuring many more) in an effort to staunch, in the words of Hugh Eakin, “‘Islamic colonization’ of the country abetted by the Labor Party’s ‘multiculturalist’ immigration policies.” Karl Ove and Yngve drive by both Hamsun’s “Nørholm property” (259) that the narrator remembers visiting with his ninth grade class, and “the old Hotel Norge, where Hamsun had done some of his writing…” He reads Pan (1894) when sixteen and living with his mother. The most substantial literary reference has Karl Ove preferring his countryman over Milan Kundera because “no one went as far into his characters’ worlds as he did, and that was what I preferred, at least in a comparison of these two, the physicality and the realism of Hunger, for example.”

Reviews of earlier volumes of My Struggle (let alone readers of Norwegian) already know that the sixth and final volume has extended essays on Paul Celan and Adolf Hitler. In Knausgaard’s own words, it “…really does end in Norway, with Anders Breivik killing sixty-nine children on Utøya Island. This happened while I was writing… And the novel ends there, in that place, in that collision of the abstract heaven we have above us and our own physical earth. Which is what Breivik’s killings were.” Much of the content of My Struggle seems to have been written in an associative style, but it is hard not to view the use of Hamsun and, by implication, his political views as foreshadowing a castigation of Norwegian attitudes about people who are considered too different from them.

In a recent Paris Review interview with James Wood (No. 211, Winter 2014), Knausgaard speaks directly on matters in Norway:

There is a new kind of moralism evolving, where the obligation is to the language—there are some words you can no longer say and some opinions you no longer can express. This is a kind of make-believe. It makes everybody comfortable, they feel good about themselves, because they mean well—while at the same time there is a whole generation of immigrants locked out from education, work, and privileges and there is anger growing in the part of the population that doesn’t have its voices heard, or whose opinions are considered evil and kept out.

While ideology has little part to play in Book Four, occasionally there are mentions of politics (but not ideology), and Karl Ove sees himself as a radical. He likes to read Hamsun, too. Another contradiction in a work filled with them.

4.

As he states in the quotation at the top of this review, the price of failure to achieve Karl Ove’s sizeable goals is high: “If not, I might as well end it all.” That can’t be taken lightly. His fellow countryman and contemporary, Stig Sæterbakken (1966-2012), wrote: “The need to become intoxicated bears a close affinity to the desire for death. Which itself is in the same family with an incurable Unfähigkeit [inability], […] vis-à-vis the realities of adult life.” At different points Karl Ove describes his blackouts: “…I was in the void of my soul…”; “we slowly but surely got drunker until in the end everything disintegrated and I drifted into a kind of ghost world.” His reliance on alcohol, from age sixteen to nineteen, to make him at ease in the world, could push him down the road to death his father is already traveling. It’s a coping strategy or inheritance he never explicitly notes, preferring to justify (rationalize doesn’t seem quite the right word) drinking to excess: “I drank though, and the more I drank the more it eased my discomfort.” He recalls one “alcoholic high” as similar to “a cool green river flowing through my veins. Everything was in my power.” The kinship to his father is ignored: “It didn’t matter to me that Dad had clearly split into two different personalities, one when he was drinking and one when he wasn’t… it wasn’t something I gave much thought.” (249) Further: “I wanted to steal, drink, smoke hash, and experiment with other drugs… But then there was all the rest of me inside that wanted to be a serious student, a decent son, a good person. If only I could blow that to smithereens!” It isn’t a surprise that the young Karl Ove does not examine the resemblance of his divided nature to that of his father’s; the farthest he can go is to acknowledge that, like his father, he is seen as “unreliable.”

Amid the teaching and the socializing there is fiction to write. Brief summaries are provided of a few of Karl Ove’s stories, and his thinking about how to write matures as time goes on. He vehemently rejects capturing what a friend and fellow teacher calls “‘God’s wondrous creation! All the colors! All the plants!’” Karl Ove replies that nature is “‘a cliché,’” yet that doesn’t mean he refuses to appreciate his surroundings. As the bus he’s on approaches Håfjord, emerging from a tunnel, he has an emotional reaction:

… Between two long rugged chains of mountains, perilously steep and treeless, lay a narrow fjord, and beyond it, like a vast blue plain, the sea.

Ohhh.

The road the bus followed hugged the mountainside. To see as much of the landscape as I could I stood up and crossed to the other row of seats…. The mountains continued for perhaps a kilometer. Closest to us, the slopes were clad in green, but further away they were completely bare and gray and fell away with a sheer drop into the sea.

The bus passed through another grotto-like tunnel. At the other end, on a relatively gentle mountain slope, in a shallow bowl, lay the village, where I would be spending the next year.

Oh my God.

This was spectacular!

There are many such passages that evoke the beauty, and the smallness, of this village, and of the natural beauty that rings it. Perhaps thinking about nature is not as clichéd as writing about it.

5.

During the course of his interview with Knausgaard, James Wood remarked: “It’s obvious enough that in your work the insane attention to objects is an attempt to rescue them from loss, from the loss of meaning. It’s a tragedy of getting older.” (75) There could be more to it than that. Drinking to the point of oblivion, hypersensitivity to the moods of colleagues, friends, strangers and his pupils, hypervigilance when it comes to determining, on an instinctive level, who may be a threat—“Everything that came from the outside was dangerous”—and the compulsion to remember and recount everything, as if doing so would flush out that one memory or insight that would provide an answer to crucial questions, might indicate something else. Towards the end of Book Four, when recalling his time in Håfjord years after he left, Karl Ove wonders: “Did terrible things happen there? Did I do something I shouldn’t have done? Something awful? I mean beyond staggering around drunk and out of control at night?” It’s impossible to say, but taking into account all that he has said in four volumes, and his general nervousness, Karl Ove’s upbringing appears to have been traumatic.

In this book his father’s dictatorial ways diminish in intensity due to alcohol consumption, but the eighteen-year-old Karl Ove is right to remain wary in his company “…because when I observed him, and his eye caught mine, I could sense he was still there, the hardness, the coldness I had grown up with and still feared.” There are many unpleasant scenes, witnessed by the two brothers, involving their father and his new girlfriend, Unni, who becomes his wife. A family discussion between the two brothers and their mother occurs, and in it the mother admits she had blindly followed her husband: “‘…I always saw it from his side, what happened.’” Despite what happened in the past Karl Ove commits to being a good son. That could be regarded as the father having control without even needing to reinforce it, keeping him in line no matter what he did, or it could be an earnest desire to be a better man than his role model. In Knausgaard’s tactile, tumultuous, at times feverish, world both things could be true at the same time. Lines from Walt Whitman’s “Song of Myself” come to mind: “Do I contradict myself?/ Very well then I contradict myself./ (I am large, I contain multitudes.)”

In My Struggle: Book Four Karl Ove Knausgaard has given us yet another packed work about a fragile, fragmented young man who has his first warranted moments of self-belief, but who slips back from confidence into a miserable dungeon of his own making. There are two volumes left, and though we leave Karl Ove in a changed state, with an acceptance at a writing school in Bergen, thanks to the previous volumes we know an easier life does not lie ahead despite material successes. That may be the best news for those enthralled by this universally appealing and astonishing set of works.

—Jeff Bursey

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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.

Apr 302015
 

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When members of Jimmy’s family told Jim McQuade, Director of Schuyler Hill Funeral Home, that, at Jimmy’s request, we were having neither priest nor funeral mass, he warned us that we might have trouble getting Jimmy into St. Raymond’s Cemetery. He proved prophetic. Growing up, Jimmy and I had been thrown out of a couple of Bronx taverns, but getting barred from the graveyard was a new experience. In lieu of a priest, I had been invited by Jimmy’s family to give a eulogy. “That would be fine,” said Jim McQuade, as we sat at a table; I could “just briefly sum up Jimmy’s life.” We laughed because, more than anyone I’ve ever known, Jimmy’s life was not one to be glibly summed up. Everyone thought they knew Jimmy; but they knew only aspects of the whole, complicated man. His life, rich and multifaceted, fell into many different, apparently incompatible phases. Yet there was an underlying integrity, in both senses of that word.

Jimmy had been a hell-raiser and legendary fist-fighter growing up; then a father who raised one son early, and later two young children single-handedly when their mother, Sharon, died young. Professionally, he was chief consulting engineer for the Bronx from 1980, and was in charge of the capital budget program, overseeing money allocated for such construction programs as the Grand Concourse rehabilitation and the parks improvements from Hunts Point to Riverdale. “But he was a lot more than that to me,” said former Borough President Fernando Ferrer. “He was indispensable.” As the go-to person for district leader Michael Benedetto, Jimmy handled housing and zoning issues; in addition, demonstrating Assemblyman Benedetto’s description of him as a “tremendously giving person” who quietly helped many people, Jimmy, each year, did the income taxes, gratis, of more than a hundred seniors who couldn’t figure out the forms or afford to pay a professional.

After retiring in 1995, Jimmy stayed on for almost two decades with the borough president’s office as a part-time consultant. In these years, he also taught physics at Bronx Community College. As engineer and architect, Jimmy created—pro bono—the building now housing the Chippewa Democratic Club, of which he was treasurer for more than 40 years. Still vital, energetic, and physically powerful, Jimmy was, in 2005, diagnosed in a late stage of a particularly horrible form of incurable cancer.  It was in valiantly battling multiple myeloma for ten years (which must be the world’s record) that we all saw Jimmy’s stamina and real courage. So, is there any key that helps explain so varied a life? Not really, but let me make a tentative triple-suggestion that will seem strange to those who didn’t know the “whole” Jimmy: strength, stars—and pigeons.

The pigeons, a group shot.

From the time he was a kid, Jimmy had a coop, and flew pigeons.  Later, residing in Locust Point, he had a flock that numbered almost two hundred. Jimmy and his sons David and Alex lived very near the Throgs Neck Bridge, its under-structure a favorite nesting place for peregrine falcons and hawks. Jimmy flew his pigeons every day and loved how they out-maneuvered the predators, making undulations and quick turns in the air, so that it was almost impossible for a falcon or hawk to kill one. (When many were killed, including Jimmy’s pair of beloved black homers, it was not by a hawk, nor by the family of feral cats Jimmy fed daily, but by a raccoon who got into the cages.)  Once, a frustrated brown hawk pursued some pigeons right into those cages. Jimmy’s first instinct was rage, but he quickly appreciated the magnificence of the hawk and he knew that it, too, had its part to play in the natural order. So he kept it for a day or two, admiring, studying, and photographing it.

As for strength: When we were growing up, Jimmy was himself a hawk, a warrior who never lost a fight even against much larger opponents. I’ll give just two examples, but they represent many stories of Jimmy’s almost mythical prowess as a fighter. My neighborhood, Alden Park, had (laughably enough) a so-called private beach, consisting of a pier and about 50 yards of water. Once, when we were sixteen or so, Jimmy came over to hang out with me. We went down for a swim. An older guy, a blond and brawny 6-foot, 220-pound wire-lather, informed Jimmy, who weighed about 145 at the time, that this was a private beach and that he wasn’t welcome. Jimmy started to leave. But the Big Man couldn’t leave well enough alone: “And don’t come back, you little guinea.” About ten seconds later, Jimmy did leave; but they had to carry the wire-lather home. Jimmy, 75 lbs. lighter and 3 inches shorter, had cut him down with a half-dozen lightning-fast punches that left the would-be hero and actual bigot sprawled and bleeding on the pier.

This is a photo I took myself about 60 years ago circa 1956. Jimmy is standing with two of the girls in our crowd Diane Schleininger and Janet Gartner

On another occasion, a year or so later, Jimmy faced down even bigger odds. In a nocturnal raid, we had snuck into a pool and concession called Bronx Beach and stolen 17 cases of beer. Having “borrowed” a rowboat, we transported our booty to a small cabin cruiser moored off a waterfront stretch called Big Oak. The plan was to return early the following morning and move our goods to a safe location. Unfortunately, when we arrived shortly after dawn the boat was gone. We discovered that the owner and his friends (who must have thought they’d died and gone to heaven) had left for Oyster Bay on the north shore of Long Island to fish and camp out. A few days later word reached us that they were back and were having a grand time in what was then an orchard that sloped down to our own Bay, not really a “bay” since it opens onto the Long Island Sound. When Jimmy and I arrived and peered through the foliage we saw eight guys and their girlfriends listening to music and enjoying “our” beer. This was a moral outrage, a violation of the code of honor among thieves. We jumped the fence and Jimmy walked right up to the biggest guy, the fellow who owned the boat we’d used for temporary storage. “The party’s over,” Jimmy announced, ordering the leader to pack up the beer, put it in one of their cars (we were carless) and take it to where we wanted it. Even with their girlfriends present as witnesses of their humiliation, he and the others complied. Even at odds of 8-2, they were afraid to tangle with Jimmy.

Back then, he seemed all strength and speed. The first time we ever saw a set of weights, Jimmy, 14 years old and weighing about 140, military-pressed 20 pounds or so above his body-weight, astonishing the older guys who owned the barbell.  He ran the 100 and 220 at Cardinal Hayes, winning at both distances; and once, at a Rice Stadium meet where I was running the 440 for St. Helena’s, Jimmy was asked to substitute for an injured shot-putter. I watched amused as Jimmy, a complete novice at the event, outdistanced the competitors, but was disqualified on all three shots, one of which was so off it actually grazed someone in the audience.

But under all that physical power there were other, deeper qualities. Jimmy had a formidable brain, and dreams. When he and I weren’t getting into trouble, we often sat on the sea-wall, gazing at the opening to Long Island Sound off City Island, looking out at the beautiful green lantern of Stepping Stone Lighthouse, and up to that greater lighthouse, the stars above our heads. In time, Jimmy would know almost everything there was to know about the birth and death of stars, as well as about black holes, special and general relativity, and quantum mechanics. Back then we would discuss “escape velocity,” the speed a rocket would have to attain to break earth’s gravitational pull: 7 miles a second. And this was long before John F. Kennedy pledged to send a manned rocket to the moon and back.

Jimmy and Alex2Jimmy and Alex

Earlier this week, when Alex invited me to look through his father’s books, I was re-reminded of the range of Jimmy’s interests.  There were books on the Bible, and on Jesus alongside volumes on the universe, on string theory and quantum mechanics; several books on Einstein; on history and philosophy; novels, poetry, books of literary criticism (not all, but most by me, since Jimmy was as proud of me as I was of him). From the time he was a boy, Jimmy was what Samuel Taylor Coleridge called an “Inquiring Spirit,” especially when it came to questioning, from the perspective of science (physics and evolutionary biology) the religion in which we had both been raised and long believed. In later years, he was particularly fond of two passages I’d cited in my book on Emerson. In his essay “Intellect,” Emerson posed a choice between “Truth and Repose.” He who simply accepts the comfortable “creed” he has inherited will find rest,

but he shuts the door to truth. He in whom the love of truth predominates will keep aloof from all moorings, and afloat. He will abstain from dogmatism, and recognize all the opposite negations, between which, as a wall, his being is swung. He submits to the inconvenience of suspense and imperfect opinion, but he is a candidate for truth, as the other is not, and respects the highest law of his being.

This passage had a momentous impact on the lives of both Emily Dickinson and Emerson’s greatest disciple, the German philosopher Friedrich Nietzsche, both of whom were raised in deeply religious families. Nietzsche, the son and grandson of Protestant ministers, echoed Emerson’s thought, and choice, in a youthful letter to his sister. Should we, the twenty-year-old Nietzsche asked rhetorically,

arrive at that view of God, world, and reconciliation which makes us feel most comfortable?….Do we after all seek rest, peace, and pleasure in our inquiries? No, only truth….Faith does not offer the least support of objective truth. Here the ways of men part: if you wish to strive for peace of soul and pleasure, then believe; if you wish to be a devotee of truth, then inquire.

Restless (as his sister Barbara told us) from the time he was a colicky baby, Jimmy never, ever sought “repose,” either in his life or in his intellectual inquiries. I should have added that his library included, along (of course) with studies of pigeons, books on aviation. When, after he got out of the Marines, Jimmy was living with his wife Beth and their baby, Jimmy Jr., in a trailer in Moonachie, N.J., he was working full-time and studying for his engineering degree. Yet he somehow found time to learn to fly a plane!  Why?  Well, pigeons fly, don’t they?

Jimmy in the Marines.Jimmy (right) in the Marines

Armed with his engineering degree, Jimmy eventually rose through the ranks of the New York City Highway Department and other positions to become chief engineer of the Bronx, working, as I said, out of the Borough President’s office. Whatever lunacy and law-breaking we engaged in growing up, once Jimmy was in a position of power, he proved incorruptible. As many told me at one of his retirement parties, Jimmy’s word was his bond. His agreement over the phone could be, literally, taken to the bank. Many projects in the Bronx are the visible results of Jimmy’s efforts.  As boys looking up at the stars, we talked about escape velocity; but Jimmy, unlike the rest of our crowd, never wanted to escape from the Bronx. Instead, he wanted to stay and improve it. And he did. As current Borough President Ruben Diaz, Jr., remarked in his tribute: “James Cerasoli gained the respect and admiration of all through his tireless work in the Bronx. His signature is imprinted on numerous maps; his work and his memory will live forever.”

Jimmy with David as a baby

That most endearing of Jimmy’s qualities—his intense and lifelong love of animals—bore enduring fruit in improvements to the Bronx Zoo.  In charge of the capital budget, Jimmy made sure the Zoo got its share and more of the borough funds. Our close-knit crowd of two dozen, which has kept in touch for six decades, always loved the Zoo as kids; for us it was an oasis, a Magic Kingdom. When Jimmy and I, with my own family, visited it as adults, Jimmy was treated like a king by those who appreciated his support. Why was the Zoo such a priority?  Of course, it was the borough’s main tourist attraction. But for Jimmy, it was personal. The bank robber Willie Sutton was once asked why he robbed banks. His answer was as famous as Willie himself: “that’s where they keep the money.” For Jimmy, the Zoo was where they keep the animals and, if they had to be in confinement, he wanted to do what he could to insure that they were kept in state-of-the-art comfort and able to enjoy maximum freedom. The big cats are no longer in cages.

Jimmy among the deer at Catskill Game Park.At the Catskill Game Farm

The one photograph his sons submitted for Jimmy’s newspaper obituary shows him, a quarter-century ago and looking much younger than his 52 years, feeding deer at the Catskill Game Farm (closed, sadly, in 2006). As his son David rightly said, the photo exemplifies Jimmy’s love of animals. I think that love of animals, especially his doting on his pigeons, even helps explain Jimmy’s liberal politics; he always championed the underdog rather than the predatory and powerful. His pigeon-skills certainly honed the qualities that made this tough athlete and undefeatable street-fighter a loving and nurturing caregiver when he was left with two young boys to raise on his own. He had learned whatever he needed to master in order to care for his pigeons; now he learned whatever he needed to know to take care of his boys—even learning to cook, and to cook well.

Jimmy’s final decade was incredibly difficult, but he fought this terrible and terminal disease with the same courage and skill that he’d once displayed in fist-fights. (He studied multiple myeloma, and soon knew as much about it as his doctors). In this battle, however, he had the support and love of a close-knit family: his sisters Barbara, Arlene and Pinky, his brothers Hank and John and his young sons David and Alex.  For years every Friday was set aside by Hank and John for lunch with Jimmy at a restaurant of John’s choosing.  When I was visiting from upstate, I was invited to join them.

Jimmy Jr. and his wife and three children lived far out on Long Island, but for Jimmy’s 75th birthday, the whole family got together, and again I was invited. Ironically, Alex, who had been at his father’s side virtually every day since he’d been diagnosed with multiple myeloma, had to be in Florida. But it was good that the rest of us were there, since, just a year later, young Jimmy suddenly died of a heart attack. This was, in many ways, the last twist of the knife. I came down for the first of two wakes, right here at Schuyler Hill. But Jimmy (burdened with an oxygen tank that embarrassed him and which he relegated to Jim McQuade’s office rather than draw attention to himself) had to endure a second wake and funeral out on Long Island.  When I came over to the house the next day, and asked the stupid but inevitable question as to how it had gone, he said, “Pat, I felt feelings I didn’t know I had.” Alex told me that that was the beginning of the end for Jimmy; that much of the fight—and it had been a long and brave fight—went out of him.  David, Hank, and John agreed, and I sensed it myself, though Jimmy tried to maintain a stoic front. I can’t talk here about David’s and Alex’s own relationship to their father because I will be reduced to uncontrollable tears—as Alex was at Jimmy’s deathbed while David, my godson, tried to hold it together.

Jimmy with his three sons.

Terrible as that death was, it was peaceful, and Jimmy, who we think was able to hear us, was surrounded by those who loved him—no small thing.  It seemed to me at the time, and even more so today, that it was particularly appropriate that when his time came, he died in a hospital named for his intellectual hero, Albert Einstein.  The last long conversation I had in Jimmy’s kitchen (I’ll tell you in a moment about our last phone conversation), we talked about Walter Isaacson’s book on Einstein.  I knew why Einstein had (one of his few errors) rejected quantum mechanics; but Jimmy actually understood quantum mechanics! Though Einstein acknowledged that it explained much, he could never bring himself to accept quantum theory because it was random and Einstein was committed to strictly determined mathematical laws of nature. As he famously said, quantum theory “says a lot, but it does not really bring us any closer to the secrets of the old one [der Alte]. I, at any rate, am convinced that He does not play dice with the Universe.”

 That kind of God-talk led many—especially in his adopted country, America, where he was much beloved and had become a pop-culture icon—to conclude that Einstein believed in a personal God, one who cares about us, is accessible to prayer, and promises (for good or ill) an eternal Afterlife. Einstein did not believe in such a deity. In a letter written to a little girl in the sixth grade who wanted to know, “Do scientists pray?” Einstein, endearingly, took her question seriously. He responded that scientists are not likely to be inclined, in a world where “everything that takes place is determined by laws of nature,” to believe “that events could be influenced by prayers to a supernatural being.” Nevertheless, he continued,

Everyone who is seriously interested in the pursuit of science becomes convinced that a spirit is manifest in the laws of the universe—a spirit vastly superior to that of man, and one in the face of which we with our modest powers must feel humble. In this way the pursuit of science leads to a religious feeling of a special sort, which is indeed quite different from the religiosity of someone more naive.

His God, Einstein told the New York Times, was “Spinoza’s God,” a divinity inseparable from Nature itself—though he was also convinced, like that sublime and “god-intoxicated” yet “atheistic” 17th-century Jewish philosopher, that no matter how we try to “penetrate with our limited means the secrets of nature,” we find that, “beyond all the discernible laws and connections, there remains something subtle, intangible, and inexplicable. Veneration for this force beyond anything we can comprehend, is,” said Einstein, “my religion.” That “humble admiration” and “deeply emotional conviction of the presence of a superior reasoning power, which is revealed in the incomprehensible universe, forms my idea of God.” Introduced to the philosophy of Spinoza by his friend Coleridge, William Wordsworth, in “Tintern Abbey,” captured that “presence” (the essence of Spinoza’s pantheism) in deliberately vague but deeply moving lines:

MMMMAnd I have felt
A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime
Of something far more deeply interfused,
Whose dwelling is the light of setting suns,
And the round ocean and the living air,
And the blue sky, and in the mind of man:
A motion and a spirit, that impels
All thinking things, all objects of all thought,
And rolls through all things.

In 1930, Einstein concluded his credo, “What I Believe,” by defining what he actually meant in calling himself “religious”:

The most beautiful emotion we can experience is the mysterious. It is the fundamental emotion that stands at the cradle of all true art and science. He to whom this emotion is a stranger, who can no longer wonder and stand rapt in awe, is as good as dead….To sense that behind everything that can be experienced there is something that our minds cannot grasp, whose beauty and sublimity reaches us only indirectly; this is religiousness. In this sense, and in this sense only, I am a devoutly religious man.

In that sense, and that sense only, Jimmy, an inquiring spirit in the mode of Spinoza and Einstein, was a devoutly religious man—to the very end of his life and beginning from the time when, as kids, he and I gazed out on the water on moonlit or starry nights and then up to the stars themselves. When we were rummaging through Jimmy’s books, Alex showed me something his father had inscribed on the library wall, and which Alex intends to carve out and save: “My improbable God: before Infinity, there is God; after Infinity, there is God.” If that’s not good enough to get into the “religious” cemetery, to hell with them.

Jimmy facing reality at the kitchen table he was practically chained to in the final years2Jimmy facing reality at the kitchen table he was practically chained to in the final years.

I’ll end with that last phone call, and with the final lines of a Wallace Stevens poem, both of which involve deer and, of course, pigeons.  I phoned Jimmy one day while I was looking out the window at my back yard.  Out on the lawn were three deer, a few squirrels, two mourning doves and two pigeons. “How are they interacting?” Jimmy asked, the old enthusiasm still there despite the pain. “Harmoniously,” I said.  But the peaceable kingdom was interrupted.  There’s a 100-foot spruce in my yard and a huge female goshawk (bigger than the males of the species) often nests there. She swooped down. The deer were unnerved, the squirrels scampered to safety, and the mourning doves ducked into the hedge. But the pigeons took off with the hawk in fierce pursuit. I was disturbed, but Jimmy assured me, “don’t worry, she’ll never get them.”  He was right.

This scene prompted me to quote to him over the phone the final lines of Stevens’s “Sunday Morning,” a poem centered on a woman who does not go to church that morning, but instead seeks her religion in nature.  She finds herself in what the poet calls in the final stanza “an old chaos of the Sun, unsponsored”: a beautiful but perishable universe in which we must all die. This is our mortal condition; what are our consolations? Jimmy loved the ending of the poem, finding in it, along with the appreciation of deer and birds, a beautiful and brave death-image, an image that applies, as my friend Barron Boyd recently remarked, to Jimmy’s characteristically courageous acceptance of his own impending descent:

Deer walk upon our mountains, and the quail
Whistle about us their spontaneous cries;
Sweet berries ripen in the wilderness,
And, in the isolation of the sky,
At evening, casual flocks of pigeons make
Ambiguous undulations as they sink,
Downward to darkness, on extended wings.

Jimmy, who seemed unconquerable, is gone. But nothing can erase, as Borough President Diaz noted, Jimmy’s permanent “signature imprinted” on the Bronx. That “will live forever,” as will the memories that will be preserved—until our own deaths—in the hearts of family and friends who loved and valued this remarkable and many-sided man. And I will think of my brother-in-spirit as inextinguishable in a more profound sense. When, without that funeral mass, we were denied permission for burial in the Catholic cemetery, we decided to have Jimmy cremated. Back in 1957, when he was 19, Jimmy shared with me a now famous essay in which four astrophysicists argued that the iron in our blood, the calcium in our bones, the oxygen we breathe, are the remnants, the ashes, of stars that died in supernova-explosions billions of years ago. When, this summer, we scatter Jimmy’s ashes in Long Island Sound, it will be into water we now know derived in part from a titanic gas cloud older even than our solar system. Out on Hank’s boat, we will be returning Jimmy to the world of nature he loved, and to the cosmos that fascinated him, stardust back to stardust.

Pat Keane/ April 10, 2015

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Afterword: For David and Alex

I returned to Syracuse in time on April 11 to make, I thought, a Curlew Theatre play about W. B. Yeats, for which I’d written an introduction and which was scheduled to be performed at Le Moyne College at 7pm. I didn’t know that while I was in New York City for Jimmy’s death and wake, the time had been changed to 4pm. It was good that I didn’t know, because something rather wonderful happened in my walk over to the college—as I told Kate Costello-Sullivan, Le Moyne’s Dean of Arts & Sciences, in the following email, which I’m now sharing with you.

Dear Kate,

Unaware that the play had already been performed, I left for the college at 6:50. I was walking due west on Salt Springs, thus directly into the setting sun. As I came over the rise in the road, I suddenly found myself looking at 7 or 8 deer: they were just standing there, stopped in the midst of crossing from the college side. I heard two cars coming fast, maybe 100-150 feet behind me. Between the brightness of the sun and the fact that the deer were just over the rise, neither driver could see what was ahead. I jumped out in the middle of the street and started waving. One driver slammed on his brakes, the other swerved onto a lawn alongside the road. The little herd of deer took off. The drivers understood.

When I got to the college, the doors were locked. I tried another possible venue, and that’s when I saw a poster, with the time, 4:00, and featuring a line excerpted from one of Yeats’s finest poems: “Man is in love and loves what vanishes.” I’d felt pretty good about the deer episode right off. But as I started walking back, it dawned on me that if I hadn’t been precisely where I was at precisely that moment, one or both of those cars would have plowed into the deer.

My friend Jimmy had been cremated that morning. As I’d emphasized in my eulogy, along with being a legendary fist-fighter when we were growing up, Jimmy was, among other things, a deep and lifelong lover of animals. Later, as Borough Engineer of the Bronx, in charge of the capital budget, Jimmy was responsible for many improvements in the Bronx Zoo. He hated the idea of animals in captivity; but if they were to be confined, he was determined to insure that they were comfortable and enjoyed maximum freedom. And they do.

Jimmy kept and flew pigeons from the time he was in grade-school; and on his last visit up to see me, he loved seeing the deer in my back yard. I ended my eulogy with the final lines of Stevens’s “Sunday Morning,” beginning, “Deer walk upon our mountains,” and ending with pigeons, at evening, making “Ambiguous undulations as they sink/ Downward to darkness, on extended wings.”

I don’t believe in miracles, but I’d been despondent walking over to see the play—a play that, as it happened, had already been performed. Thus, I had no reason to be on that road at 6:50. You apologized, Kate, for not getting my phone call in time to stop me. I’m obviously delighted that you didn’t. Walking back to my house, the more I thought about having “saved” the deer, the more elated I became. I remembered that little Robert Frost poem, “Dust of Snow”:

The way a crow
Shook down on me
The dust of snow
From a hemlock tree

Has given my heart
A change of mood
And saved some part
Of a day I had rued.

That’s what happened to me yesterday. The reminder that we still live “in nature,” with creatures other than ourselves, altered without erasing my sadness at the death of a friend I loved and admired, got in trouble with, and discussed literature and science and religion with, for two-thirds of a century. But last night, going to bed still thinking about those deer, I slept for almost 11 hours—more than the preceding five nights combined. Being on that road at 6:50 was a gift, and it comforts me, even as I’m writing these words, to think, intuitively rather than rationally, that it was a last gift from Jimmy, still watching out for the animals.

—Pat

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Pat Keane and Jimmy.

Patrick J. Keane is Professor Emeritus of Le Moyne College and a Contributing Editor at Numéro Cinq. Though he has written on a wide range of topics, his areas of special interest have been 19th and 20th-century poetry in the Romantic tradition; Irish literature and history; the interactions of literature with philosophic, religious, and political thinking; the impact of Nietzsche on certain 20th century writers; and, most recently, Transatlantic studies, exploring the influence of German Idealist philosophy and British Romanticism on American writers. His books include William Butler Yeats: Contemporary Studies in Literature (1973), A Wild Civility: Interactions in the Poetry and Thought of Robert Graves (1980), Yeats’s Interactions with Tradition (1987), Terrible Beauty: Yeats, Joyce, Ireland and the Myth of the Devouring Female (1988), Coleridge’s Submerged Politics (1994), Emerson, Romanticism, and Intuitive Reason: The Transatlantic “Light of All Our Day” (2003), and Emily Dickinson’s Approving God: Divine Design and the Problem of Suffering (2007).

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Click an image for a full sized version with caption.

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Apr 132015
 

[youtube width=”500″ height=”344″]https://www.youtube.com/watch?v=zsL4MGFh6QI[/youtube]

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In this scene from Eugene Green’s Le Pont des Arts, an opera singer,  Sarah (Natacha Regnier), sings a profound performance of Monteverdi’s “Lamento Della Ninfa.” She has been struggling to please the conductor, a bastard destroyer of beauty who cruelly describes her voice, in a previous scene, as sounding like a “sick kangaroo.” They are preparing the piece to be performed for a recording, and in this scene we see a sublime moment where his opinion no longer matters. The sequence, like others I’ve pointed to in Numero Cinq at the Movies, could be a standalone short film: everything we need is held in this discrete scene. Green’s careful crafting of shots distances us from the soulless, impervious-to-the-sublime conductor and brings us face to face with a heart-breaking beauty.

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At the core of this scene is a fascinating visual distinction between third-person and second-person framing, where we see the primary action of the other musicians performing (third person) while in other camera shots we see Sarah and a select audience listening to her singing as they stare right at the camera, ostensibly Sarah but vicariously, us, directly addressing us with their emotional experiences (second person). This split between perspectives probably speaks to Green’s own theatre background and the theatre device of dramatic asides, but here it also creates a dichotomy where as audience we are encouraged to have a closer and more vulnerable experience of the beauty of what Sarah’s voice creates.

The scene is blocked like it would be on a stage, the places where the musicians, the conductor, and the singers stand and even the formal way that Sarah enters the scene. What is glaringly missing is an actual audience, but in its place we have a small chorus of more significant witnesses. The audience within a film can show us how to experience the art at hand. This is a common film device, one I have pointed to elsewhere:  the backstage audience in the knife throwing scene in A Girl on a Bridge (which also has a suicidal woman on a Parisian bridge, incidentally);

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but also appearing in profound ways in films like Krzysztof Kieslowski’s Double Life of Veronique with the music conductor’s inscrutable melancholy, nostalgic gaze;

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or similarly in Pedro Almodovar’s Talk to Her, where the male nurse in the audience witnesses a more profound response to the art via the man sitting beside him.

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These characters show us what we might feel, give us permission.

In Pond des Arts, the split between third person and second person in this scene begins with Sarah’s entrance. We see her begin, we identify her with the sublime voice, then the camera moves to spend time with her audience: the lovesick looking lute player intent on his accompaniment (read desire);

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the envious, though moved vocal accompanist who sits gloaming like an understudy;

revised envy shot

but most importantly, Cedric, the blond man who openly weeps at the performance. Though elsewhere in the film the recording of Sarah’s sublime vocal performance will prevent a disillusioned philosophy student from committing suicide, nothing equals Cedric’s experience in this scene.

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The later two of these people are, in the blocking of the scene, actually behind Sarah. The camera frames their direct-camera emotional experiences for us but there are not available to Sarah. We see them illicitly. These are private moments, much like the dramatic monologues in theatre, where a character expresses something internal and private with the audience alone.

These direct camera address shots offer us, the viewing audience, possible mirrors. Who will we identify with and who do we want to be in the film: the jealous and envious and enraptured woman, the mandolin player with the absurd affections, or the beautiful blond man with who is deeply touched by the singing. Or Sarah, after all who would not want to sing with such sublime beauty. Or perhaps identification is more complicated than I am allowing, and this emotional experience for the audience involves identifying with all of these mirrors.

The piece itself, Monteverdi’s “Lamento Della Ninfa,” is composed to have a frame similar to this scene. Monteverdi noted “she has to sing according the her emotions” (al tempo dell’affetto del animo), while the pastori were expected to sing at a regular beat (al tempo della mano). Green parallels this tension between the regular beat, the rather unmoved third person shots here, and the more emotionally affected line of the vocalist, here the chorus of faces having emotional experiences in reaction to Sarah’s performance.

The pastori, the three men singing with her and by extension the conductor and the accompanists, offer this frame visually in the film. They are the day-to-day, the regular heartbeat, the floor and walls her voice echoes off. The frame is useful here: imagine if the film only presented us with Cedric weeping. Would we be less likely to identify with him, less open to his expressiveness? Nothing visually compels us to choose the mundane world, to be the third-person audience. The film inserts us into the desiring chorus of the second-person expressions, intimately connected to the sublime.

Seen just in this scene, we don’t know fully why Cedric weeps, what it is about Sarah’s performance that moves him, and this too creates a space for desire, a visual desire to understand the mystery of what he experiences and why. Something about the vulnerability of his experience rules out erotic or romantic desire. His experience seems very much for himself. Even seeing the rest of the film doesn’t permit any greater access to Cedric. We see him as a pawn to the conductor, we see he cares about Sarah insofar as he loves the beauty of her voice and feels compassion for her, but nothing that would explain the depth of his emotional experience in this scene.

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The scene ends without applause, another space of negation. Do we want to applaud and do we want to applaud more to fill the absence of applause?In the face of such a sublime emotional experience, applause seems a trite response. The players are left in awkward stances, paper rustling, speechless as to how to make the sublime reconcile with the desert of the mundane world. Immediately following this awkward silence the conductor tells the players “Not too bloody bad, my children, not too bloody bad.” His negative compliment desecrating the sublime, showing us the most base way to move from it back to the day-to-day; he has no access to the experience we have had.

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This scene, like the film to some extent, seeks to trouble the relationship between beauty and art and the rest of the world. As Stephen Holden argues in his article “A Leap, With Music, Into the Seine of Art,”The movie is an audacious, mythically slanted inquiry into the place of high art in today’s chaotic culture and an assertion of its primacy.” Pond des Arts prioritizes the vulnerable experience of art, particularly in the face of “ideas” or posturing that move away from that experience.

—R. W. Gray

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Apr 122015
 

Last Judgement by Jan van Eyck


“Consider a little, if you please, unmerciful Doctor, what a theater of Providence this is: by far the greatest part of the human race burning in flames forever and ever. Oh what a spectacle on the stage, worthy of an audience of God and angels! And then to delight the ear, while this unhappy crowd fills heaven and earth with wailing and howling, you have a truly divine harmony.” 
Thomas Burnet, De Statu Mortuorum Et Resurgentium Tractatus, (On the State of the Dead and the Resurrection) posthumously pub. 1720

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George Coyne, S. J., former Director of the Vatican Observatory and currently McDevitt Chair at Le Moyne College in Syracuse, recently repeated to me in conversation a question posed to him by the late Carl Sagan, of Cornell and Cosmos fame. Sagan’s more-than-rhetorical question, as fellow astronomer and seeker, was a compelling one: “Why should you be given the gift of faith, and not me?” Coyne acknowledged that he had no full answer, though he surmised that his reception of the gift of faith had much to do with his own actions, specifically his having read Augustine and Aquinas.

So have I, but, alas, that reading gradually but permanently shook rather than bolstered my faith. Listening to Fr. Coyne’s report of his response to Sagan, I recalled being disturbed, as a student at Fordham University, by the insistence of Augustine that since humanity is stained with a primal sin, we are utterly dependent on God’s grace, a position that seemed to severely limit human freedom. As Peter Brown notes in his magisterial biography, Augustine of Hippo (1967, updated in 2000), the idea of an ancient transgression as an explanation for present misery was current in both pagan and Christian thought. And Augustine was, of course, steeped in Paul, especially the Epistle to the Romans, and haunted by Paul’s Adamic argument that “sin came into the world through one man and death through sin, and so death spread to all men because all men sinned” (Rom 5:12-13). This is a succinct statement of what would become known as Original Sin, a doctrine we associate in particular with Augustine, who, I couldn’t help feeling, spun it, whatever its pagan and Pauline antecedents, primarily out of his own entrails. Convinced that only divine grace could curb a libidinal drive he often felt personally powerless to control, Augustine, on the basis of his own sexual psychology, extrapolated a universal doctrine of primal sin, inherited guilt, and absolute dependence on the grace of God.

Augustine -Jaume_Huguet_Consecration_of_Saint_AugustineConsecration of Saint Augustine by Jaume Huguet

The result was a biographical-theological mélange that minimized, without utterly excluding, the role of individual free will. Even when he gestures toward free will, the pessimistic Augustine emphasizes the wrong choice, that of the lower rather than the higher. In a notably Neoplatonic passage in Book 12 of The City of God, he observes that “when the will abandons what is above itself and turns to what is lower, it becomes evil, not because that to which it turns is evil, but because the turning itself is wicked.” That wicked turning, which began in Eden, reduces the whole of fallen humanity to what Augustine calls a sinful “lump” [massa]. The allusion is to Paul’s Potter-God molding a “lump” of clay (Rom 9:20-21), but Augustine goes beyond Paul, for whom the lump has no right to question its Maker, who chooses willy-nilly to produce “vessels” reflecting his “mercy,” or “vessels of wrath made for destruction” (Rom 9:22-23). Mere clay is not low enough for Augustine, for whom postlapsarian humanity is a collective “lump” of sinful and damnable filth—massa peccata, massa perditionis, massa damnata (Enchiridion, 98-107). In his treatise “On Grace and Free Will” (426-27), Augustine writes that while “God foreknows what we are going to will in the future, it does not thereby follow that we are not willing something freely” (255). But his emphasis is always less on human than divine will, with salvation a free and foreordained gift of God, given gratis and independent of a person’s individual merit. Reading the newly discovered letters Peter Brown printed in the 2000 update of his biography, I was less than fully persuaded by his claim that they substantiate Augustine’s place as the “inventor of the modern notion of the will.”

On Grace and Free WillSt. Augustine by Antonello da Messina

“Those who love [God] are called according to his purpose,” and “those whom he predestined he also called; and those whom he called he also justified; and those whom he justified he also glorified” (Rom 8:28-30). This passage from Romans clearly contributed to Augustine’s own version of predestination, which intensified in the later phases of his increasingly furious combat with Pelagius and his followers. When I first read Augustine’s anti-Pelagian tracts, I connected them with another obsessive and sustained assault I was studying at the same time in a Fordham history course: Edmund Burke’s protracted attempt (1788-95, the longest trial in British history) to convict the impeached Warren Hastings, Governor-General of India. In the end, though he was financially ruined, Hastings was not convicted: an acquittal, fumed Burke, who had stressed the “moral” dimension of Hastings’s alleged “corruption,” which redounded to “the perpetual infamy” of the House of Lords.

Augustine’s equally fervid confrontation was with the infamy of Pelagianism, embodied in Julian (380-455), the bishop of Eclanum, and the semi-Pelagian monk John Cassian, both of whom, in responding to Augustine, gave as good as they got. Like the British monk Pelagius and Julian, Cassian, an ardent disciple of Origin, emphasized human capability and responsibility in actively co-operating with God: a mixture of optimism and insistence on human agency that provoked the now elderly and crusty bishop of Hippo into angry responses, including his most extreme assertions of precisely what the Pelagians had accused him of: predestination. Or so I saw it; and though my Jesuit professors at Fordham suggested otherwise, I begged (mostly quietly) to differ. When, two years after I graduated, I read Gerald Bonner’s Saint Augustine of Hippo: Life and Controversies (1963, rev. 1986), I felt vindicated. Bonner admires Augustine and the best part of his book is his informed and balanced account of the Pelagian controversy (also discussed at length in Part IV of Peter Brown’s biography), which makes his conclusion, a mixture of admission and dismissal, all the more compelling: “Augustinian predestination is not the doctrine of the Church but only the opinion of a distinguished Catholic theologian” (592).

Bonner

Obsessed with the monstrous transgression of Adam and Eve, transmitted as Original Sin, and by his theology of grace, did late Augustine plunge into the heretical pitfall of strict predestination? Certainly his pessimistic view of fallen human nature, darkened by the contemptu mundi perspective he had inherited from the Neoplatonists and the Stoics and by his own idiosyncratic emphasis on the role of sexual reproduction in transmitting Original Sin, led Augustine to claim that our natural proclivity is toward evil and that all our impulses to good are dependent on God’s grace. What makes his position darker still is Augustine’s post-Pauline insistence that the decision on God’s part as to who receives this grace is, as the word itself suggests, gratis—gratuitous, arbitrary.

According to Augustine (and Aquinas after him), while God wills the salvation of all, certain souls are granted special grace that in effect foreordains their redemption. But “why one is called and the other not” has to do with the “inscrutability” of God. “Why God draws this one and not that other,” Augustine admonishes, “seek not to know or to judge.” And later in the treatise I am citing, in a chapter titled “The Difficulty of the Distinctions Made in the Choice of One and the Rejection of Another,” he concludes that we have no right to question God and that “he who is condemned has no ground for finding fault” (De dono perseverantiae, chapter 16). Augustine is alluding to those “called according to” God’s “purpose” in Rom 8:29-30, and to a passage he specifically cites: Paul’s rhetorical question, “who are you, a man, to answer back to God? Will what is molded say to its molder, ‘Why have you made me thus?’” (Rom 9:20).

Boethius.consolation.philosophyAn early printed version of Boethius’ The Consolation of Philosophy 

In short, Augustine restates rather than responds to the crucial question posed by Carl Sagan to Fr. Coyne: “Why have you been given the gift of faith, and not me?” Though, as with countless others over the past millennium and a half, I found help on this issue in the lucid prose and dialogue form of The Consolation of Philosophy by Boethius, as a sophomore in college, I was hardly equipped to unravel the paradoxical relationship between God’s foreknowledge and human free will. So “Seek not to know”: simply accept the idea that, by means of his mysterious “grace,” an all-foreseeing God—who made his decision before the oceans rolled, indeed before “time” itself— “predestined those he called” to eternal life, leaving others in their sin, but “justly” condemned as a result, paradoxically, of their own “choice.” Wherever one finally comes down on this simultaneously fascinating and repellent issue, Augustine more than flirted with the unspeakably horrible doctrine of predestination as it later culminated in Luther, an Augustinian monk after all, and, especially, Calvin, who claimed he could have written an entire book “out of Augustine alone” to justify his theology, a theology based on the adamant insistence that while “some,” the so-called Elect, are “predestined unto everlasting life,” all “others” are “preordained to everlasting death.” That is to say, hell—about which Augustine himself has much to say.

In The City of God, Augustine distinguished between the Last Judgment and a Particular Judgment (which he illustrates with the story, in Matt. 16:19-31, of poor Lazarus and Dives, the rich man who had turned the beggar from his door and now, dead and suffering in the flames of Hades, begs Lazarus for a drop of water.) There may be hope following the “first death” and the Particular Judgment, but after the “second death” and the Last Judgment, reward or punishment is irrevocable and eternal. Citing scripture, Augustine resisted those who argued, or at least hoped, that hell’s punishment, however fierce, would not be eternal. It would be both, he insisted—basing his position, as always, on the Original Sin in Eden:

Hell, also called a lake of fire and brimstone, will be material fire, and will torment the bodies of the damned, whether men or devils—the solid bodies of the one, and the aerial bodies of the others; [for] the evil spirits, even without bodies, will be so connected to the fires as to receive pain….One fire certainly shall be the lot of both…eternal punishment seems hard and unjust to human perceptions, because in the weakness of our mortal condition there is wanting that purest and highest wisdom by which it can be perceived how great a wickedness was committed by that first transgression. (The City of God, Books 10, 21)

Augustine, writing in 426, is more severe than Yahweh himself, who told the perpetrators of that “first transgression,” Adam and Eve, that they would “die” if they ate of the forbidden fruit, not that they were risking eternal torment in hell. To be as literal as the literalists, an eternity of pain cannot be the fate even of their son, the first murderer, since anyone who killed Cain would suffer punishment “seven times greater” than his own. In fact, from Genesis on, there is no clear reference in the Hebrew scriptures to a place of eternal punishment. Christian preachers often allude to, or actually cite, Old Testament passages. But while they habitually turn “Sheol” and the dark valley of “Gehenna” into figurative equivalents of “hell,” no Jewish translation of the Hebrew scriptures into English does so. The most “hellish” text—handled gingerly by Jewish scholars, but seized on with relish by Christian exegetes eager to prove the eternal punishment of the wicked—is the rhetorically magnificent but horrific climax of the Book of Isaiah. There the Lord says that he will make a “new heavens and new earth” for the faithful, who shall “go forth and look on the dead bodies of the men that have rebelled against me; for their worm shall not die, their fire shall not be quenched, and they shall be an abhorrence to all flesh” (66:23-24).

That final verse, the one Hebrew text on which a doctrine of eternal torment can be based, “is so gruesome,” John Sawyer notes in The Oxford Companion to the Bible (1993), “that in Jewish custom the preceding verses about ‘the new heavens and the new earth’ are repeated after it, to end the reading on a more hopeful and at the same time more characteristically Isaianic note” (327). Countless Christian theologians and preachers went in the decidedly un-hopeful other direction, harping on, and taking sadistic relish in, Isaiah’s imagery as proof of eternal punishment. As we’ll later see, in the unforgettable Hell-sermon at the center of A Portrait of the Artist as a Young Man, Joyce’s Fr. Arnall not only cites Isaiah’s worm and stench, but takes for granted that they are sensuous aspects of eternal anguish, climaxing in that “quenchless fire.” Yet it could be argued that even in his most “gruesome” image, Isaiah refers to rotting and noxious carcasses, “an abhorrence to all flesh,” not to the rebels’ continuing personality—nephesh, the soul or living being—which alone could be subject to eternal torment.

Augustine’s central ideas often had horrible consequences. In an early public debate “Against Fortunatus” (August, 392), he had declared, “There are two kinds of evil—sin and the penalty for sin” (Earlier Writings, ed. Burleigh [1950], 15). Since we are all allegedly stained from birth with Original Sin, what penalty is to be suffered by infants who die before being baptized? The Church, understandably, has long anguished over this issue—beginning as early as the 4th century, with the treatise on the early death of infants (De infantibus praemature abreptis libellum) by Gregory of Nyssa, an early believer in universal reconciliation. To my dismay, I soon discovered that the dilemma persisted long after Gregory’s attempt to humanely resolve it. A millennium later, the great Council of Trent (1545-65), famed for its lucid definitions, concluded, in its fifth session, that, “Infants, unless regenerated unto God through the grace of baptism, whether their parents be Christian or infidels, are born to eternal misery and perdition [perditionis aeternum].”

Council_of_Trent_by_Pasquale_CatiCouncil of Trent by Pasquale Cati

There have been many intellectual efforts, notably including the desperate if humane hypothesis of the now defunct Limbo (on which the theological doors closed in late 2005), to get the babies out of hell. But even the eminent thinkers subsequently gathered in the Vatican to form, in 2007, an International Theological Commission, though reading the “signs of the times,” could offer only a wistful “Hope”—to cite the final subtitle of the concluding section (“Spes Orans: Reasons for Hope”) of their lengthy and learned final document. Their inconclusive Conclusion was that, “there are strong theological and liturgical reasons to hope that infants who die without baptism may be saved and brought into eternal happiness, even if there is not an explicit teaching on this question found in Revelation.”

Such are the fruits of the toxic doctrine of Original Sin, as promulgated, above all, by Augustine, whose preeminence as a theological juggernaut eclipsed all rivals until the advent of Aquinas. For the formidable but bleak Bishop of Hippo, no one was exempt from punishment “unless delivered” by an inscrutable God’s “mercy” and by “grace,” which was “undeserved.” And those delivered will be a minority. Jesus himself distinguished between the narrow-gated road that will lead the “few” to salvation and the broad-gated road that will lead the “many” to destruction (Matt 7:13-14). An echoing Augustine, consigning the bulk of humanity to perdition, writes, “Many more are left under punishment than are delivered from it in order”—he adds, setting up damnation as a grim example even for those who made the cut through no merit of their own—“that it may be shown what was due to all” (City of God, Book 22). In short, because of Original Sin, we are all guilty, and deserving of hell. And when that stain has not been cleansed by the sanctifying grace of baptism, it follows, and Augustine unhesitatingly followed that appalling logic—even if the prospect of babies in hell is more hideous than the doctrine of predestination itself— that unbaptized infants must be damned: a singularly atrocious example of what “was due to all.”

The most gifted and persistent opponent of Augustine on infant perdition, indeed on Original Sin root and branch, was Julian of Eclanum, the most prominent second-generation follower of Pelagius. His writings have been preserved, primarily and ironically, by Augustine himself, who quoted freely from Julian’s attack on the doctrine of Original Sin in his own refutation, contra Julianum Pelagianum. In countering Augustine’s dark view of human nature and sexuality, Julian went to the other extreme, his optimism verging on perfectionism. He also set against Augustine’s emphasis on eternal punishment his own version of ultimate reconciliation: a theory of universal salvation (apocastasis) first fully worked out by Origen (c. 185-254), the most brilliant and radical student of Clement of Alexandria. Origen’s belief that through Christ’s sacrifice even Satan might be redeemed (restored by the refining fires to his original angelic state as Lucifer) led the Christian bishops gathered at the Synod of Constantinople in 543 to condemn anyone who said or thought that “there is a time limit to the torments of demons and ungodly persons,…or that they will ever be pardoned or made whole again.” The target was Origen, posthumously excommunicated at this Synod, and, for good measure, at subsequent synods in 553, 680, 787, and 869.

Keane5Nave of Church of the Gesù by Giovanni Battista Gaulli

Julian was himself excommunicated by Pope Celestine in 430, the year of Augustine’s death, for earlier refusing to sign on to Pope Zosimus’s excommunication of Pelagius. But despite the contemporary and historical triumph of his rival, Julian’s rejection of Augustine’s doctrine of Original Sin and his revulsion from the idea of unbaptized infants roasting in hellfire has always seemed to me a welcome alternative to the somber broodings of the Bishop of Hippo. In Book 6 of his contra Julianum Pelagianum, responding to the final Book of Julian’s treatise, Augustine had reasserted his position that, because of collective guilt stemming from the sin of Adam, the inherited “contagion” of Original Sin, “infants who die without the grace of regeneration [the sole source of which is the sanctification of baptism] are excluded from the kingdom of God.” I continue to share Julian’s humane indignation at Augustine’s presuming to speak for God in condemning infants. By an intriguing accident, the theological and ad hominem attack I quote here survives only because it happened to be among the unfinished work on Augustine’s desk at the time of his death:

Tiny babies, you say, are not weighed down by their own sin, but are burdened with the sin of another. Tell me then, who is this person who inflicts punishment on innocent creatures? …you answer God. God, you say, God! He who commanded His love to us, who has not spared His own Son for us…He it is, you say, who judges in this way; he is the persecutor of newborn children; he it is who sends tiny babies to eternal flames….It would be right and proper to treat you as beneath argument: you have come so far from religious feeling, from civilized feeling, so far, indeed, from mere common sense, in that you think your Lord God is capable of committing a crime against justice such as is hardly conceivable even among the barbarians. (Opus imperfectum contra Julianum, I. 48ff)

As revealed by the final report of the theologians convened in Rome in 2007, the Catholic Church has still not found a definitive way to extricate itself from this grotesque spectacle. The Commission labored, and brought forth a mouse—a “hope” that the babies might be saved, but a hope lacking any “explicit” scriptural basis. What, one wonders, about Jesus, who, indignant at his disciples’ attempt to rebuke those who were “bringing children to him, that he might touch them,” insisted (in all three synoptic Gospels), “Let the children come to me, do not hinder them; for to such belongs the kingdom of heaven” (Mark 10:14; cf. Matt 19:14, Luke 18:16). Or, moving beyond scripture, one wishes these male theologians had been moved by the account of the third-century martyr, Perpetua, who envisioned, in her own prison-cell, her younger brother (who had died as an unbaptized child) liberated from a place of heat and thirst, and now, thanks to her prayers, drinking at a pool and “playing joyously as young children do.” Or, finally, why not take into account Julian’s rebuke of Augustine for lacking “religious” or “civilized” feeling, mere “common sense” and “justice”?

But the deliberations of these 21st-century theologians were dominated and (to my mind) warped by Original Sin, much of its obsessive doctrinal burden to be tracked back to fifth-century Hippo. For all his indisputable greatness, this is part of Augustine’s ambiguous legacy. Historically and officially, the Catholic Church may have denied, downplayed, or backed away from, the more extreme of Augustine’s doctrinal obsessions; but because of his sheer intellectual power and the magnitude of his authority, he has cast a shadow over the past 1,600 years of Western Christianity, for me, a remarkably dark shadow. Augustine’s particular pessimistic vision was shaped by his own sexually-obsessed psychology, the theological controversies in which he engaged, and, of course, by his response to the history he witnessed in an age of barbarian invasions, culminating in the Fall of Rome in 410, and the siege of Hippo itself in the final years of Augustine’s life. But one wishes that readers, especially theologians, who have adopted or succumbed to the Augustinian darkness would also have remembered the following sentence: “Here also is a lamentable darkness in which the capacities within me are hidden from myself, so that when my mind questions itself about its own powers, it cannot be assured that its answers are to be believed” (Confessions, Book 10:32).

An admirable questioning of his own certitudes, but hardly enough to make up for the subsequent damage caused by Augustinian “answers” that were “believed” by far too many for far too long. While the Confessions and parts of The City of God remain indelible in my memory, the reading of Augustine certainly failed to bestow upon me—as it did upon George Coyne, to revert to his response to Carl Sagan—the “gift of faith.”

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Whatever his inclination toward predestination and his insistence on the eternity of punishment (even of the little ones Jesus wanted near him), Augustine seems rather dispassionate about the actual witnessing of that punishment. He does remark that those who enter into the joy of the Lord “shall know what is going on outside in the outer darkness” and that the saints, “whose knowledge is great,” shall be “acquainted…with the sufferings of the lost” (The City of God, Books 20, 22). But he doesn’t seem to have taken sadistic pleasure in the torments of the damned. That ultimate form of Schadenfreude, and another pivotal challenge to my faith, was awaiting me in the pages of the other theologian cited by George Coyne as a pillar of his faith: Thomas Aquinas.

Keane2An image from the Winchester Psaltery (c. 1225)

I learned a great deal from working through the Summa Theologiae, my reading of which began in 1958, the very year George Coyne himself graduated from Fordham. Indeed, for a time I re-oriented my thinking, replacing Augustine’s Christianizing of Plato (or, rather, the Neoplatonists) with Thomas’s Christianizing of Aristotle. Then, one fateful day, I came upon a passage in the Third Part of the Summa, Supplement, Question 94, First Article, titled “Whether the Blessed in Heaven Will See the Sufferings of the Damned.” Here, the good Doctor tells us that “Beati in regno coelesti videbunt poenas damnatorum, ut beatitudo illis magis complaceat [The blessed in the kingdom of heaven will be allowed to see the sufferings of the damned in order that their bliss may be more delightful to them].

More than a half-century later, I can still recall my shock in encountering words I found morally repellent. In the years to come, I would, like all of us, encounter innumerable examples, ranging from the pettiest to the most malicious, of people taking pleasure in the temporal misfortune, even the suffering, of others. And literature provided still more illustrations. I was struck, in reading The Iliad, by those panoramic scenes of the Homeric gods looking down from Olympus, taking pleasure in the entertainment provided by the spectacular carnage of the Trojan War. I was aware, too, of a famous passage in a favorite text, De rerum natura, where Lucretius captures the emotion of Schadenfreude in an extended image: Suave, mari magno turbanti aequora ventus, e terra magnum alterius spectare laborem [It is pleasant to watch from the land the great struggle of someone else in a sea rendered great by turbulent winds]. At the same time I was reading Augustine and Aquinas, I was also deep into the Romantic poets. And so I was familiar with Lord Byron’s moving portrait of the Gothic gladiator, torn from his native land, his children, and his wife, and now about to die in the Coliseum, “Butchered to make a Roman Holiday!” (Though there was a scene outside the Coliseum in the 1953 Audrey Hepburn-Gregory Peck film, Roman Holiday, it seems unlikely that whoever titled this delightful and poignant movie had the full Byronic context of the phrase in mind.)

In light of the very different, but Coliseum-related, passage I will soon be quoting from Tertullian, it is worth noting that this butchery to please the bloodthirsty Roman spectators is not the only Schadenfreude-moment in this famous passage from Canto IV of Childe Harold’s Pilgrimage. The spectacle of the dying German gladiator, a sacrifice that pleased the sadistic Roman crowd safe in their seats, aroused the compassion, and stirred the anger, of the anti-imperialist poet: “Shall he expire, / And unavenged? Arise, ye Goths, and glut your ire!” And the passage ends on a final note of commendable Byronic Schadenfreude: a glimpse of “Rome and her Ruin past Redemption’s skill”—a sort of proleptic vision of vengeance Byron empathetically shares with his coerced and slain gladiator.

Lord_Byron_Childe_Harold's_Pilgimage

But in 1958, for all my delvings into theology, philosophy, and literature as a member of the advanced “A” Class at Fordham, I was still an inexperienced naif from the Bronx and a practicing Catholic. To encounter this passage about the bliss of the blessed being enhanced by delighting in the torments of the damned, coming from, of all people, Catholicism’s central philosopher-theologian, stunned me—especially since elsewhere in the Summa (Second Part, Question 74), Aquinas identifies delectatio morosa [morose delectation] as a sin. In fact, I was still disturbed enough a year later to finally seek out a particularly eminent Jesuit on campus, who referred me to literature on what has been called “the Abominable Fancy.”

farrarFrederick Farrar

The term, coined by the 19th-century cleric and writer, Frederick Farrar, refers to what I learned was a long-standing Christian idea that witnessing the sufferings of the doomed intensified the bliss of the saved. Farrar himself was a believer in universal reconciliation, a position he defended at length in Eternal Hope (1879) and Mercy and Judgment (1881). In his 1963 book The Decline of Hell, D. P. Walker remarks that the idea of eternal punishment in hell (a tradition “almost unchallenged” until the 17th century) was often accompanied by the idea that “part of the happiness of the blessed consists in contemplating the torments of the damned.” He offered a persuasive double-explanation: “The sight gives them joy because it is a manifestation of God’s justice and hatred of sin, but chiefly because it provides a contrast which heightens their awareness of their own bliss.” Nevertheless, echoing Farrar, he describes it as a particularly “abominable aspect of the traditional doctrine of hell” (29).

Advocates of what Farrar and Walker condemn as an abomination cite scriptural roots, some tenuous in terms of eternal vengeance. In Psalms, for example, “the righteous shall rejoice when he sees the vengeance” (58:10) and, in 68:2-3, when the “wicked perish before God,” the righteous shall “be joyful; let them exult before God; let them be jubilant with joy.” In a favorite phrase of devotees of the abominable fancy, the righteous shall “go forth” to enjoy the suffering of the damned, an allusion to the famous finale (Isaiah 66:24), in which the faithful “go forth and look” on the rotting corpses of the rebellious; as earlier noted, the reference may be restricted to mutable bodies rather than eternal souls. But in the more explicit and far more vengeful New Testament Book of Revelation, we are informed not only that, thanks to an avenging God, the saints and prophets” shall “rejoice” over the fallen city of Rome (18:20), but that the vengeance announced by the Third Angel will be eternal and witnessed by the whole of the heavenly host, including Jesus: a gazing-down scene popular in ancient and medieval iconography. Whoever “worships the beast,” thunders the Apocalyptist, “shall drink the wine of God’s wrath,” and “shall be tormented with fire and brimstone in the presence of the holy angels and in the presence of the Lamb. And the smoke of their torment goes up forever and ever” (14:9-11).

This is presumably the passage to which Thomas Burnet was alluding in ironically describing the “divine harmony” produced by the burning of most of humankind in “the presence of an audience of God and angels.” But another text Burnet may have had in mind in satirizing the delight of that “audience” enjoying the agonies of the damned as an infernal “spectacle on the stage,” is the very book to which my Jesuit mentor directed me without further comment: Tertullian’s De Spectaculis, “On the Spectacles,” perhaps the most sustained and sensational illustration of the Abominable Fancy. I repaired to the old Duane Library and found the text, newly translated by Rudolph Arbesmann, and included in Tertullian: Disciplinary, Moral, and Ascetical Works (Fordham UP, 1959). Pagan public spectacles, such as those in the Coliseum, are despicable. Thus far, Tertullian and the Byron who elegized the dying gladiator are in agreement. But their versions of Schadenfreude could hardly be more antithetical.

ByronPortrait of Lord Byron by Thomas Phillips

Rebelling against but haunted by Calvinist indoctrination and harangued by a pious mother and scripture-spouting nurses, Byron was simultaneously shadowed by the fear that he was predestined to damnation and appalled, on humane grounds, by the very concept of eternal punishment. In serious works, like his great closet drama Cain, he identified with the title character and even with rebel Lucifer; and in his jocoserious moments, especially in his two ottava rima comical masterpieces, Don Juan and The Vision of Judgment, Byron mocked aspects of a religion whose catechism he knew more intimately than most believers, praising Jesus but targeting Christian cant and cruelty. In Don Juan, he dealt with the pitiless but pious burning of heretics in a single wittily-rhymed couplet: “Christians have burned each other, quite persuaded/ That all the Apostles would have done as they did” (I.83). And in stanza 14 of The Vision of Judgment, he displays a universalist tolerance and compassion alien to Tertullian’s relish in the agony of the damned: “I know,” says Byron at his ironic best, “this is unpopular; I know/ ‘Tis blasphemous; I know one may be damn’d/ For hoping no one else may e’er be so….”

TertullianTertullian

Here, at last, is Tertullian on Spectacles. The greatest, and by far the most entertaining, spectacle of all, he gloats in Chapter 30, will be the Final Judgment, when the mighty of the world shall be consumed in flame. (In the extraordinary passage that follows I do not adhere to any single translation):

You are fond of spectacles? Expect the greatest of all spectacles, the last and eternal judgment of the universe. How shall I admire, how laugh, how rejoice, how exult, when I behold so many proud monarchs and fancied gods, groaning in the lowest abyss of darkness; so many magistrates, who persecuted the name of the Lord, liquefying in fiercer fires than they ever kindled against the Christians; so many sage philosophers blushing in red-hot flames with their deluded pupils; so many celebrated poets trembling not before the judgment-seat of Rhadamanthus or Minos, but of Christ—a surprise! So many tragedians, more tuneful in the expression of their own sufferings, should be worth hearing! Dancers and comedians skipping in the fire will be worth praise! The famous charioteer will toast on his fiery wheel; the athletes will cartwheel not in the gymnasium but in flames….

The scenes in which he exults, taking “greater delight…than in a circus,” are in the future. “Yet even now,” Tertullian concludes, “we in a measure have them by faith in the picturings of imagination”—just such a topsy-turvy “picturing” as he has here vividly presented. In this reversal, the pagan gods are supplanted by Christ (as in Milton’s “Nativity Ode”), pagan thought and art by the new religion, present suffering by future bliss. Oppressed by prideful pagan masters who tortured and martyred them in public spectacles, Christians will have the last vengeful laugh, looking down, as it were, from the good seats in the Heavenly Coliseum, at the “greatest of all spectacles,” the fiery Hell of the Last Judgment.

Though Tertullian’s fervid and vindictive rhetoric, a masterpiece of Schadenfreude, was reduced by Arbesmann (in a footnote) to “a colorful description of the millennium,” it had been, I soon discovered, singled out by Edward Gibbon for special censure. In his great history of the Roman Empire, Gibbon notes that early Christian hatred of “idolatrous” pagan spectacles and games embraced all pagan art and scholarship—an eternal condemnation, at the very least of those who persisted in their obstinacy after the redemptive sacrifice of Christ on the cross. “These rigid sentiments,” writes Gibbon, “which had been unknown to the ancient world, appear to have infused a spirit of bitterness into a system of love and harmony…[T]he Christians who, in this world, found themselves oppressed by the power of the Pagans, were sometimes seduced by resentment and spiritual pride to delight in the prospect of their future triumph.” After citing at length the “stern Tertullian” of chapter 30 of De Spectaculis, Gibbon adds: “But the humanity of the reader will permit me to draw a veil over the rest of this infernal description, which the zealous African [Tertullian is believed to have been born or at least raised in Carthage, in Roman North Africa] pursues in a long variety of affected and unfeeling witticisms.” (Decline and Fall of the Roman Empire, Chapter 15)

As intended by the Jesuit who had directed me to it, the passage of Tertullian placed Aquinas’s comment in historical and religious context, that of imperial Rome in the 3rd century AD (De Spectaculis was probably written in the second decade of that century, after Tertullian had allied himself with the prophetic Montanist sect). But that context did not make the statement of Aquinas, a millennium later, any less repellent; and Gibbon’s humane rejection of the “resentment and spiritual pride” into which Tertullian had clearly been “seduced” tallied with my own aversion from the echoing passage in Aquinas. Tertullian’s relishing of this one “spectacle” may also be echoed in another passage likely to have influenced Aquinas. The pre-Thomistic scholastic theologian Peter Lombard, in his Sentences (Libri quatuor sententiarum), written in the mid-twelfth century, speaks of the “elect” sallying forth to witness “the torments of the impious, seeing which they will not be grieved,” but rather “will be satiated with joy at the sight of the unutterable calamity of the impious” (Sentences, IV. 50).

But the more I looked into the abyss, the more I realized the extent to which the retributive hell envisioned in the Sentences and in the Summa had been preceded not only by Tertullian, but, minus an emphasis on the gloating bliss of the saved, by Paul and, with wrath rather than sadistic resentment, by Jesus himself. On eternal punishment, Paul goes into less detail than does Jesus and the author of the Book of Revelation. In the remarkably intense opening chapter of his second letter to the Thessalonians, however, Paul foreshadows the apocalyptic fury of Revelation, “when the Lord Jesus is revealed from heaven with his mighty angels in flaming fire inflicting vengeance” on those “who do not know God” or who “do not obey” Christ’s gospel: “They shall suffer the punishment of eternal destruction and exclusion from the presence of the Lord” (2 Thess 1:8-9).

Early in Romans, his longest and most influential letter and the one in which he has most to say about divine wrath, Paul observes that while “God’s kindness is meant to lead you to repentance,” those with hard and impenitent hearts are “storing up wrath for yourself on the day of wrath,” when “there will be “tribulation and distress for every human being who does evil” (2:6-10). As we have seen, the Potter-God analogy (Rom 9:21-23) imprinted itself indelibly on the rather fevered imagination of Augustine, who turned Paul’s “lump of clay” into a sinful, filthy, and doomed “lump”: massa peccata, massa perditionis, massa damnata. Even though he makes it clear that the clay vessels are preordained for either glory or destruction, Paul strikes a better balance than the Bishop of Hippo:

Has the potter no right over the clay, to make out of the same lump one vessel for beauty and anther for menial use? What if God, desiring to show his wrath and to make known his power, has endured with much patience the vessels of wrath made for destruction, in order to make known the riches of his glory for the vessels of his mercy, which he has prepared beforehand for glory…?” (9:20-23)

Paul advises us, still later in Romans (12:17), “Do not repay evil for evil.” But there is a catch; we are to forego personal vengeance in order to “leave room for God’s wrath.” In this way, by refusing to “take revenge” against your enemy, “you will heap burning coals on his head” (12:18-21). Moderate commentators have sought to make the final and most graphic image more palatable, suggesting that it refers to a form of ceremonial repentance or a shaming of one’s enemies. Perhaps. But when, in Paul’s likely source (Psalms 25:21-22), David cries out, “May burning coals fall upon them,” he is not talking about merely shaming his enemies. He is invoking what Paul (in the very epistle in which he has most to say about the subject) has just referred to as “God’s wrath.”

Divine wrath was certainly emphasized by Jesus, who—despite his embodiment of the Love thought to be the very antithesis of the God of Wrath—spoke more, and far more graphically, about Hell than about Heaven. In an unforgettable passage (John 10:7-10), Jesus presents himself as the “door” to salvation, as the “good shepherd” who “lays down his life for the sheep,” as he who “came that they may have life, and have it abundantly.” In the light of such moving and redemptive imagery, one wants to repress the darker side of Jesus’ ministry. My heart and head are with nuanced theologians, yet it seems to me that Jesus is speaking (or being made to speak by the Gospel-authors) literally rather than (as many would prefer) figuratively in those passages in which he opens the mouth of hell.

For the “door” swings both ways. In the passage I earlier suggested was echoed by Augustine in observing that “many more” are punished than are “delivered,” Jesus said: “Enter by the narrow gate; for the gate is wide and the way is easy that leads to destruction, and those who enter by it are many. For the gate is narrow and the way is hard, that leads to life, and those who find it are few” (Matt 7:13-14). The road most traveled by (and Jesus does suggest that most of humanity is on the road to perdition) leads to a hell that is a place of both “darkness” and flame, a “fiery furnace” where (in a phrase attributed repeatedly to Jesus, mostly in Matthew, to describe the torments of the damned) there will be “weeping and gnashing of teeth” (Matt 8:12, 22:17, 25:30; cf. Luke13:27-28). And when Jesus says, “Depart from me, you cursed, into the eternal fire prepared for the devil and his angels” (Matt 25:41), the departure implies more than separation from God and is obviously permanent. The damned are “cast into eternal fire” (Matt 8:18) its flames “unquenchable” (Matt 3:12, Luke 3:17, Mark 9:43). Thus, the “many” depart to a place of agony both intense and “everlasting”—the Greek word for which, aionios, occurs 71 times in the New Testament.

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That the adjective “everlasting” is applied in the New Testament to Heaven as well as Hell points to the Love/Wrath symmetry that ostensibly reconciles the great paradox: that eternal punishment is not inconsistent with the character of God, who is at once loving and benevolent, but also righteous and a God of justice, who metes out punishment as well as reward. The radiance of Jesus shines through the Gospels, despite such passages. But whether or not the hellfire passages accurately depict what Jesus actually said, they are there, and cannot simply be selectively dismissed by those who want a gentler Jesus—a Savior, but not a Sentencer. A major 19th- century theologian tried to do just that. The moderate and much-admired Anglican F. D. Maurice was dismissed from his position as Professor of Theology and Modern History at Kings College, London, when his Theological Essays of 1853 revealed his growing conviction that the notion of eternal punishment was erroneous, and based on a misunderstanding of biblical passages. Others went farther.

Frederick_Denison_Maurice._Portrait_c1865F.D. Maurice

In accord with their optimistic doctrine of apokatastasis, the idea of eternal punishment was rejected by prominent theologians, from Origen through Gregory of Nyssa, Julian, Scotus Erigena, and George MacDonald, whose 1879 rejection of the idea of eternal punishment cost him his post, as it had Maurice—in MacDonald’s case, his Church of Scotland pulpit. Such universalists, right up to the present, believe that divine Love will conquer all. In the words of Rowan Williams, the controversial former Archbishop of Canterbury, “if salvation is for any, it is for all” (The Truce of God [2005], 30). Yet the idea of universal redemption also reminds me rather too much of the Dodo Bird’s response to Alice’s query about how—since the runners in the race they are watching start when and where they want—a winner can be determined: “Everybody has won,” says the Dodo, unconsciously launching a thousand theses on moral equivalence, “and all must have prizes” (Alice in Wonderland, Chapter 3).

Alice_John_Tenniel_Alice and Dodo by John Tenniel

Others, seldom with the resentment-fueled malice of Tertullian, want a judgmental Jesus, since it seems only just that the wicked be punished, if not in this life, then in the next. For those more repelled than awed by the idea of “sinners in the hands of an angry God,” the punishment is justified on the basis of the free will minimized by Augustine. Human beings are free to accept or reject Christ’s offer of salvation. C. S. Lewis is emphatic about this choice. But while he bases his argument on freedom to choose, and wishes hell away, its horrors are presented with all of Lewis’s considerable imaginative power. He also grimly notes, in The Problem of Pain (1940), that our final choice is irrevocable and that “the gates of hell are locked from the inside” (127). Free will is also stressed by prominent Christian philosopher Alvin Plantinga, in God and Other Minds (1990), and elsewhere. Free choice was starkly presented in 2005 by Robert Jeffress, in Hell? Yes!—a cleverly glib title synopsizing his Schadenfreude-dripping certitude that “every occupant of hell will be there by his own choice” (85).

hell-yes-book

The smug, stony coldness of that verdict is intensified by the fact that the hell of the secularist-baiting Jeffress (as well as of Lewis and Plantinga) is “everlasting.” Even if punishment of sin is thought justifiable, surely eternal damnation, Augustine notwithstanding, is disproportionate given the brevity of human life; and grotesque in the case of those for whom history and geography ruled out knowing let alone choosing Christ. I am chilled by the thought that the gates of hell are “locked from the inside” and that every inmate “will be there by his own choice.” Nevertheless, as a professor opposed to grade inflation, I am with Alice rather than the Dodo. I also confess to being oddly stirred by the frisson of a remark the poet and Catholic convert Lionel Johnson, “his tongue loosened” by drink, once made in casual conversation with his friend Yeats: “I wish those who deny eternity of punishment could realize their own unspeakable vulgarity.” My response is precisely that of Yeats, who adds, “I remember laughing when he said it, but for years I turned it over in my mind, and it always made me uneasy” (private note, published in T. R. Henn, The Lonely Tower: Studies in the Poetry of W. B. Yeats [1950], 291). But even in Johnson’s remark we find hauteur and hyperbole rather than the flippant coldness of the author of Hell? Yes!, let alone the sadism and resentment Gibbon condemned in Tertullian’s catalogue of pagans groaning in darkness and liquefying in fire—to say nothing of his other “unfeeling witticisms” at the expense, for example, of the tragic poets now burning in hell, who have grown “more tuneful in the expression of their own sufferings.”

There is no dearth of preachers who take an unseemly pleasure in terrifying, or gratifying, their audiences with fire and brimstone. Celebrated theologians, perhaps most prominent among them Jonathan Edwards, have delivered sermons depicting the terrors of the pit of hell to motivate their flocks to repent and be saved. Edwards was, along with the more flamboyant George Whitefield, the key figure in the Great Awakening of the 1730s and 1740s in America. Speaking softly, he terrified those attending his classic 1741 Enfield sermon, “Sinners in the Hands of an Angry God”:

The pit is prepared, the fire is made ready, the furnace is now hot, ready to receive the wicked! The flames do now rage and glow. The God that holds you over the pit of hell, much in the same way one hold a spider or some loathsome insect, abhors you and is dreadfully provoked. (Works, VII, 499)

And, however intellectually enlightened he may have been, Edwards was an enthusiastic advocate of the abominable fancy. The “view of the misery of the damned,” he proclaims in an April 1739 sermon, “will double the ardor of the love and gratitude of the saints in heaven,” for whom the “sight of hell torments will exalt [their] happiness… forever (“The Eternity of Hell Torments”). A close disciple of Jonathan Edwards, Samuel Hopkins (1721-1803), though a humanitarian activist motivated by disinterested benevolence (indeed, an opponent of the slave trade who envisioned establishing colonies in Africa for liberated slaves), was rather less humane in contemplating the divine design involving hell, and the psychological as well as retributive purpose it served. He was even more explicit than his mentor Edwards about the suffering—specifically, the eternal suffering—of others being required to maximize the happiness of the blessed:

The display of the divine character will be most entertaining to all who love God, [and] will give them the highest and most ineffable pleasure. Should the fire of this eternal punishment cease, it would in a great measure obscure the light of heaven, and put an end to a great part of the happiness and glory of the blessed. (Works, 458)

Of course, to “all who love God,” there was also a “world of love” awaiting. Jonathan Edwards concluded his 1738 sermon, “Heaven is a World of Love,” by conditionally assuring his listeners, “if ever you arrive at heaven, faith and love must be the wings which must carry you there.” He would seem to be echoing the 1708 prayer of his fellow Congregationalist, Isaac Watts, whose hymns were known throughout Protestant Christendom:

Give me the wings of faith to rise
Within the veil, and see
The saints above, how great their joys,
How bright their glories be.

But Watts was also capable, enthusiastically if less characteristically, of attributing the “joys” of those “saints above” to the Abominable Fancy. The following quatrain comes from a hymn that presumably once fired up, or terrified, congregations, but which is seldom sung these days:

What bliss will fill the ransomed souls,
When they in glory dwell,
To see the sinner as he rolls
In quenchless flames of hell.

And what if the sinners rolling in quenchless flames happen to be the nearest and dearest of the ransomed? When asked if the saved will not be saddened by seeing loved ones tortured in hell, Martin Luther responded, “Not in the least.” And Johann Gerhard, the leading Lutheran theologian of the 17th century, observed that “the Blessed will see their friends and relations among the damned as often as they like but without the least of compassion.” Addressing a series of rhetorical questions—“Can the believing husband in heaven be happy with his unbelieving wife in hell? Can the believing father in heaven be happy with his unbelieving children in hell? Can the loving wife in heaven he happy with her unbelieving husband in hell?”—Jonathan Edwards responded quietly but exuberantly, “I tell you, Yea! Such will be his sense of justice that it will increase rather than diminish his bliss” (Discourses on Various Important Subjects, 1738). In his 1924 collection of essays, The Liberty of Man, Woman, and Child, the “Great Agnostic,” Robert Ingersoll, observed of this repudiation of the familial bond, “There is no wild beast in the jungles of Africa whose reputation would not be tarnished by the expression of such a doctrine.”

packer1J.I. Packer photo by Ron Storer

Such heartless theological sentiments persist. As we were recently assured by Canadian minister and theologian J. I. Packer, “love and pity for hell’s occupants will not enter our hearts” (“Hell’s Final Enigma,” in Christianity Today Magazine, April 22, 2002).Two years later, actor Mel Gibson, later notorious for a drunken anti-Semitic rant and various sexual infidelities, surprised an interviewer for the Australian Herald Sun by stating that his wife, Robyn, though “a much better person than I am,” indeed a “saint,” was an Episcopalian, and therefore headed to hell, since he was doctrinally certain that there was no salvation outside the Roman Catholic Church. Gibson, an ultra-conservative Catholic, either didn’t know or didn’t care that the ecumenical post-Vatican II Church had revised the old dogma, extra ecclesiam nulla salus. In any case, as a Catholic, he was going to heaven, from which perch he would ultimately and eternally be looking down on his wife in hell: a woman almost certainly “a much better person” than he—and, in her pre-infernal existence in the temporal world, remarkably well-off, having received 400 million dollars, the largest settlement in Hollywood history, when she divorced Gibson in 2011, less than a decade after he had consigned her to the pit of hell.

That dogma, and the familial heartlessness that turns, in Edwards and others, from wife, husband, and children in the name of theology, was still operative in the late 19th century, when, writing in Spanish, Cuban Archbishop Anthony Mary Claret composed a series of 35 meditations on the Ignatian Spiritual Exercises (translated into English in 1955 as The Golden Key to Heaven). Some meditations are admirable, but in addressing the “Pains of Hell,” Claret noted that “for all eternity,” a condemned “wretch” will be abandoned by friends, without a “kind word.” Rather, “they will be satisfied to see him in the flames as a victim of God’s justice. They will abhor him. A mother will look from paradise upon her own condemned son without being moved, as though she had never known him.”

In my junior year at Fordham, precisely a decade after Archbishop Claret was canonized by Pope Pius XII, we had a retreat that employed Ignatian “composition of place” to evoke the physical and spiritual agonies of eternal punishment: a presentation as graphic and horrifying as the hellfire sermon that sends a terrified Stephen Dedalus scurrying off to confession in A Portrait of the Artist as a Young Man. The sustained double-sermon in Portrait (it takes up most of Part III of the novel) was delivered by Fr. Arnall, Joyce’s fictional name for the priest, Fr. James Cullen, who led the actual retreat Joyce attended as a Belvedere College student. In fact as in fiction, the retreat was based on traditional Jesuit sermons. The main text Joyce used was Giovanni Pietro Pinamonte, S. J., Hell Opened to Christians, to Caution Them from Entering into It, first printed in Bologna in 1688, and frequently reprinted in English translations (though fluent in Italian, Joyce used a late 19th-century translation printed in Dublin).

Keane1Four Woodcuts from Pinamonte’s Hell Opened to Christians, to Caution Them from Entering into It

As I can attest from my own experience, the order, imagery, phrasing, biblical citations, and graphic images to which we were exposed at Fordham in 1960 were virtually identical to the pattern laid down in Giovanni Pinamonte’s uncompromising ur-text, a rhetorical set-piece at once salutary and terrifying. Another model for Fr. Arnall may have been the appropriately-named Fr. Furniss, a sadistic 19th-century Anglo-Irish priest who specialized in terrorizing children with the threat of hellfire. We can catch the flavor of the preaching of both Pinamonte and Furniss in the hell-passages of the sermon in Portrait. Though Fr. Arnall covers in sequence the four “last things, death, judgment, hell, and heaven,” the section of the retreat that struck terror in the soul of Stephen Dedalus, as in mine in 1960, followed the opening of the maw of hell—fusing Pinamonte’s title, Hell Opened to Christians, with the “opening” of the “mouth” of Sheol in Isaiah:

Hell has enlarged its soul and opened its mouth without any limits—words taken, my dear little brothers in Christ Jesus, from the book of Isaias, fifth chapter, fourteenth verse….

—Now let us try for a moment to realize, as far as we can, the nature of that abode of the damned to which the justice of an offended God has called into existence for the eternal punishment of sinners. Hell is a strait and dark and foulsmelling prison, an abode of demons and lost souls, filled with fire and smoke ….By reason of the great numbers of the damned, the prisoners are heaped together in their awful prison, the walls of which are said to be four thousand miles thick…They are not even able to remove from the eye a worm that gnaws it [echoing, like the coming “stench,” that old favorite, Isaiah 66:24]….They lie in exterior darkness…for the fire of hell, while retaining the intensity of its heat, burns eternally in darkness…

—The horror of this strait and dark prison is increased by the awful stench. All the filth of the world, all the offal and scums of the world, we are told, shall run there as to a vast reeking sewer when the terrible conflagration of the last day has purged the world…Imagine some foul and putrid corpse that has lain rotting and decomposing in the grave, a jellylike mass of liquid corruption. Imagine such a corpse a prey to flames, devoured by the fire of burning brimstone and giving off dense choking fumes of nauseous loathsome decomposition. And then imagine this sickening stench, multiplied a millionfold and a millionfold again from the millions upon millions of fetid carcasses massed together in the reeking darkness, a huge and rotting human fungus. Imagine all this and you will have some idea of the horror of the stench of hell.

But more and worse was to come: namely, the pain, intensity, and eternity of the fire “created by God to punish the unrepentant sinner”—a litany of tortures that out-Dantes Dante. Earthly fire consumes itself,

but the fire of hell has this property that it preserves that which it burns and though it rages with incredible intensity it rages for ever….The blood seethes and boils in the veins, the brains are boiling in the skull, the heart in the breast glowing and bursting, the bowels a redhot mass of burning pulp, the tender eyes flaming like molten balls…And the strength and quality…of this fire is as nothing when compared to its intensity, an intensity which it has as being the instrument chosen by divine design for the punishment of soul and body alike. It is a fire which proceeds directly from the ire of God, working not of its own activity but as an instrument of divine vengeance….Every sense of the flesh is tortured… and through the several torments of the senses the immortal soul is tortured eternally in its very essence amid the leagues upon leagues of glowing fires kindled in the abyss by the offended majesty of the Omnipotent God and fanned into everlasting and ever increasing fury by the breath of the anger of the Godhead.

Fr. Arnall concludes by praying “fervently to God that not a single soul of those who are in this chapel today…may ever hear ringing in his ears the awful sentence of rejection: Depart from me, ye cursed, into everlasting fire which was prepared for the devil and his angels!” (Portrait, 119-24).

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The emphasis of our retreat-master at Fordham was, as with Fr. Arnall, on repentance and salvation. But even their final prayerful citation of Jesus (Matt 25:41) intensified rather than alleviated the terror of being cast into “the everlasting fire.” There was nothing merely figurative about our preacher’s detailed descriptions of the myriad torments of hell, and, though I knew nothing in 1960 of Pinamonte or Furniss, it was sometimes hard to separate the tone and sensuous immediacy of our priest’s Jesuit rhetoric from the vindictive glee of Tertullian relishing the agonies of the damned.

NietzscheFriedrich Nietzsche

Shortly after I graduated from Fordham, in 1961, I read Nietzsche seriously for the first time. I had earlier responded to the excitement of his literary style and to what W. B. Yeats described with remarkable tonal accuracy as this “strong enchanter’s curious astringent joy.” But in reading On the Genealogy of Morals, arguably the most substantial of his works, I discovered that Nietzsche had responded to the very passages in Aquinas and Tertullian that had so troubled me a few years earlier at Fordham. Quoting both passages in Latin, Nietzsche attributed their sadism—as expressed particularly by that “enraptured visionary,” triumphalist Tertullian—to what he repeatedly condemns (always in French) as the ressentiment characteristic of “slave morality”— here, future “blessedness” as Will to Power in disguise (Genealogy of Morals 1:15). Gibbon’s image of oppressed Christians “seduced…by resentment and spiritual pride to delight in the prospect of their future triumph,” may have helped generate Nietzsche’s crucial concept, first announced in Beyond Good and Evil §260 and fully developed in the Genealogy, of ressentiment as the driving impulse of “slave morality”: the desire of the weak, the “good”, for vengeance against the strong, depicted not merely as “bad,” but “evil.”

The dubiousness of the doctrine of eternal punishment of those condemned as “evil,” let alone the appalling notion that, far from eliciting empathy, their suffering is a source of glee for the saved, becomes even more repugnant when that pleasure is extended from his creatures to the Creator himself. Some Christians claim that the bliss of the saints, enhanced by looking down on the suffering of the damned, is shared by God—as we just saw in quoting Joyce’s version of the standard Jesuit retreat-sermon as well as the sermons of Jonathan Edwards and his disciple Samuel Hopkins. Whatever the values of its spiritual revival, its influence in effecting social reforms, and its often splendid rhetoric, the Great Awakening seems to me more of a Great Nightmare. The God of Jonathan Edwards, whether the “angry God” who abhors the sinners he holds in his hands, or the “just” God who presides over a system in which the happiness of a father who has made it to heaven is increased rather than diminished by the sight of his “unbelieving children in hell,” is obviously a God to fear, but hardly one we would wish to love or to be coerced into worshiping.

Mills_Examination

I have in mind the conclusion of John Stuart Mill’s Examination of Sir William Hamilton’s Philosophy (1865), a book more revealing of Mill’s own philosophy. Putting aside the “glad tidings” of Jesus, Mill aligns himself with Hamilton in denying any “immediate intuition of God.” But some claim that the “infinite goodness ascribed to God” is not “the goodness we know and love in our fellow-creatures distinguished only as infinite in degree,” but is, rather, “different in kind and of another quality altogether.” In concluding, Mill, risking hellfire, defiantly rejects this God of transcendent, ineffable morality in the name of the highest form of morality among human beings, fellow-creatures with whom we interact ethically, compassionately, and, at our best, with love. “If,” Mill writes, “I am informed that the world”

is ruled by a being whose attributes are infinite, but what they are we cannot learn, except that the highest human morality does not sanction them—convince me of this and I will bear my fate as I may. But when I am told that I must believe this, and at the same time call this being by the names which express and affirm the highest human morality, I say, in plain terms, that I will not. Whatever power such a being may have over me, he shall not compel me to worship him. I will call no being good who is not what I mean when I apply that epithet to my fellow-creatures; and if such a being can sentence me to hell for not so calling him, then to hell I will go. (Works, ed. John M. Robson (1963-1991), 10:103.

Of course, human beings are not always “good.” We can, though it would fly in the face of centuries of Christian tradition, dismiss the notion (hardly restricted to Puritan or Jesuit hellfire sermonizing) of an angry and vindictive deity as an anthropomorphic projection, a reflection of human rather than divine cruelty, sadism, and ressentiment. And it is true that, in what Nietzsche called “these more humane ages,” most Christians, other than rigid traditionalists and literalist fundamentalists, think and speak less of a God of Wrath than of Love, and of hell (as even Billy Graham thinks) as separation from God rather than a literal “place.” Against the Great Awakening of Edwards and Whitefield may be set a more significant awakening: the dawning of the American Enlightenment, best personified by those two once-bitter political rivals and later great friends among the Founding Fathers, Thomas Jefferson and John Adams. “I can never join Calvin is addressing his God,” wrote the deist Jefferson to Adams:

He was indeed an Atheist, which I can never be….If ever a man worshipped a false God, he did. The being described in his 5 points is not the God whom you and I acknowledge, the creator and benevolent governor of the world; but a daemon of malignant spirit. It would be more pardonable to believe in no God at all, than to blaspheme him by the atrocious attributes of Calvin. (17 April 1823)

My friend Paul Johnston recently quoted an observation, made five years earlier, by this letter’s recipient. Writing on 14 September 1818 to Jefferson, Adams attacked reliance on miracles and prophecies, the idea of a vain and vengeful deity, and the awful belief that most of humankind is eternally doomed to Hell. He also offered a personal, rational and humane definition of what he believed it meant to be a Christian:

We can never be so certain of any prophecy, or of any miracle…as we are from the revelation of nature, that is, nature’s God….Can prophecies or miracles convince you or me that infinite benevolence, wisdom, and power created, and preserves for a time, innumerable millions, to make them miserable for ever, for his own glory? Wretch!…Is he vain, tickled with adulation, exulting and triumphing in his power and the sweetness of his vengeance? Pardon me, my Maker, for these awful questions. My answer to them is always ready. I believe in no such thing. My adoration of the author of the universe is too profound and too sincere. The love of God and his creation—delight, joy, triumph, exultation in my own existence—though but an atom, a molecule organique, in the universe—these are my religion. Howl, snarl, bite, ye Calvinistic, ye Athanasian divines, if you will. Ye will say I am no Christian. I say ye are no Christians.

After so much hellfire and rejoicing at its torments, we can find respite in the refreshingly unorthodox voice of Enlightenment Reason, blasphemous though it may be to traditionalists. The deist sobriquets for God, civic and civil, have, in contrast to the sound and fury of sectarian conflict and theological hairsplitting, a euphemistic charm. Momentarily setting aside the angry God and loving but wrathful Jesus of historical Christianity, we can join Jefferson in acknowledging the “benevolent governor of the world,” just as we share Adams’s exultation in his own existence, and appreciate his love of the benign “author of the universe.”

Baruch_Spinoza_-_Franz_WulfhagenBaruch Spinoza by Franz Wulfhagen

Jefferson’s insistence on intellectual and democratic freedom from a tyrannous religion, like the skepticism of Adams regarding the reality of “miracles” and his reinterpretation of the nature of “prophecy,” are aligned for me with the earlier and even more profound enlightenment provided by an Amsterdam Jew writing in the 17th-century Dutch Republic: the great Baruch (Benedict) Spinoza. Despite being expelled from his synagogue and condemned as an atheist, Spinoza proved to have immense appeal, exerting an influence that crossed sectarian divisions. Fervently and famously embraced as a “god-intoxicated man” by the German Catholic Romantic poet Novalis (Friedrich Hardenberg) and—by the English Romantic poets Coleridge and Wordsworth—as a pantheist for whom Nature was indistinguishable from God, Spinoza was also profoundly admired by the atheist Nietzsche, an opponent of all other Idealist philosophers, who rightly venerated Spinoza for his simple and sublime nobility of spirit. As did Einstein, who, because of the “God-talk” in which he expressed his sense of awe and wonder in contemplating the beauty, majesty, and ultimate mystery of the universe, was mistakenly thought, by American admirers in his adopted country, to be a believer in a personal God, one who intervened in human affairs and was accessible by prayer. No, explained Einstein, his “religion” was limited to reverence of the order (since “God did not throw dice”) of the cosmos itself, and his only deity was “Spinoza’s God.”

The first serious philosophy paper I wrote at Fordham was on Spinoza’s Ethics, and I still remember that my Jesuit professor, in grading the essay A+, added a remark more gracious than accurate: that I was “farther along than he on the via illuminativa.” But the work of Spinoza I later wished I’d focused on at Fordham was the Tractatus Theologico-Politicus (1670), an immensely influential treatise pioneering the argument that the Bible, written by prophets of superior ethics but vivid imaginations, was not to be read “literally.” Authentic religion had nothing to do with “miracles and prophecies,” church authorities, or divisive sectarian dogma. Instead, “true religion” was based on the moral imperatives to seek the truth, to love one’s neighbor, and to be tolerant. The book’s political chapters, as far in advance of their time as those on theology, were a sustained plea for democratic toleration, especially in defense of “the freedom to philosophize” without interference from religious or political authorities.

For such thoughts, Spinoza was driven from his synagogue in the harshest terms. The cherum (or ritual of expulsion and ostracism) reads in part: because of his “abominable heresies” and “monstrous deeds,” we “excommunicate, expel, curse, and damn Baruch Spinoza, with the consent of God and with all the curses…written in the Book of the Law.” The vicious backlash against the Treatise also came from Christians. Within weeks of its publication, it was denounced by a prominent German theologian as “a godless document” that should be banned in every country. One of Spinoza’s Dutch countrymen described it as an “atheistic book full of abominations…which every reasonable person should find abhorrent.” Another, not to be outdone, called the deeply moral and eminently reasonable Tractatus “a book forged in hell,” written not by the ethical thinker toiling as a lens-grinder in Amsterdam, but by the devil himself.

In short, before and after welcome bursts of Enlightenment, Dutch or American, there remains a long, problematic, and continuing history of religious intolerance and induced terror. Despite being surrounded by and taught by smart and compassionate Jesuits, and despite (perhaps because of) the fact that I was in the advanced theology course, and attended that terrifying retreat, I have always found it difficult, after those impressionable years at Fordham, to glibly dismiss the concept of the vengeful deity fearfully accepted, or sadistically embraced, by so many believers for so long. And, like it or not, and however softened or “symbolic” much non-fundamentalist Christianity has become in these “more humane ages,” the doctrine of eternal punishment—and the concept of a God willing to initiate, approve, and even occasionally take relish in such monstrous cruelty—has defined traditional Christian theology for most of its history.

The widespread phenomenon often described as the “decline” or even “disappearance” of hell—a trickle in the 17th century, a stream in the American Enlightenment (including the Divinity School Address of Emerson), and cresting in England and continental Europe in the later 19th century, first among Protestants, somewhat later among Catholics—is, taken as a generalization, a historical fact. But while hell’s heat has been lowered, its flames a mere flicker in comparison to their former raging in incendiary hellfire texts and sermons, the old time religion is still alive and well, among some televangelists, and in much of Bible-belt contemporary America.

As for Catholicism: A tonal and gestural sea-change has recently occurred. The election of Pope Francis, an Argentina-based Jesuit, signaled a dramatic double-shift: from Eurocentrism and from dogmatic harshness to compassion and tolerance. That shift seems decisive, but is it permanent, and how far can tone take us in tempering let alone altering doctrine? It was, after all, just seven years earlier that Francis’s conservative predecessor, Benedict XVI, strenuously reaffirmed traditional Church teaching on hell. Benedict’s own predecessor, John Paul II, had referred to damnation vaguely as an “eternal emptiness.” Reacting to the “decline of hell,” especially in Western Europe, Benedict complained that the place of everlasting torment was no longer much talked about. He went on to describe Satan as a “real, personal and not merely symbolic presence” and proclaimed that hell, far from being a mere state of mind, or a condition of separation from God, is an actual place, one that “exists and is eternal.” We were spared fire-and-brimstone details, but listening to this March 2007 proclamation on the radio, I was transported back almost a half-century to that Fordham retreat.

Having lost my faith while remaining fascinated by the figure of Jesus, attractive despite his apparent consignment of most of humankind to eternal punishment, I sometimes want to cry out with the boy’s father in Mark 9:24: “Help thou my unbelief.” But the theological Problem of Suffering goes beyond the posthumous torments of hell to pain right here on earth, with the undeserved suffering of the innocent presenting the single greatest challenge to my own ability to “believe” in a God simultaneously omnipotent, omniscient, and all-loving. As David Hume has “Philo,” the more skeptical of his two spokesmen, note in Part 10 of his posthumously-published Dialogues Concerning Natural Religion (1779), “Epicurus’ old questions are yet unanswered”—questions we may apply to the presence of evil and suffering in a world “groaning” for “deliverance” (Rom 8:19-22), or to the groaning of hopeless souls in hell. Simplifying Epicurus, Hume has Philo ask, “Is God willing to prevent evil, but not able? Then he is not omnipotent. Is he able, but not willing? Then he is malevolent. Is he both able and willing? Whence then cometh evil? (75).

Nothing I read in Augustine or Aquinas about God’s “justice,” or about the constrained freedom that makes eternal punishment the “choice” of sinners, enabled me to answer those questions. And my subsequent immersion in the pornography of the Abominable Fancy only deepened my alienation from the faith I was raised in, and problematized the beliefs I had brought with me as a Freshman entering Fordham. Beginning college was hardly the time to abandon reason; and, in fact, as my classmate and lifelong friend Bill Baumert has often noted in retrospect, we received a first-rate and rigorous education at Fordham—far superior to what generally passes as education these days at colleges and universities where the canon has been “exposed,” the curriculum softened, and demands on students drastically eased, as their prose deteriorates, tuition costs soar, and the party goes on.

But I’ve also had other thoughts in retrospect. Being shocked into intellectual as well as emotional resistance by my reading of that fateful passage in Aquinas, I may have betrayed my own growing commitment to the Romantic poets by embracing a too-narrow intellectualism when it came to theology. Not that I was willing, then or now, to honor Imagination by a descent into irrationalism, any more than the great Romantics did. Neither, for that matter, despite some of the words by which we best remember them, did Luther (for all his distrust and frequent condemnation of “that whore, reason”), nor even Tertullian, the passionate evoker of that circus-scene in which Christians would posthumously join him, exulting in the spectacle of pagans writhing in hellfire. Tertullian is even more famous for having said he “believed because it was absurd,” but it isn’t quite that simple.

In arguing, in de Carne Christi 5:4, that the resurrection of Christ’s body, crucified and buried, was certain because impossible [credibile est, quia ineptum es, et sepultus resurrexit, certum est, quia impossibile]—Tertullian may not have been relying on blind faith (the fideism of the oft-misquoted tag, credo quia absurdum est), but following, as James Moffatt suggested a century ago, “in the footsteps of that cool philosopher Aristotle” (Journal of Theological Studies 17 [1915-16], 170-71). Since, in lines he quotes from the tragedian Agathon, “what is contrary to probability sometimes occurs,” it can be argued, says Aristotle, that “the improbable will be probable” (Rhetoric 2.24.9); even that some stories are so improbable that it can become reasonable to believe them. For Tertullian, the most improbable story is that of the incarnate, crucified, buried, and risen Jesus—which is, paradoxically, what makes it credible. This is the very point made by Shakespeare’s Hippolyta in an exchange in the final act of A Midsummer Night’s Dream, a riposte to her soon-to-be husband, Theseus, that would have delighted Agathon and Tertullian—and, perhaps, Aristotle.

In the opening of that final act, Theseus, a self-assured rationalist, dismisses (“more strange than true”) the lovers’ tales of their adventures in the moonlit wood. They are “fantasies, that apprehend/ More than cool reason ever comprehends,” and thus to be grouped indiscriminately with the merely imaginary constructions common to “The lunatic, the lover, and the poet.” But we in the audience know to be “true” what Hippolyta shrewdly intuits: that however individually fantastic the tales may be, they are part of an over-all consistency that makes each of them credible. To Theseus’ cool skepticism and reductive characterization of “imagination,” she responds:

But the story of the night told over,
And all their minds transfigured so together,
More witnesseth than fancy’s images
And grows to something of great constancy,
But howsoever strange and admirable. (5.1.23-27)

A similar case has often been made, certainly in one of my Fordham theology courses, to demonstrate the “historicity” of the gospels. Tertullian would concur, since those gospels tell the story, “howsoever strange and admirable,” of Christ, a man who is God and a God who is a man, who died in the flesh and rose from the sepulcher: a story “certain” because “impossible.” And yet Aristotle, it is worth recalling, was quoting a playwright, and Hippolyta, though wiser than her betrothed, is, like him, merely a character in a play, even if it is a play by Shakespeare. Tertullian’s central figure, on the other hand, is non-fictional, not only a dying and resurrected God, but a Savior and Sentencer, a loving Good Shepherd and harsh Judge, with the divine power to deliver on his threat: “Depart from me, you cursed, into the eternal fire prepared for the devil and his angels.”

That was the “awful sentence of rejection” our retreat-master at Fordham, and Joyce’s at Belvedere, prayed we would never hear “ringing in our ears,” but which has never completely stopped ringing in mine—even years after I had rationally concluded that the real absurdity was the doctrine of eternal punishment itself, to say nothing of the abominable fancy that witnessing the endless agony of “many” of our fellow human beings could enhance the pleasure of the “few.” For Paul, Tertullian, Augustine, Peter Lombard, Aquinas, Luther, Calvin, Jonathan Edwards, Samuel Hopkins, Archbishop Claret, and, last and least, Mel Gibson, this privileged audience may have been the “blessed,” the “saved,” even the Elect. But if its members were consigning most of humankind to hell, some even taking pleasure in that horrible prospect, it seemed to me—to alter Milton, who also had a few things to day about hell—an “unfit audience though few.” And just to cap my blasphemy: to the extent that the God of infinite Wrath (preached, along with the God of infinite Mercy, by Jesus and Paul) seems eager and willing to act in ways which, however ineffable and transcendent, seem petty, vindictive, and everlastingly punitive—alien, as Mill puts it, to “the highest human morality”—he, too, seems less a Father than a Tyrant.

So, while I am fond, and in part envious, of George Coyne, my final question is not the one posed to him by Carl Sagan (“Why should you be given the gift of faith, and not me?”), but, rather, is this a “gift” I want? And yet, George Coyne is more than a foil in these ruminations. Obviously, we took very different religious paths as a result of our exposure to Augustine and Aquinas at Fordham. But we’ve become friends, and we agree on many things, among others, that Intelligent Design, while an engaging surmise, is not a scientific theory to be taught in biology or physics classes. We agree, too, that kindness and consideration matter crucially, among friends and in the way a professor interacts with students. And we concur on the greatness of the poetry of Gerard Manley Hopkins, S. J., a handsome edition of whose poems and letters I gave George in first welcoming him to Le Moyne.

In the month I am writing, November 2014, we participated together in an event, held in Le Moyne’s Panasci Chapel, to commemorate the 125th anniversary of Hopkins’s death in 1889. I introduced the keynote speaker, Hopkins expert Joseph J. Feeney, S.J., author of The Playfulness of Gerard Manley Hopkins (2008), and the scholar who had, a decade earlier while working in the Jesuit Archives in London, unearthed an unpublished poem written by Hopkins in 1875-76, displaying that “playfulness” and the delight Hopkins took in the companionship of his fellow-Jesuits at St. Bueno’s College in Wales. The poem George read that evening, his favorite, was “God’s Grandeur,” a magnificent, breathtaking celebration of God and God’s Nature. I read the exuberant “Hurrahing in Harvest.” If I were ever to regain my faith, it would have more to do with engaging Hopkins—poems both ecstatically celebrating and darkly “wrestling with (my God!) my God”—than with revisiting the gospels and Paul, let alone Augustine and Aquinas, who led me away from Christianity in the first place.

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Coda

A widely read friend and believer to whom I sent this essay responded that he wasn’t sure what the “story” was primarily “about”–was it autobiographical or theological? about my own “personal loss of faith” or a disquisition on “salvational schadenfreude“? He also asserted that the God in whom I had lost faith was a sadistic deity that “virtually all [my] believing associates would also repudiate.” He further wondered if, in my unbelief, I had become an “atheist,” bereft of all “sense (feeling) of something infusing the material, Hopkins’s glory in dappled things.” He concluded by suggesting that he was “not the right audience” for this essay because he had had spiritual “experiences” that allowed him “to hope that there is something beyond dead, contingent materialism.”

The paradigm for such dramatic spiritual experiences is Saul-Paul’s conversion-moment on the Road to Damascus, which, remarkably enough, Paul himself never mentions (we hear of it in Acts, a particularly corrupt text). Though they’re often life-transforming, I have never had such an experience myself, perhaps because I have not been “given” the “gift of faith,” and thus have no way of judging their ontological, as opposed to their subjective, significance. In thanking my friend for reading the essay and raising probing questions, I assured him that, while I hadn’t had the sort of epiphany he mentioned…

I have had “experiences”—in love, in nature, with animals—that rule out at least “reductive materialism.” Such experiences have long been enhanced by my reading of the Romantic poets and of Hopkins, so I most certainly do have “a sense (feeling) of something infusing the material”—not just Hopkins’s Christ-haunted glory in dappled things, but (in the passage you seem to allude to) Wordsworth’s Spinozistic and (in 1798, when he wrote these lines) non-Christian sublime:

………………………And I have felt
A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime
Of something far more deeply interfused,
Whose dwelling is the light of setting suns,
And the round ocean and the living air,
And the blue sky, and in the mind of man :
A motion and a spirit, that impels
All thinking things, all objects of all thought….

Nor, given the mystery of the universe, am I arrogant enough to label myself an atheist; I’m agnostic, though unconvinced of the existence of a personal God who cares about us.

What is this essay “about”? I’m not sure myself. “Confessional” in both the common and Augustinian senses, it was a convulsive outpouring, written in less than two weeks; and the initial “audience” was… myself: an attempt to lay out the history of, and thus clarify, my individual fall from grace. Eternal punishment, hell, and the accompanying schadenfreude (the sadistic pleasure far too many have taken in relishing the sufferings of the damned), are at the heart of it. But it’s precisely this combination that produced my “loss of faith.” Thus, the “story” is not one of Either/Or, but of Both/And.

The God in whom I lost faith is not simply the God of Augustine or Aquinas, but the God presented to us by the Founders of Christianity: Jesus and Paul. I cite some of the most wonderful utterances of Jesus, as child-loving Good Shepherd and the “door” to salvation. But Jesus also talks more about damnation and hellfire than any person in either testament of the Bible (as I note, the Hebrew scriptures are virtually silent on that subject), and Paul provided the template for the predestined damnation of most humans: the theory of predestination taken up by Augustine (and, to a lesser degree, by Aquinas) and which culminated in the theology of Calvin.

As Calvin himself said, his entire theology is based on Augustine, and much of Augustine (on original sin and on God’s foreordaining of a “few” souls to glory and “many” to damnation) was drawn from Paul, particularly from his longest, weightiest, and most influential epistle, to the Romans. Paul, in turn, was echoing passages of Jesus: the “narrow” gate leading the “few” to heaven, the “wide” gate leading the “many” to hell. And the terrible sentence at the climax of the hell-sermon, in Joyce and at Fordham in 1960–“Depart from me, ye cursed, into the everlasting fire prepared for the devil and his angels”–are, of course, the words of Jesus, as reported in Matthew.

As I say in the essay, “the radiance of Jesus shines through the gospels,” often despite those gospels, written decades after his death. But they’re all we have as accounts purporting to have witnessed Jesus in the flesh, and recording what he said. Though written earlier, the letters of Paul are those of a man who never saw Christ—unless we give credence to the conversion-moment on the road to Damascus. Since Jesus is hardly mentioned outside the New Testament (there’s are references to the Jesus cult in Josephus and in Tacitus, though, in the case of the latter, the reference was added much later, by a Christian editor), we have to rely on the New Testament texts: the gospels, the various letters, especially the epistles of Paul, Acts, and the exciting but crazy Book of Revelation: that world-masterpiece of schadenfreude.

Reading these texts led me to the inevitable conclusion that the God in whom I lost faith is not some bizarre and sadistic deity dreamed up in the pessimistic imagination of Augustine or in the darker pages of the Summa. It’s the Wrathful aspect of the God of Love preached by Jesus and Paul: the God who, they both insist, sentences most of us to everlasting fire. Along with most of my “believing associates,” you want to selectively “look on the bright side.” I mention in the essay the historical phenomenon known as the “decline of Hell.” However, while only a tiny percentage believe that they are headed to the pit, a majority of Evangelicals and Catholics still believe in the traditional hell and in a God of Wrath. In fact, the God in whom I lost faith, that “God that virtually all of [my] believing associates would also repudiate,” is one aspect of the God of Jesus and Paul, which, if we follow the logic, you must “repudiate.”

Coming from my own particular background, including the intense reading in my Fordham theology classes, I find it hard to delete the dark bits. I wish it could be otherwise, but, in contemplating the prospect of eternal punishment as well as this temporal world of massive, mostly undeserved suffering, I find scant evidence of a benign God. Given my particular early experiences, I feel cut off from the option of being what used to be called a “cafeteria Catholic.” Instead, I find myself in the absurd but honest position of being fundamentalist in my agnosticism.

— Patrick J. Keane


PAT kEANE

Patrick J. Keane is Professor Emeritus of Le Moyne College and a Contributing Editor at Numéro Cinq. Though he has written on a wide range of topics, his areas of special interest have been 19th and 20th-century poetry in the Romantic tradition; Irish literature and history; the interactions of literature with philosophic, religious, and political thinking; the impact of Nietzsche on certain 20th century writers; and, most recently, Transatlantic studies, exploring the influence of German Idealist philosophy and British Romanticism on American writers. His books include William Butler Yeats: Contemporary Studies in Literature (1973), A Wild Civility: Interactions in the Poetry and Thought of Robert Graves(1980), Yeats’s Interactions with Tradition (1987), Terrible Beauty: Yeats, Joyce, Ireland and the Myth of the Devouring Female (1988), Coleridge’s Submerged Politics (1994), Emerson, Romanticism, and Intuitive Reason: The Transatlantic “Light of All Our Day” (2003), and Emily Dickinson’s Approving God: Divine Design and the Problem of Suffering (2007).

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Apr 112015
 

19Max Blecher

Adventures in Immediate Irreality is a short, powerful dispatch from the heart of European literary modernism—part idiosyncratic coming-of-age novel, part prose poem to the terrifying intensity of the everyday. The book traces, in retrospect, a series of internal crises a young man undergoes in a provincial Romanian town of the 1920s. —Eric Foley

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Adventures in Immediate Irreality
Max Blecher
Translated by Michael Henry Heim
New Directions, 2015
112 pages ($14.95)
ISBN 9780811217606

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In his Journal 1935–1944: The Fascist Years, Mihail Sebastian recounts a visit he paid to his fellow Romanian writer Max Blecher in September of 1936, the same year Blecher’s first book, Adventures in Immediate Irreality (Întâmplări în irealitatea imediată), was published:

I left overpowered and exhausted. He lives in intimacy with death. Not with the abstract, unclear, long-term death. It’s his death, precise, defined, known in every detail, just as an object . . . I wanted to burst into tears a few times when looking  at him. At night I heard him moaning and screaming in his room, and I felt that there was another person at home with us, maybe death or faith—I don’t know who.

At the time of Sebastian’s visit, Blecher had just turned twenty-seven. He had less than two years left to live.

Born in 1909 in Botoşani and raised in the town of Roman, Max Blecher belongs to a remarkable group of Romanian writers who came of age in the 1930s—a generation that included, among others, Mircea Eliade (b. 1907), Mihail Sebastian (b. 1907), Eugene Ionesco (b. 1909) and Emil Cioran (b. 1911). Like his friend Sebastian, Blecher was born a Romanian Jew, yet neither man was fated to die from the fascist exterminations that demolished nearly half of Romania’s more than 700,000 Jews during World War II. Sebastian survived amidst increasing persecution only to be hit by a truck mere weeks after the Nazis surrendered, dying on May 29, 1945, while Blecher succumbed to spinal tuberculosis at age twenty-eight on May 31, 1938. Blecher had contracted the disease nearly a decade earlier while studying medicine in Paris. Thereafter, he spent his adult life confined to various European sanatoria, and finally to his parents’ estate outside of Roman. His condition required him to wear a painful body cast; the majority of his work was completed while reclining in a state of partial paralysis.

blecher2Max Blecher

Adventures in Immediate Irreality is a short, powerful dispatch from the heart of European literary modernism—part idiosyncratic coming-of-age novel, part prose poem to the terrifying intensity of the everyday. The book traces, in retrospect, a series of internal crises a young man undergoes in a provincial Romanian town of the 1920s. It’s the kind of place that gives the unnamed narrator “the vague feeling that nothing in the world can come to fruition,” and a time in his life when he has nothing to do “but saunter through parks, through dusty clearings burnt by the sun, desolate and wild.” Although they coincide with the onset of adolescence, the narrator’s crises have little to do with the usual growing pains. Rather, they stem from a profound confusion between his internal and external worlds. The crises arise particularly through the young man’s interaction with objects, what Blecher refers to as brute matter. “I had nothing to separate me from the world,” the narrator tells us, “everything around me invaded from head to toe; my skin might as well have been a sieve.”

Eugene Ionesco referred to Blecher as “the Romanian Kafka,” while others have compared his work to that of Bruno Schulz, Marcel Proust, and the French Surrealists (Blecher corresponded with André Breton, not to mention André Gide and Martin Heidegger). Adventures in Immediate Irreality reads like a searing combination of Dostoevsky’s Notes from Underground and Sadegh Hedayat’s The Blind Owl (a book Blecher could not possibly have read), yet Blecher also possesses a great deal of originality as a writer. His use of similes, for example, brings an unexpected depth to his images. As Herta Muller points out in her introduction, “Blecher’s eroticism of perception requires the constant comparison of one thing with a hitherto unimaginable other.” You know you’re reading an unusual work of literature when the narrator doesn’t bother to describe his appearance until the book is more than half over:

I was tall, thin, and pale. My spindly neck rose awkwardly out of my tunic. My long arms hung from my sleeves like newly skinned animals. My pockets so bulged with papers and objects that I could scarcely extract a handkerchief to wipe the dust off my shoes when I arrived in the ‘city center.’

The simile here—arms that hang like newly skinned animals—is visually appropriate, in keeping with Blecher’s death-haunted prose, while simultaneously conjuring the image of a boy who feels he has been violently thrust into adolescence. The simile also evokes the narrator’s extreme sensitivity: this is a young man who lacks the ordinary layer of protection between himself and the world that others possess. Earlier in the novel, he tells us: “It was what was most humdrum and familiar in the objects that disturbed me most. The habit of being seen so many times must have worn out their thin skins, and they sometimes looked flayed and bloody to me—and alive, ineffably alive.” If the narrator’s arms are like flayed animals, so are the objects that surround him. Both are skinned yet “ineffably alive,” forced beyond their comprehension to participate in this thing we call life. Nearly all of the objects the main character perceives so intensely come from the human world. Even the landscapes he interacts with have been shaped by people:

There was another cursed place at the other end of town on the high, loose banks   of the river where my friends and I would go to bathe. At one point the bank had caved in. Just above it there was a factory that made oil from sunflower seeds. The workers would throw the discarded seed husks into the section of the bank that had caved in, and over time, the pile grew so high that it formed a slope of dry husks extending from the top of the bank to the water’s edge.

My playmates would descend to the water along that slope, cautiously, holding one another by the hand, sinking their feet deep into the carpet of rotten matter. The walls of the high bank on either side of the slope were steep and full of outlandish irregularities—long, fine channels sculpted by the rain, arabesque-like but as hideous as poorly healed scars, veritable tatters of the clay’s flesh, horrible gaping wounds. It was between these walls, which made such an impression on me, that I too climbed down to the water.

One of Blecher’s great themes is the intensity of perception, particularly as regards the faculty of sight. His prose wrestles with the call and the challenge of the visible world: “Such is what I had to struggle with, what implacably opposed me: the ordinary look of things.” An individual of the narrator’s uncommon sensitivity might have encountered such crises in any era, but Blecher came of age in the 1920s, and his book is awash with reference to the technologies, old and new, that proliferated at that time; photography, cinema, chemical experiments, mirrors, and waxworks all provide the narrator with reflections of the unreality that surrounds and inhabits him. They also provide him with the opportunity to repeatedly, playfully, interrogate the process of mimesis. Blecher’s narrator sees imitations as paradoxically more “real” than life itself: “The bullet-riddled, blood-stained uniform of a sad, sallow Austrian archduke”, he tells us, “was infinitely more tragic that any real death.”

Early on, in what could stand as a central trope of the book, the narrator watches a young woman apply her make-up. “The mirror was so old that the polish had completely worn off in places and actual objects showed here and there through the back of the mirror, merging with the reflected images as in a double exposure.” This is only one of numerous occasions where Blecher presents us with an image of a world that consistently breaks through the attempt to represent it. Blecher’s acute awareness of such crises of perception and representation, as well as his articulation of the necessity of searching for new means to express them, is one of the hallmarks of modernism:

Ordinary words lose their validity at certain depths of the soul. Here I am, trying to give an exact description of my crises, and all I can come up with are images. The magic word that might convey their essence would have to borrow from the essences of other aspects of life, distill a new scent from a judicious combination of them.

Throughout the book, Blecher blurs the line between representation and what is represented, calling into question both the act of perception and the act of rendering what one perceives in language. In the context of this interrogation of mimesis, it is perhaps worth remembering that 1936, when Adventures in Immediate Irreality was published, was also the year Erich Auerbach began teaching at the Turkish State University in Istanbul, where he would eventually write his epic Mimesis: The Representation of Reality in Western Literature. For Blecher, mimesis is always deliciously bound up in materiality. Here is how the narrator describes a movie-going experience in his hometown:

One day the cinema caught fire. The film tore and immediately went up in flames, which for several seconds raged on the screen like a filmed warning that the place was on fire as well as a logical continuation of the medium’s mission to give the news, which mission it was now carrying out to perfection by reporting the latest and most exciting event in town: its own combustion.

Scenes like this have led Andrei Codrescu, rightly, to call Max Blecher “a recording diagnostician of a type the twentieth century had not yet fully birthed”.

Blecher’s episodes flow not according to chronology, but via the associative logic of memory. By the end of the book, the narrator has even undergone a change of sorts, thus satisfying the requirements of a conventional narrative, yet this is hardly the point of the book. The real pleasure of Adventures in Immediate Irreality lies in how miraculously and minutely Blecher conjures a series of vanished surfaces—bringing an idiosyncratic collection of people, places, and objects to life while remaining focused on the question that Beckett’s Molloy asks: And what do I mean by seeing and seeing again? The “seeing again,” of course, refers to the process of memory.

If the provincial town the narrator inhabits seems at times excessively strange, perhaps many places were once so, before globalization. Indeed, one of many reasons to read this book is for a glorious reminder of just how unusual our planet once was. Blecher excels, in particular, at portraying how one layer of reality can quickly give way to another:

Once, as a child, I was present at the exhumation of a corpse, a woman who had died young and had been buried in her wedding gown. The silk bodice was a mess of long filthy rags, and what remained of the embroidery had mixed with the soil. Her face was more or less intact, however, and one could make out nearly all her features even if the head had turned purple and seemed modeled out of cardboard that had been soaked in water.

Someone ran his hand over the face as the coffin was being raised out of the ground. All present were in for a terrible surprise: what we had taken for a well-preserved face was nothing but a layer of mold about two inches thick. The mold had replaced its skin and flesh down to the bones, thus reproducing its form.  There was nothing but the bare skeleton underneath.

This is a world that will never come again, a world that may never even fully have existed except inside of one young man, but the beauty of literature is that it has been preserved for us, so that we may partake of it repeatedly, in all its strange melancholy.

Blecher3

One further reason to read the newest edition of Adventures in Immediate Irreality is to witness a literary translator at the height of his powers. This was one of the last projects Michael Henry Heim completed before his death in 2012. In order to demonstrate the degree to which Heim has succeeded in breathing new life into this English version, I’d like to take a closer look at the passage from Blecher’s original where the narrator finally gives a physical account of himself:

Eram un băiat înalt, slab, palid, cu gâtul subțire ieșind din gulerul prea larg al tunicei. Mâinile lungi atârnau dincolo de haină ca niște animale proaspăt jupuite. Buzunarele plezneau de hârtii și obiecte. Cu greu găseam în fundul lor batista pentru a-mi șterge ghetele de praf, când veneam în străzile din „centru”.

Here is Alistair Ian Blyth’s respectful, highly competent translation, published as Occurrence in the Immediate Unreality by University of Plymouth Press in 2009:

I was a tall, thin, pale boy, with a slender throat poking from the overly large collar of my tunic. My long hands dangled below my jacket like freshly flayed animals. My pockets bulged with objects and bits of paper. I used to have a hard time retrieving a handkerchief from the bottom of these pockets to wipe the dust off my boots, when I reached the streets of the ‘centre.’

And here, once more, is Heim’s version:

I was tall, thin, and pale. My spindly neck rose awkwardly out of my tunic. My  long arms hung from my sleeves like newly skinned animals. My pockets so bulged with papers and objects that I could scarcely extract a handkerchief to wipe the dust off my shoes when I arrived in the ‘city center.’

As we can see, Blyth is much more faithful than Heim to the syntax of the original, following Blecher almost word-for-word. In Blecher’s second sentence, for example, the Romanian word “Mâinile” unquestionably means “hands”, while “proaspăt” would indeed most commonly be translated as “fresh.” Heim inserts a period in the first sentence where Blecher employs a comma, and he omits the word “boy” (băiat) altogether. Interestingly, Heim turns Blecher’s final two sentences into one long one, thus retaining the same number of sentences (4) in the paragraph. Yet in taking such liberties, Heim arrives at a version that reads more crisply and elegantly in English. I would also argue that he succeeds more fully in transmitting the intensity and idiosyncrasy of Blecher’s prose.

“My struggles with uncertainty no longer have a name”; the narrator of Adventures in Immediate Irreality tells us; “all that remains is the simple regret that I found nothing in their depths.” Indeed, life often is sad. We don’t know why we’re alive, or for how long. One goes out for a walk in the street and feels baffled by each thing one sees. Yet sometimes, reading marks left by others on a page or screen, it’s possible to be lifted cleanly away from one’s confusion. Sometimes, if the vision is intense enough, we feel ourselves become more fully alive, our faculties of perception realigned. In such moments the act of existing even acquires a kind of momentary meaning. At the end Adventures in Immediate Irreality, I found myself looking up from the page like Blecher’s narrator:

I would peer around me wide-eyed, but things had lost their usual meaning: they were awash with their new existence. It was as if someone had removed the fine, transparent paper they had been wrapped in till then, and suddenly they looked new beyond words. They seemed destined to be put to new, superior, fantastic uses  beyond my power to divine.

The miracle of Blecher’s writing is the miracle of literature itself: that strange human endeavor that always must occur in “the immediate irreality.”

—Eric Foley

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eric foley2

Eric Foley holds an Honours BA in English and Literary Studies from the University of Toronto and an MFA from Guelph University. He was a finalist for the Random House Creative Writing Award and the Hart House Literary Contest, also winner of Geist Magazine and the White Wall Review’s postcard story contests. You can see his work at Numéro Cinq and InfluencySalon.ca. He divides his time between Toronto and Eastern Europe.

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Apr 102015
 

David Zieroth travel pic

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DAVID ZIEROTH IS A GOVERNOR General’s Award winning poet and memoirist. His writing career began in the 1970s with his first publication, Clearing: Poems from a Journey, which was nominated for a Governor General’s Award. He won the Dorothy Livesay Poetry Prize in 1999 for How I Joined Humanity at Last, and the Governor General’s Award for English language poetry in 2009 for The Fly in Autumn. After a 25-year career as a creative writing instructor at Douglas College, in New Westminster, BC, Zieroth has retired to write full time.

I met David in 1999 at Douglas College. We’ve remained in touch largely through a mutual friend and enjoy comparing our reading lists. Once every summer I look forward to discussing literature with David over a glass of wine on a brick patio overlooking Shoal Channel in Gibsons, BC. He’s broadly read, has an incisive mind, tells traveller’s tales with aplomb and loves to laugh at his own failings.

In the 1990’s David reclaimed his first name, leaving Dale Zieroth behind, a moniker attached to him by a first grade teacher with two Davids in her class. Since, he’s come into his own as a force in Canadian literature working in a variety of forms: poetry, memoir, and creative non-fiction. He has been praised for his “intelligence that sometimes moves with staggering speed.”–—Brian Bartlett, Fiddlehead. The Governor General’s Award winning The Fly in Autumn received this citation from the jury: “In The Fly in Autumn, David Zieroth addresses our common and defining human fate—the loneliness that is a rehearsal for death—with a tenderness and buoyancy that shows the reader ‘how to walk in the dark with flowers.’ The intricacy and exuberance of rhyme and the breadth of vision are stunning.”

On an unusually bright November day, I met Zieroth at his favourite coffee shop in North Vancouver. We sat down with cups of coffee in the busy café, and immediately we both broke out bags of books.

—Kathryn Para

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Interview

KP (Kathryn Para): I first knew you as a creative writing instructor at Douglas College, and you were a bit sharp and very intimidating. I think it was late in your tenure and you were tired of teaching, and yet I remember worlds opening in that class. In The November Optimist your protagonist calls himself a “Conscious Curmudgeon.” Is curmudgeonness difficult to keep out of your work, or do you naturally gravitate to the generosity particularly apparent in The November Optimist?

DZ (David Zieroth): When I start writing, there’s a certain necessary lack of editing, and sometimes that curmudgeon is strong. There’s less of him than there used to be, because, of course, it’s my job as a human being to refine that curmudgeon a little bit, to balance him. I used to be more aware that he was there – and his perspective is valid – but I’m less bothered by his presence now.

No one wants to read a curmudgeon’s writing. Unless it’s that of Thomas Bernhard, the great Austrian writer. His work is so acid it’s almost unbearable, but you can’t help but love it because of the incisive skewering.

KP: What are you reading now?

DZ: I’ve got five books with me: On Being Blue: a Philosophical Inquiry, by William H. Gass; 1913: The Year Before the Storm, by Florian Illies, which is about writers and artists of that time, about Rilke having a cold and Kafka writing his endless marriage proposal; Let Me Go, a holocaust memoir by Helga Schneider; Heinrich Böll’s Irish Journal; and The Hundred Lives, by Russell Thornton, a remarkable poet who lives right here on the North Shore.

I spend quite a lot of time in second-hand book stores because it seems I’m more interested in books that I’ve missed than in books that are coming. Perhaps that’s ironic or paradoxical, or perverse or worse, for a writer to say. I said once that I was going to read new books until I was 65 and then reread, but it hasn’t worked out that way.

KP: How did Marcus Aurelius’s work come to your attention, and why is it important to you?

DZ: It must have been in university, a long time ago. He went away and then came back decades later. I was reading him when I was writing The Fly in Autumn. And he appears in “Vindobona,” a poem in Albrecht Dürer and me. What I like about Marcus Aurelius is that I can hear his calming voice from across the 2000 years. Plus he has a strong moral vision that appeals to me.

KP: The Education of Mr. Whippoorwill: a Country Boyhood is an autobiographical work, and personally, my favourite piece by you, partly because it’s so familiar—I grew up on a farm—and because I love the tone: the recognition of a hard life, and the compassion completely free of sentimentality. How did growing up on a farm help develop that sense of compassion?

DZ: I did see that animals suffer: they were tired, cold, thirsty. The cows came in from the field, and they rushed to the water trough. Also, there were people worse off than my family: those passing through, those who were poor – poorer than we were – and those who were just unhappy. My parents were stable, decent folks, aware of the strange people and the people who might not make it through the winter. You learn from the sense of community that surrounds you.

KP: In Crows Do Not Have Retirement, in the poem “Question,” you write: “when I was afraid to say/ I had a soul…” Were you afraid? Why? What is the concept of soul to you now?

DZ: Years back, the notion of having a soul—I had trouble with that idea. Do I have a soul? The poem brought that up. Now, instead of asking if I have a soul, it seems obvious that I am a soul. That’s a different perspective. The soul has these things it has to do, and some things are hard and some things are easy, some things it loses control of and some things it tries out anew, and it’s all the work of being human.

KP: November is a grey month, but particularly so here in Vancouver. I dread the loss of light and the short days, but here we sit in an unusual arctic chill and bright sun. I made it through last winter on such a long bright chill. Does the light make a difference to you? If so, why stay here and not return to the prairies where the sun shines on a regular basis?

DZ: I’ve lived in North Van since the seventies, so almost by accident it’s become home. In July, August and September it’s paradise, so the secret is to get away in January. And it doesn’t have to be Mexico. I don’t mind the cold, I don’t mind the snow, it just has to be light. I suffer from SAD, and it can be startling what a difference light makes. It’s hard to articulate that to people who don’t have it. It’s not the rain, it’s the cloud cover you’re wearing like a heavy, huge hat! I like the prairies, I have friends there, family there, but… And the best thing about Vancouver is: no bugs.

KP: In The Fly in Autumn, the poem “All of Life We Practice Dying,” you write: “slowly he unearths that asking why/ is a way to prayer, to soften and/enter the quietus after rage.” Is there prayer for you? Does it offer peace?

DZ: No, but I take the question to mean, do I have a spiritual practice of some sort. There are so many different ways of praying. For me the practice is writing. Not that what I’m writing is necessarily prayer-related, but the practice of writing is a way of centering, of clarifying and creating, and no matter what the poem is about, just the actuality of writing it, creating it and making it right is a jubilation. I can’t imagine not writing. It’s very healthy, it’s who I am, and not to do it would exact a tremendous cost. The peace that comes from writing is the peace of satisfaction, of fulfillment, even of surprise, because of course in writing there are always those moments that make you think, Where did that come from? You’re inside something going on inside you.

KP: In How I Joined Humanity at Last, which was the first volume by you that I had read, you wrote a poem called “Foot Rub,” which is the poem I recall first. I couldn’t get over its intimacy, and the strength of the image has remained, the father holding the daughter’s foot. How do you survive the intimacy of publication?

DZ: The old chestnut is, “Poetry is what you say to yourself, and prose is what you say to other people.” There has to be an element of heart in the poem, and because you’re talking with yourself, you explore the images and ideas that come to you, and intimacy is natural. The kind of writing I’m doing needs to touch other people; it’s not dazzling in its language, it’s not formally a masterpiece, so it has to have an element that will reach across to the other. As for publication, I don’t think about it too much, but, yes, there is a vulnerability involved.

KP: The November Optimist reads like an ode to loneliness. It’s so intimate and the device of including the reader with the “you” construction gives such a personal focus for the desire of the narrator. It was very easy to put myself in that place. I don’t think I’m giving anything away by saying that the object of desire is not achieved, and the narrator returns to books as the more real or satisfying experience—“the return to the pages’ dream” (page 88). How is the intimacy offered by literature, poetry or prose, a replacement for love?

DZ: Anybody who’s been in love knows that there’s no comparison, there just isn’t. There’s nothing like love. But having said that, if there isn’t love, what’s lovely about books is that they’re such good company, in a wide range of voices, and they offer intimacy. All the books I’m reading now offer that quality, where you can hear a person thinking, feeling, mulling. And it’s not just feeling, you’re also privy to their technique, their art. Books are no replacement for people, but they’re an excellent second best.

KP: As the winner of Canada’s most prestigious literary prize, what can you say about the value of prizes?

DZ: The value of the prize was very personal. The best thing about it was how happy my friends were. In some ways they were more excited than I was. People would say heartwarming words to me, and it was gratifying to see that I lived in a community of people who were so supportive.

The money meant I could fix my teeth, pay off my debts, and I could travel. Our country recognizes the importance of writing by placing money in the jury’s hands. The validation meant that my other books might get read a bit more. I didn’t need the validation – though I might have needed it two or three books before.

The larger question? Awards acknowledge achievement, but they also create losers. Think of all the writers who didn’t win the award. And I think it’s hard on writers who win an award too soon. That kind of attention can cripple them. They have this perception that a lot of people are waiting for the next book, and they’re not able to get back to that necessary solitude of the self without thinking of all these people waiting. Is this what they want? Is this what I should be doing?

Earle Birney said, you always want to discourage writers, because the real writers will continue anyway. I don’t know if he actually said that, but there’s some truth to it.

KP: How does the Alfred Gustav Press fit into the new world of publishing?

DZ: I wanted to work with paper and with poets and coloured pencils. I’m in production right now. I draw every cover, and there’s a temptation to go quickly, but I have to slow down and be patient. There’s a value in working closely and carefully, with every cover different because each is hand done, and a physical pleasure in collating pages and stapling them together.

I named the press after my father, a lover of winter reading; he was also the kind of person who could fix things with nothing, or so it seemed. I’m trying to create beautiful books in the way he repaired machinery on the farm. And of course it’s about the poetry, about the manuscripts that come to us, and about the way we decide on the ones we publish.

KP: Juggling the meanings of words in the series of poems, International Relations, reveals your delight in language, although as a poet, that seems a given. In, do me a favour, you leap from the literal translation of láskavosť or kindness into the figurative, then into abstraction, then turn gracefully to a concrete visual summary of the concept. What technical choices are you consciously making here?

DZ: I am not conscious of technique when I write, and the idea of paying attention to technique while writing is bewildering to me, and so I have very little to say. I don’t use that language.

I write intuitively: Do the words speak, do they catch at that something that is there that is more than words? I’m not thinking, or not just thinking, because of course I am assessing, weighing, accepting, rejecting words all the time (and certainly when I’m revising even if already the first joy of the thing is paling) but always in such a fashion that I’m open to what is wordless up until then.

All of which sounds different from the way it actually is, which is both lightning fast and dead slow. At any rate when I’m writing I’m not thinking about line breaks et al; rather I’m trying to grasp the whole experience engendered in the inspiration so that it can be more than me. And sometimes it works!

And sometimes I get in the way and block my own openness to whatever thought is singing through me, my own preconceptions taking over and stalling the growing poem. And sometimes I don’t hear enough in the first place. Then I go back to the couch and the novel. Or to such a travel book as D. H. Lawrence’s Etruscan Places: “The soul stirs, and makes an act of pure attention, and that is a discovery.”

KP: Your newest book of poetry is Albrecht Dürer and me. What can you tell me about it?

DZ: Travel was an opportunity the Canadian taxpayer gave me when I was awarded the Governor General’s Award. I wasn’t planning to travel, because I didn’t have money or time, and then my daughter married an Austrian and they live in Vienna, and gradually I began to travel, and now I can’t live without it.

So the book emerged as a surprise. I wasn’t thinking about writing a book of travel poems. The book is really about someone who is looking at what it’s like to live away from home and to rethink ideas about home and elsewhere. Travelling is both thrilling and confusing. On the back of the book it says, “these are poems that could only be discovered through dislocation.” And that’s true, the book’s about what one learns from dislocation but also from surprise, art, history, music and people. It’s a pilgrimage in a way: there are poems about James Joyce, Sigmund Freud, W.H. Auden, Gustav Mahler, Anton Bruckner. The audacity! Who am I to write about these famous people? But the Auden poem, for example: We borrowed a car and went to the Vienna woods one day, and Auden’s grave is there, and something about it spoke to me, and I asked myself, am I really going to write this poem? I resisted for a while; then I thought no, this wants to be done, so I’ll do it. It was very satisfying.

—David Zieroth & Kathryn Para

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The following group of poems is new work inspired by an unexpected friendship that began with meeting a random stranger in a café, a visitor to North Vancouver from Slovakia. We ended up meeting regularly over a number of months, exchanging language lessons, sharing our fascination with each other’s language. I thought of calling these poems “International Relations.” —David Zieroth

 

hovädiny

means not important in Slovak
but as the word emerged in greater
context I heard it come closer
to BS, the way Miro tossed it
as we entered and left a store

a Bratislava citizen, he attempted
to tune my friends’ ears and mine
to the soft ‘l’ we could barely
hear, certainly not pronounce
just as he had trouble with the ‘v’

in Vancouver, which he managed
beautifully by the time his four months
ended and he flew home, leaving us
to wonder what else besides the
softness of a consonant we had missed

his self-containment we understood
a sportsman’s, blue-eyed focus
and the way old houses brought him
joy and awakened his village within—
a world before money

which rekindled my own child-self
climbing without fear into a wagon
to sit between two strange men
horses waddling ahead, tender
joking I understood as kindness

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rozhádzaný

means rattled in Slovak, he said
the morning he told about
leaping back before a big car
ran him down, the white hand
untruly telling him he was safe

I said the sun must have blinded
the driver’s eyes, sun so rare
and you’re invisible, Miro
I joked, like all Slovaks here—
when last did we see a Slovak?

rattled, because usually traffic
here is polite, unlike his city’s
where pedestrians have to cross
cautiously, cars are king
and walkers never smile, too long

under the realm of closed borders
some wary of what others say
their language owing a debt
to history, more Russian than
English available for curses

if over 30 you’d know Czech
and German and other fears
a nation the size of an island
surrounded by five larger ones
and far from the calming sea

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hviezda

means star in Slovak, and
that evening we thought
at first Venus was a plane
landing at YVR except
it didn’t move just brightened

above the city, the sky
behind deepening into black
Miro cooking his country’s
famous kapustnica soup
and when we ate our fill

I looked into the night sky
and heard myself wonder
that I might have been born
elsewhere, hours of air travel
away, perhaps where paprika

grew in a garden and wise
hands grated cabbage
into sauerkraut and added
salt and blessings—or where
men rode in war machines

stars on their shoulders—
instead, fortune found me
in good company, half dozing
(driemajúci), and distance
no more than a table length

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šťastný

means happy in Slovak but also
lucky, a good pairing of the near-
impossible, I said, and Miro
laughed, understanding jokes
a sign of his improving English

then he showed me how
to stretch the mouth sideways
to say the word: as one grins
with lips in a line, his language
using more mouth, less tongue

than mine—and slowly
I heard a door open
where he once had lived
amongst the days he owned
then, a boy whose father

whistled from a window
time now to come home
all the hours he played
so freely with his friends
in the gardens, on streets

I heard that door again
as we bent over sushi, a first
for him, when its freshness
made him speak of food
his mother made each day

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smutný

means sad in Slovak, maybe
homesick—everyone knows
how the struck chest sags
how the twist in the valves
yields an arid song

we must turn our faces
away from friends when
such feeling builds, fearing
kindness will trigger
the up-rush of tears

when asked ‘What gives
strength?’ Miro looked away
said ‘Boyhood returning
before sleep,’ sweet warmth
he savoured, a nakedness

that gave for one moment
assurance to continue—and if
perturbing events prevailed
to je život—it is life—not
to diminish but to accept

that fullness extracted a price
he paid at evening
in order to arise next morning
reborn, the old smutný cloak
not to be worn at all that day

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do me a favour…

…I said to Miro, please say
favour in Slovak láskavosť—
which also means kindness!
my head tilting at their linking
as if I’d misheard…

then leaving favour behind
I leapt on to nuance instead
eager to explain that
yes, he was kind to his mother
but he was not her kindness

unless of course truly he was!
he the part in her that let her
love the world so that she left
cruelty behind when he was born
an only son, always a favour

from the gods few believed even
lived anymore, how at the instant
of their demise they kindly
cut us free before they themselves
dissolved: vapour, steam, heat rising

vanished, only present now
when a mother made soup
filled the house with vegetable
smells, the tug, animal:
umbilical, primal and always kind

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pie in the sky

…I explained as aspirations
beyond natural capability
a meaning that engaged us
much less than choices
we might make with mouths:

blueberry—čučoriedka?
apple—jablko? I thought
of my mother’s raisin creation
brimming with dark sugar
and a crust of rising gold

I chomped through thoughtlessly
presuming everywhere
had such fare, surely not
a rare great expectation
from a naïve boy’s point of view

(even if famine in China
came in waves back then)
and prompted by time I asked
Miro for his impromptu sky-
target—a ticket to Bhutan!—

we both looked up as if to see
hovering in the heavens more
than sun, then instantly loved
its vastness we could not live
without, food for our light within

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speak of the devil…

…I said, and Miro understood
said hovorit o čertovi back to me
his example classic: talking about
certain person X who just then
enters the room!—although

no horns on him, no black cape
flowing back into searing flames
no fork ready to pierce us even
though we’re not believers in either
this fellow or his angelic counterpart

later, on the street, we met
a deranged man—and I heard
my own mind thinking heedlessly
‘the devil take the hindmost’
but I intended the local madman
no further harm or worsening run

didn’t mention the phrase’s arrival
as we walked, deemed it puzzling
and worthless—until I thought
was not that the way the devil
worked, squeezing himself in

wherever he could?—and so many
entryways waiting! I was made fearful
but then breathed again, knowing
my friend, upright and near, would help
to save me from myself, if need be

—David Zieroth

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David Zieroth’s latest publication is Albrecht Dürer And Me (2014), poems. The November Optimist, (Gaspereau 2013), is part memoir, part fiction and part poetry. The Fly in Autumn (Harbour, 2009) won the Governor General’s Literary Award for Poetry in that year and was nominated for the Dorothy Livesay Poetry Prize and the Acorn-Plantos Award for People’s Poetry in 2010. He has also published The Village of Sliding Time (Harbour, 2006), a long poem; Crows Do Not Have Retirement (Harbour, 2001), poems; and The Education of Mr. Whippoorwill: A Country Boyhood (Macfarlane Walter & Ross, 2002), a memoir. He won the Dorothy Livesay Poetry Prize for How I Joined Humanity at Last (Harbour, 1998); his work has been shortlisted for a National Magazine Award, and his poems have appeared in over thirty-five anthologies, including A Matter of Spirit: Recovery of the Sacred in Contemporary Canadian Poetry (Ekstasis, 1998). He has also published five chapbooks: Hay Day Canticle (Leaf Press, 2010), The Tangled Bed (Reference West, 2000), Palominos and other poems (Gaspereau Press, 2000), Dust in the Brocade (The Alfred Gustav Press, 2008) and Berlin Album (Rubicon Press, 2009). He was born in Neepawa, Manitoba, and now lives in North Vancouver, B.C. www.davidzieroth.com

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Apr 102015
 

Mai Al-NakibPhoto by Omar Nakib

Perhaps the strongest element the author shares with her characters is the overwhelming desire to recreate and re-imagine the place where she grew up: a brave, cosmopolitan, outward-looking land that existed not so long ago. —Natalia Sarkissian

Hidden Light Bformat HB (2)Final

The Hidden Light of Objects
by Mai Al-Nakib
Bloomsbury Qatar Foundation Publishing, 2014
Winner 2014 Edinburgh International Book Festival First Book Award
US release January 2015
237 pp. $25.00

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KUWAITI AUTHOR MAI AL-NAKIB’S fiction debut, The Hidden Light of Objects—a collection of ten short stories set largely in the Middle East—transports the reader to a land of memory and secrets by way of objects. A Chinese apple, Mr. Potato Head’s smile, a packet of playing cards wrapped in fuchsia paper, a melted candle stub, a carved wooden bear, a stamp, a Kashmiri shawl—all these have the power to whisk readers off to a place or a time that no longer exists. As the narrator in the first story of the collection, “Chinese Apples,” explains:

Story objects are cobwebs across space and time. When you think it has never happened to anyone else before, a story object proves you wrong, though you won’t always know you have been proven wrong. Most people’s stories are hidden away. Objects may provide the only chance—unlikely, impossible though it may be—to unravel kept secrets. [10]

Thus Al-Nakib proceeds to unravel secrets in the stories of the collection using the trope of objects as her lens. In “Echo Twins,” for example, a long-hidden object is both metaphor and synecdoche and answers a central mystery. At age 18, yellow-haired, pale-skinned Kuwaiti twins Mish‘al and Mishari finally receive their absent British father’s legacy: a locked box. On the night of their mother’s death, they sit in the courtyard of their mud brick home, the box between them:

At midnight, in the white light of a moon turning waves into plains of snow, the twins carefully unwrapped their legacy. The muslin, brown from years of wind storms and rain, disintegrated to dust between their fingers. The tin was rusted, the lock no longer locked. The brothers caught their breath as they removed from the box a heavy object not immediately clear in the shadows along the shore. Mish‘al held it up to the moon. [52]

As they pass the long-anticipated object back and forth under the moonlight, they understand that they hold their peripatetic, long-gone father in their hands.

In “Amerika’s Box,” an allegorical tale of Kuwait’s quixotic relationship with the United States, charred objects symbolize the residue of a great loss. When their daughter is five years old, the Ahmeds change their daughter’s name to Amerika, in honor of the nation that routed the Iraqi invaders in the First Gulf War. Amerika soon finds that people are generally exuberant and approving. Only her religion teacher frowns. “An infelicitous name for an infelicitous little girl. You are doomed, my dear.” [197] But Amerika, who pronounces her name “Amreeka,” shrugs off the teacher’s omens. Instead, she watches satellite television, reads Nancy Drew and collects all manner of Americana, twenty-five objects at a time. A Baby Ruth bar, green jellybeans, a folded page from an Archie comic, an Abraham Lincoln penny. She secrets these in a handmade box with twenty-five compartments.

Then the Twin Towers come down and everything changes. Suddenly Amerika’s name and her objects trigger rage and fury. When war comes to the region again, Kuwaitis—now less sympathetic—stay inside, dodging Scud missiles from Iraq. But not Amerika. She dances on the beach with her box full of treasures, tempting fate:

Amerika pulls her box to her chest and dances harder, the wind knitting lace with her hair. She twirls and dips and kicks up her heels, always the letter k at heart. [211]

In the title story, “The Hidden Light of Objects,” a series of objects symbolize and evoke a stolen past. A Kuwaiti mother is abducted by retreating soldiers after the Iraqi invasion of Kuwait. Held in captivity in Iraq for ten years, the mother’s belongings, the objects she loved and left behind in Kuwait, save family members from utter despair. The girls have memorized where their missing mother kept her Betty Crocker cookbook, her string of pearls, her hand-painted champagne flutes. They are meticulous in caring for these things,“[t]heir broken, damaged lives held together by the painstaking placement of objects that belonged to their lost mother.” [236]

Meanwhile, their mother, in her cell in Iraq, remembers the things that belonged to her—her “fine lace pieces from Burano, clumps of silver jewelry from Peshawar, […] [her] mother’s string of delicate pearls.”[234] Each of these objects “embalm[s] the kernels of [her] life.” [234] Thinking of them daily—as if silently worrying prayer beads—offers her hope:

Every one of us had something in that windowless space […] that stood for home. For me it was counting objects. Not quite counting them. Naming them, sorting them into categories, telling their histories, and trying to remember where they would be in my house. […] A litany of objects. My home for a decade. [226-227]

Objects provide the only chance to cling to what is irrevocably gone. In addition, they serve as signposts to chart the future. As Al-Nakib states in a recent interview in Jadaliyya:

Feelings or affects are composed through our encounters with bodies—both animate and inanimate. We often do not pay sufficient attention to the ways in which inanimate objects intersect with animate life or, even further, the ways in which the division between inanimate and animate is a normative construction rather than an essential opposition.

Many of the ten stories involve characters who are either Kuwaiti or are connected to the country. The stories weave familiar events (from the invasion of Kuwait, to the Israeli Palestinian conflict, to the civil war in Lebanon, to the war in Iraq) into their tapestries. However, the focus is not on politics, but on the lives of the people of the region as they are touched by these events.

The stories are framed by ten vignettes that function, as the author herself says, “like Joseph Cornell boxes, little memory capsules” [in an email from the author]. In other words, the vignette/boxes become echo-chamber objects themselves. They revisit moments of the past in order to heighten the narrative that follows. Vignette II, for example, which precedes “The Echo Twins,” describes an age of lost innocence. In the pre-1991 halcyon era, Kuwaiti middle-schoolers take boat trips to the Kuwaiti island of Failaka, with its marble ruins built by Alexander the Great. Continuously inhabited since Alexander’s time, Failaka was forcibly depopulated and mined during the 1990 Iraqi invasion. Likewise, in “The Echo Twins,” innocence is lost; two brothers learn something about their father, and they must move on.

Throughout the book, Al-Nakib’s language of loss is unsentimental yet striking and lush. The author—whose mother tongue is English (it was her Kuwaiti mother’s first language as well)—evokes the land and its inhabitants with unusual juxtapositions, proximities and linguistic contrasts:

Mama Hayat stopped breathing in the early evening, around the hour the sun turns the sky above the horizon the color of a bruise. [29]

In the middle [of the courtyard] was a sheltering sidr tree ringing with sparrows and red-vented bulbuls. [30]

Abla Nada was tightly wound, a pinprick of a woman, with a face as thick as coffee. Her head was securely bandaged in black, a hijab covering her hair, her forehead down to her eyebrows, half her cheeks, and most of her chin. [197]

But she is possibly most exuberant when she writes about language itself:

The grandest thing Amerika learned was the language. Not just English…American. She rolled her tongue around its rs like a parrot, owned its nasal crescendos and punchy confidence. American pried open a world of wonder for Amerika. [199]

This book celebrates Al-Nakib’s love of the English language. Although born in Kuwait, Al-Nakib was just a few months old when her parents moved to London, then to Edinburgh, then to St. Louis, Missouri. When she moved back to Kuwait at age six, her parents enrolled her at the American School of Kuwait. She received a bachelor’s degree in English literature from Kuwait University and then a PhD from Brown University. She is Associate Professor of English and Comparative Literature at Kuwait University.

Much of Al-Nakib’s academic scholarship focuses on cultural politics in the Middle East in relation to the philosophy of Gilles Deleuze. She has absorbed his ideas, “his negotiations about how to live in the world,” so completely that they are part of who she is. “Some people turn to religion to give them faith. But for me it has always been literature and Deleuze.” In her fiction, it is Deleuze’s affirmation of literature as life—as indeterminate becoming and openness—that is most prominent She also identifies Roland Barthes’ Camera Lucida as an influence on the collection, though not one she recognized until it was already complete. In Camera Lucida, Barthes tries to recover his dead mother through photographs, accidentally discovering her essence in an unfamiliar picture. Ultimately, the search “is a melancholic exercise,” Al-Nakib explains, “rather than a process of mourning, because you continue to want to hold on to the lost object, to never let it go.”

Although the stories in The Hidden Light of Objects are not strictly autobiographical, the author says that they include autobiographical elements. Perhaps the strongest element the author shares with her characters is the overwhelming desire to recreate and re-imagine the place where she grew up: a brave, cosmopolitan, outward-looking land that existed not so long ago. The author and these stories—her objects—are a pathway to locate the glimmer, the light, the truth of what was and what still may be. These stories are our ticket there and her way home.

—Natalia Sarkissian

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Natalia Sarkissian

Natalia Sarkissian has an MFA in Writing from Vermont College of Fine Arts and was  an editor and contributor at Numéro Cinq from 2010-2017.

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Apr 092015
 

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Late-Night Caller

LAST NIGHT, EXACTLY WHEN nothing was happening, I got a call from someone who couldn’t speak. He mumbled into the phone. His mumbling was fast, superabundant, and I think at one point he tried to tell me that he ‘never sleeps a wink.’ I said ‘Yes’ as many times as I could. And then there was a shift in his tone, a shift toward anger, toward annoyance, toward outrage, and it was all directed toward me. I told him to stay calm, to stay where he was, and that I would meet him in the next few minutes. I told him he was in distress. He ‘unhummed’ confirmation. When we hung up, I was relieved and grateful that in his distress he didn’t try to mutter an address to me. He was certainly a man without a tongue.

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Val

In high school, I had a friend named Val and I believe she intentionally exposed her crotch to me one afternoon by propping her legs up and holding them just so her soccer shorts billowed, allowing sunlight to penetrate the fabric. She flashed a shaded panty-less groin in my direction while twitching her legs back and forth. Leaning back to take in the sun while our friends sat nearby unobservantly, she gave no knowing smile or wink. Cunning or clueless? How could I not look? This is what I remember of Val from high school: nonconformity concerned her the utmost. She read how-to books on the subject, she chose her boyfriends by their eccentricities, her face was trussed up with piercing and chains. But her crotch was normal, as perfect as anyone could find. She had great teeth, too.

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Generosity

Pauline from next door said, ‘I’ll tell you the truth.’ I said, ‘Please don’t. Please don’t.’ We turned to face the T.V. to see a pugnacious cartoon selling soap hoot a good-humored halleluiah at the shine his soap wrought. We were watching a doc about priapism. Her choice. I’d wanted to watch something on nest building. I thought fondly about a tiny down of hair that ran from the top of Pauline’s cheek to the curve of her jaw. Pauline said it was all mental. ‘What is?’ ‘The truth, silly.’ ‘I said enough.’ Pauline arched an eyebrow in a disagreeable way and didn’t say another word until the end of the show, and then I said goodbye. And she hiccoughed a nearly honest goodbye, too. Her personal perfume stayed behind until morning, smelling it vigorously before starting my day.

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Take Cover

For years I’d lived where lights polluted the sky, occluding the stars from view. As far as I was concerned stars could have blinked out existence, and I would have been one of the last to know. Then one summer I went to Canada to stay for a week, for rest, for recovery, fortification. I met a woman there who was from Boston, and like people who live in cities we stayed outdoors more than normal, and we walked faster than other people on the streets. She had dazzling shanks. One night near the end of my stay, a night I thought I might try to kiss her, we found ourselves at a public picnic table, where we slowed, and got all reflective and confessional. We shared a bottle of rum, our fingers touched—a crisp-lit moon (an authority on romance, if coldly) hung before our eyes and felt just for us. We were feeling young, selfish; we were feeling that nothing in our lives had been our fault. We felt a prefiguring. Who looked up first, I don’t remember, but we thought we saw a shooting star. It crept across the sky, and we said we’d never seen something so amazing as a falling star in ‘slo-mo,’ as if it knew we both wanted this night to last as long as it could. A homeless woman walked by and looked up and said, ‘Fucking satellite. Spying. Reading our brain waves. Stealing our thoughts! You kids better take cover.’

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Mother’s Cats

My mother asks things like: ‘What are you going to do with your time?’ And I say something like: ‘Live?’ She corrects me: ‘Work.’ When I go to her house, I wake up puffy around the eyes, nearly blind, and tongue-tied. I think it’s her cats. She has four. She says: ‘You overact.’ Of course, I have no retort. Nothing much happens at her house except the occasional cat fights. She likes to brag about how well-balanced her life is now that she has just her cats and no husband (my father).

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Speechless

This time I was trying to be serious when the man with no tongue called back. I told him not to ring me again. He grumbled. I asked him what made him think he had the right number. He hummed and grunted. I couldn’t agree or disagree with him, and felt nothing short of stupidity.

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Tough, Tragic

I saw Val some time ago with her daughter—a skillful and cold child, who furrowed her brow like an adult when I asked her name. Val appeared tough, tragic, and terrifically dressed in slacks and a low-cut shirt—no longer so concerned with nonconformity. As she dithered to keep her other guests busy, I tried to make polite conversation, but I got lost frequently in words as I wondered if Val’s vagina had changed after childbirth. Would I even recognize the once-prime image from my adolescence? I took a beer she offered me and nearly asked, ‘Can I see inside your pants? Again?’ I’d plan also to say, ‘I imagine its image is vastly more important to me than it is to you.’ Which could be possible, I thought, knowing how seldom I looked at my own crotch. But I held my tongue, as it were. Everyone else at the party was being polite. And so what if Val’s genitals were changed? So what? I saw it. Glimpse it. I’m sure I understood its power even then.

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Au Pied De Cochon

I took my Canadian love interest to a fancy restaurant, where we saw three men each wearing the same label on their shirts—a lightening bolt with a name written across it. They sat hunched, haunches to haunch. They were so close their smell had to be one. They scarf up meats, exotic meats. They ate tail, head, foot, tongue, eyeball. These men were hungry and their server was proud to bring them more. ‘I just love your enthusiasm,’ their server said, grinning at the slobbering bunch. They looked up, grunted, and put their faces down once again. ‘What on earth?’ my Canadian-love-via-Boston-brown-eyed darling said, eating a slice of pie with stonecutter patience. This spoiled our evening, somewhat. I told her my plans for law school. But nothing could take her attention from those men. So, I didn’t go to law school.

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Fingers Around My Neck

‘The meanest dogs live in the smallest cages,’ Pauline said. ‘Still it felt like fingers around my neck,’ I reminded. The tongue-less man had shown up at my front door, frothing mad and ferociously mute. How had he come, car or carriage? He wielded a worn farm-knife, the kind you might clean a chicken with and then dice potatoes. To Pauline I said: ‘And then I held out my arms and said Welcome home. And then he throttled me, tossing the blade aside. He throttled me.’ ‘Obviously a man of action,’ Pauline said, admiringly, and then asked: ‘What then?’ I said: ‘I threw him off. He hit his head. I grabbed the knife and held it to his throat. He looked like some homegrown hillbilly hayseed, like he was from some small town.’ And then that was when Pauline said, wisely: ‘The meanest dogs live in the smallest cages.’ ‘Where is he now?’ she asked. ‘God knows.’ ‘Truth?’ ‘Not right now, Pauline. Not right now.’ I don’t think she felt insulted. She profited a can of cheese whiz toward my mouth, which I took smilingly. I think Pauline’s great. She stays so up-to-the-minute with our friendship.

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Jamestown

Recently I spent a weekend with my mother touring historical sites. We strolled down one of the streets of God’s original world and came to a shop where they sold old-fashioned puppets. ‘You need to find yourself a girlfriend, Jake. You need someone.’ Grim was my mood over this. We each held up a puppet to our face, their little wooden limbs clacking together. ‘I’m not a virgin, mom.  There was Mavis and Molly and Maggie and Magda,’ I said to my puppet. ‘Of course you’re not. Of course you’re not,’ she said to hers, ‘besides, son, one of these days you’ll be married and you’ll be so bored by sex your eyes will fall out.’ ‘Did my father’s eyes fall out?’ ‘Yes, yes they did. When he died he was as blind as a mole.’ We left that shop, walked down the cobblestone path, dodging the great piles of horseshit. Perhaps I do overreact every time I get around my mother? Perhaps I project my overreactions onto her? Perhaps she just acts the way she thinks I want her to act? She tugged on my arm and pointed to a very large man in a mechanized wheelchair. ‘Don’t ever get fat,’ she whispered. ‘Don’t kill yourself, son.’ I don’t know if she meant those two things went together. A child in my mother’s presence still, I thought kindly about being on my best behavior, which must be both insufferable and pride-inducing for her. Not that I haven’t said unkind or unclean things to her. But I wonder if all this dancing around the subject wasn’t hurting me somehow. Mother and I always want to be our best for the other, which brings out, you know, irony.

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Our Last Night

‘It’s not going to happen, is it?’ the woman from Boston said to me on our last night. ‘Why would you want it to happen?’ I asked, knowing that I had nothing to offer her except a small adventure. ‘Why wouldn’t you want it to happen?’ she retorted; she was desperate for something to happen. ‘What made you think we could make it happen?’ I said; I felt hopeless and depressed, the way I get when anything important could possibly occur. ‘Why not make it happen? It is our last night,’ her final words on the subject—the opening, the invitation, the entry. In the end, nothing happened. Something happening had become too heavy. When we parted at the hotel it felt like something important was missing. Pecks were exchanged. I’ve not spoken to her for years; I have to wonder if she seethes with as much disappointment as I do.

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Questionnaire

1. Do you feel your life is without purpose?
2. If so, explain fully. Use complete sentences.
3. Would you prefer your spouse or love ones to die before or after you?
4. Have you ever been willfully blind? Explain.
5. What is your most personal demon? Give it a name.
6. What makes you think you’ve answered the proceeding questions correctly?
7. Mind your thoughts, in geological time?
8. Which memory means the most to you?
9. Name the bones you’ve broken.
10. Now the organs.

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Showdown

The man without a tongue came to my door again, while I was filling out a questionnaire. For personal reasons, that is. This time he carried a broom and as soon as I opened the door he jabbed the broom’s bristles in my face. It felt like a thousand dull needles. He hummed and grunted the most terrible things to me. At one point I thought he called me a ‘whiskery pervert,’ but I couldn’t be sure. Nevertheless, I was soon on the floor, my face submerged in broom bristles. The tongue-less man, standing over me, howled. Why had I become the center of this man’s attention? I wished Pauline had been there to see this lunatic, perhaps she could have observed him and come up with a reason since the tongue-less man couldn’t explain for himself. He grunted and cried and garble-cursed and moaned and blubbered while jamming the broom into my face. I knew for certain that if I didn’t move quickly I would eventually loose an eye or both. I scrambled to my feet and rushed to other side of my den where I had a paint-by-number canvas on a homemade easel. I used the canvas as a shield. What was there to talk about? taking charge of my situation. Who needed a questionnaire? It was action and impediments to our will that makes us come alive (Pauline might have said this in her better moods; she was the smartest person I knew). I swung my paint-by-number canvas at the tongue-less man and he swatted at it with his broom. Things and thoughts were happening, quickly. And it is while we are fighting that I recognize that I’ve been assembling my whole life, mending back together something. My mother ever-so-often tells me how after she had me she was never ‘right again.’ Imagine the wrong. The tongue-less man clobbered me. I let him. I threw my paint-by-number canvas aside. As I allowed him to scar my face with the broom, I saw through his intermittent brush strokes the faint outline of an unfinished satellite, as if its image was flickering.

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Tap

Veiled hunger, awkward leer, constant insipid smile: this is how I see myself as a young man, around the same time I saw Val’s cunt. (I cannot decide if I like that word or not, but what else to call it? The situation deserves a better word than its bloodless clinical substitute.) The man without a tongue rests on my couch. I suppose he’s homeless. He makes a tapping noise when he wants my attention. Sometimes, I swear, I think he’s asking me to go to church. My face wasn’t cut by the broom; slightly abraded, yes. My mother called asking how things were going. I lied and said nothing was happening, that I was painting and that I had plans to go out the following evening with a new friend. ‘Jake, whose there with you?’ ‘No one.’ I tell her I’m planning to make a phone call, though. ‘To whom?’ ‘To a woman in Boston.’ ‘Don’t be off-color, Jake.’

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Ba-ba-ba-bam-boo

I called the young woman whom I had a near-fling with in Canada. I heard her child in the background, cooing and saying ba-ba-ba-bam-boo. As we talked, I cleaned out my medicine cabinet. I took out pills I’d not taken in years, swallowed them. I bandaged myself where I had no cut or abrasions: preparing myself, I guess, for whatever pain I might feel after the conversation. ‘You ever fill out questionnaires?’ I asked her. She said she did before she had her daughter, but not now. ‘Why? Is it because you think you’ve got it all figured out? Your child gives you some insight?’ ‘Maybe. Or… I guess I just don’t feel the need to question myself. I don’t want to disturb my thinking, perhaps. Children need consistency. I can’t crack open my skull and start searching for new answers this late in the game. I’ve got to go with what I know.’ ‘Do you wished something had happened?’ ‘God, Jake, don’t start it.’ Silence. ‘After childbirth was your vagina scarred or deformed?’ Silence. ‘Is that any of your business? Is that why you called?’ ‘No. I’m just curious.’ ‘Well, it’s fine. It’s fine.’ She sounded distant and hurt. We talked some more. She told me about her husband. I told her about the tongue-less man who lives in my apartment. She told me that it sounds weird. I told her his speech is weird. ‘I’m going to send you a painting I’m working on, of a satellite.’ ‘Oh, that would be nice,’ she said; she said it like I just told her I want to read her a poem. ‘Do you remember the satellite in Canada?’ She said she does, and then we dropped the subject and talked some more. She said vague and unimportant things, and I did similarly. We were both feeling out the conversation, searching for a stopping point. And then she said, ‘Ta.’ I went back to my painting. Now, I don’t think I’ll send it to her after all. Like Val’s vagina, the painting means more to me than it does to her, symbolically, of course. I take out some tapes and I pop one in the stereo. I hear the tongue-less man down the hall humming and growling to the lyrics. I had no idea he was a music lover. ‘Ta,’ she had said. And I think, ‘Ta-ta-ta-ta-ta-ta-ta-ta.’

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Theatre

This morning I woke up thinking about the future. Ol’ Tongueless was scrambling eggs. He had written me a note: ‘Not killing you. Leaving today. Please don’t be afraid to speak to me. Invited Pauline over for breakfast.’ He had beautiful, jaunty handwriting. Why he had he waited until now to pass me a note? Maybe I’d ask Tongueless to stay. We three sit, eating omelets, talking about my conversation with the woman from Boston. I was still bandaged from head to toe and had awful hangover from the all the pills I’d taken. ‘What to do you think?’ I asked Pauline. ‘Do you think I would have been better off not calling at all?’ ‘Honestly?’ I sigh, ‘Yes.’ ‘You done good, Jake. You done good.’ Tongueless yarbbled and waggled his jaw in agreement. Bodily, we laughed, the picture of happiness. Pauline patted my leg under the table, and left her hand there. She was my best friend, the smartest person I knew. Idly I wondered what she looked like naked. Why not, she already knew me through and through; and she’d become fast friends with my one-time potential murderer.  Looking at Pauline across the table, she smiled, an open smile, not knowing what I was thinking. Things could really start happening now.

—Jason DeYoung

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

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Apr 082015
 

Kelly-Link-final-Copyright 2014 Sharona Jacobs PhotographyPhoto Copyright 2014 Sharona Jacobs Photography

Throughout Get in Trouble, Kelly Link dares her characters to make tough decisions, whether it’s stepping into a hurricane or fooling around in an abandoned amusement park, and while these choices vary in their reward for the author’s protagonists, they continue to shock, move, and amaze the reader. — Benjamin Woodard

Get_In_Trouble

Get in Trouble
Kelly Link
Random House
352 pages ($25.00)
ISBN 978-0804179683

 

Fans of her earlier work are well aware of Kelly Link’s ability to transform seemingly straightforward narratives into twisty, haunted masterpieces without tripping over clunky genre switches or bloated reveals. As a writer frequently delving into alternate realities, Link conditions the reader to accept the unexpected through subtle shifts and hints: an unusual moment here, a strange encounter there. Never in her stories do moments of verbal whiplash surface. And, as opposed to the fates of her characters, this storytelling ability has nothing to do with mystical interference: Link simply understands the mechanics of writing at its simplest, structural form, as well as the value of efficiency in language. In fact, she frequently subscribes to a very traditional first act composition—a simple structure perfected in her latest, the superb Get in Trouble—and it’s this skillset that allows her to leap into the fantastic with ease, dropping protagonists in ghostly communities, a superhero’s arms, and pocket universes, while also exploiting various genre tropes to comment on societal issues.

To see Link’s mastery of form in action, look no further than Get in Trouble’s leadoff story, “The Summer People.” Here, Link introduces characters, conflict, and motivation within the story’s first few pages, using nothing but simple, direct first act structure, before introducing the story’s otherworldly elements. Yet, at the same time, she threads small moments of the unusual within these paragraphs to prime the reader for what’s to come. The story: young Fran lives in a vacation town, and as her narrative begins, she is sick with the flu and left home alone after her drunkard father travels to attend a prayer meeting. Before leaving, he instructs her to clean and stock the local summer homes for soon to be arriving out-of-towners. (This, it should be noted, all unfolds in four brief paragraphs.) Soon thereafter, Fran attempts to return to school, yet her fever forces her to take leave, and she receives a ride from her classmate, Ophelia, a “summer person”-turned-full-time-resident of Fran’s town. The pair work together to fix up a vacation house and, upon dropping Fran off at the end of the day, Ophelia decides to act as the sick girl’s nurse.

Up to this point—about 30% of the story has passed—the structure of “The Summer People” efficiently follows a traditional setup. The reader knows the characters, their shared predicament, and their motivations. There are no real stones left unturned. And it is at this point that Link’s writing takes a turn for the strange. Fran plucks three hairs from her head, places them in an envelope, and sends Ophelia to a mysterious house, where she is to leave the hair in exchange for a remedy. Over the next five paragraphs, the narrative jumps lanes, taking the form of a classic haunted house story, full of secrets, magic, and premonitions. However, this transformation feels natural thanks to a combination of elements: Link’s strong commitment to introduction and organization in her first act structure, as well as little oddities sprinkled like powdered sugar in this opening to whet the reader’s appetite. A man on TV throws knives; Fran’s father is described as “a dark shape in a room full of dark shapes;” a toy known as a monkey’s egg wobbles about. Each of these quirks last no more than a passing mention, yet as they pile up, they ready the reader for the eerie circumstances to come.

Several of the stories in Get in Trouble take shape using this method of affixing an uncanny appendage to a rather time-honored frame. “The New Boyfriend” takes the discomfort of teenage love and mistrust into the near future by inserting robotic boyfriends into the mix. In “Secret Identity,” what begins as a tale of an underage girl traveling to meet a much older man takes a sharp turn when she arrives at their rendezvous only to find a convention of dentists and superheroes. And even when Link shifts into a less linear mode of storytelling, like in “I Can See Right Through You,” she clues the reader into the narrative’s unfamiliar path. The story opens with a discussion of filmmaking, and it includes the following:

Film can be put together in any order. Scenes shot in any order of sequence. Take as many takes as you like. Continuity is independent of linear time. Sometimes you aren’t even in the same scene together. (44)

While this commentary ties into the relationship between two characters, who once starred together in a vampire film, it also doubles as a form of metacommentary on the part of Link, who essentially tells the reader to expect an atypical structure. This warning comes early, in the story’s fourth paragraph, and, like her other narrative winks, helps usher the reader through Link’s imagined world.

Perhaps the best story in Get in Trouble is “The Lesson.” It may also be the collection’s most accessible narrative, focusing on Thanh and Harper, a gay couple, their quest to have a child via surrogate, and their trip to a remote island to attend a friend’s wedding. Their surrogate, Naomi, is on bed rest, and Thanh fears that if they leave town for the wedding, “something terrible will happen.” Nevertheless, he and Harper fly off, finding themselves eventually on Bad Claw Island without cell service. The isolation of the environment, combined with the chaos of the upcoming wedding (the bride insists everyone wear wedding dresses to go on a hike; the groom is nowhere to be found, though his colleagues, a shifty bunch, linger about; Bear Claw Lodge, where Thanh and Harper stay, is full of leaks from recent rain, as well as spooky bumps in the night) convinces Thanh that trouble awaits them on the mainland. And as his premonition comes true and Naomi goes into premature labor, this island pandemonium takes on an allegorical meaning: the helpless fear that courses through Thanh’s veins. He has put himself in a powerless situation. In his mind, he has made the wrong decision. Throughout Get in Trouble, Kelly Link dares her characters to make these kinds of tough decisions, whether it’s stepping into a hurricane or fooling around in an abandoned amusement park, and while these choices vary in their reward for the author’s protagonists, they continue to shock, move, and amaze the reader.

— Benjamin Woodard

 

Woodard

Benjamin Woodard lives in Connecticut. His recent fiction has appeared in Cheap PopdecomP magazinE, and Spartan. In addition to Numéro Cinq, his reviews and criticisms have been featured in, or are forthcoming from, The Kenyon ReviewPublishers WeeklyRain Taxi Review of Books, and other fine publications. You can find him at benjaminjwoodard.com and on Twitter.

Apr 072015
 

Agri Ismaïl

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Premise: Four men sit around a giant bottle of vodka, picking at various unappetising appetisers as waiters hurry to bring them an assortment of mixers and pour clumsy blends of vodka and juice. The men raise a toast, welcoming each other, and talk of work, politics, war. One of the men tells the story of when, in 1996, he had saved up and bought his very first portable cassette player after toiling away at the reception desk of a local hotel for months. He describes the specifications of the lost device (auto reverse! 20radio station memory!) with affection between modest sips of his drink. He recounts how when the city was taken, he was sure that his house would be looted due to his political affiliations, so he considered whom among his friends and family members was least enmeshed in the political situation before driving it to his young cousin, sure that his house would be spared. The man starts giggling then, before he has even told the funny part: of course, in the end, the cousins house was the only one in his family to be looted. All the men laugh in recognition. They drink to all that was taken, all that was lost.

§

IMAGINE THAT THIS STORY has roused whatever part of you that is interested in narratives, for whatever reason, and that you are about to undertake the increasingly non-trivial process of deciding what form said narrative is to take.

Imagine, furthermore, that you are a Kurd, that the event takes place in Sulaymaniyah, a Kurdish city in Northern Iraq and that the men in the above scenario are all Kurds speaking in a Sorani dialect. The first conclusion presents itself as evident: this should be a narrative in Kurdish.

At first, this seems satisfactory. It pleases the dreadfully lazy part of you to know that minimal effort will be needed to achieve an acceptable level of verisimilitude (dialogue will admittedly need to be polished somewhat to achieve a certain degree of artificiality in order to pass for realism, but can otherwise be reproduced more or less verbatim).

Also, to write in a minor language is to a certain extent its own reward. It is not just about reaching an audience (which for Kurdish literature is minuscule, even if you were to disregard the fact that Kurds use two completely different alphabets; it is also, perhaps even foremost, about preserving and enriching said language. The thought that something you write can, fairly easily, have such lasting power feeds your ego tremendously. You imagine cyborgs in the future attempting a comprehensive account of the extinct human race by reverse-engineering our technology to be able to read today’s hard drives and noting that there was such as a thing as Kurdish literature. This will, you imagine, please the cyborgs.

You think back on the Kurdish novel, a feeble object that has barely been allowed to breathe, kept alive by authors like Sherzad Hassan, Bakhtyar Ali and the dearly departed Mehmet Uzun, in spite of overwhelming evidence that literature is pointless in a society that wants to emulate the capitalist wonderlands of our most generic cities (to echo Rem Koolhaas), our Singapores and Dubais and Heathrow Terminal 5s, while simultaneously fighting off the medieval LARP currently en vogue. A tricky juxtaposition, that. But it has always been thus, literature has never had it easy here: texts were uniformly banned for being written in a language that several governments tried their utmost to eradicate during the 19th and 20th centuries. A novel cannot be written, after all, if the language to write it in does not exist. When novels appeared at all, it was often small editions printed by clandestine presses, an arrestable offence for author and publisher alike. That we then define 1929’s The Kurdish Shepherd by Erebê Şemo, 1961’s Peshmerga by Rehîmî Qazî and 1972’s Jani Gal by Ibrahim Ahmad as some of the first Kurdish novels merely attests to the fortune of these manuscripts to have survived. Indeed, there are no extant copies of the first edition of The Kurdish Shepherd, which was originally published in the Soviet Union and heavily censored. That it has survived is only due to a 1947 Beirut reprint. Similarly, Ahmad’s Jani Gal had to be rewritten twice from memory after the original manuscripts were burned or lost, and it wasn’t until a French translation appeared courtesy of L’Harmattan that the text appeared in its complete state, including geographical locations and the overt references to the regime that had been previously excised. It is indicative of the subjugated state of Kurdish writing that one of the very first Kurdish novels ever to be written appeared in its entirety not in Kurdish, but in French, as late as 1994.

The remains of the Kurdish novel are, then, mere shadows, flickers of what once was. To think of what exists as a comprehensive picture of Kurdish literature is akin to thinking Sappho’s fragments represent her complete work.

You fortunately no longer have to worry about censorship, about having to burn your only manuscript in the garden before Baathist police get to it, about having to hide a printing press in your bedroom. Even the Turkish government, which for decades insisted the Kurdish language did not exist (and, in a wonderful display of incoherent logic, that this thing that did not exist should, because it did not exist, be banned) has begun to begrudgingly tolerate texts written in Kurdish.

And yet, there are other obstacles. Such as the invisibility of your work by merely writing in a non-Latin script, where it will be hidden to all but those who can conjure the signs to summon it. You often labour under the belief that everything can be found online, yet forget that in order for this to be even slightly true, you must master alphabets that mean nothing to you, alphabets that your computer is reluctant to write in. The non-Latin text is sealed off, unsearchable by the Latin index, hidden behind the limits of written language. You think of the character in Reza Negarestani’s Cyclonopedia who is only known by a non-standard, unpronounceable, symbol (which you cannot reproduce in this text other than as a screenshot: 

and therefore would never be able search for it). You suspect it is not a coincidence that throughout Negarestani’s novel this character is missing.

Another obstacle: Microsoft Word on the Macintosh Operating System cannot use Arabic fonts (let alone Kurdish ones). You could of course use another word processor (e.g. Apple’s own Pages) but the fonts remain often incompatible with other word processors and so e-mailing a file in Kurdish, more often than not, will result in something like this:

☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐☐.

Now this is perhaps impressive in a formalist kind of way, a uniform representation of thought and language and whatnot, but you doubt that you can convince an audience that what they have before them is the Great Kurdish Novel (to take a silly term from the Americans, because lord knows they’ve taken their fair share from us) when all they are looking at are a series of Unicode squares. The computer was not designed, after all, with non-Western languages in mind, nor was any of the software (though you envy the Chinese who you imagine, by virtue of their logographic writing system, would be able to write entire short stories on Twitter in 140 characters — if China had not banned access to Twitter, that is). The electronic age is upon us and that age was coded using a specific writing system. You would be insane to think this does not matter.

Also, and you’re ashamed to have to mention this but even though Kurdish is your native language you don’t really master it: you are a child of exile with the exile’s unnatural feel for language; you frequently mis-use words and your handwriting is all haunted-house seance scribbles of the dead trying to communicate with the living in crude approximations of letters. You are far more comfortable with English, even though you have no tie to that language other than the fact every book you read and every movie you see is in English. You have not read more than a handful of Kurdish novels because as already mentioned, Kurdish novels are hard to come by. You should, of course, practice your mother tongue; you suspect that you could become a half-decent writer if only you put as much effort into reading and writing in Kurdish as you have done in English but this is a multi-year project, akin to reading Proust. And you have yet to read Proust.

At this point you start doubting yourself: if writing in Kurdish means more effort than writing in English why not just write in English? You also begin suspecting that the above premise may not be interesting to a Kurdish audience as everyone has had their house looted at some point. Everyone has lost a family member to genocide or internecine warfare. For you, the exiled one whose portraits would invariably reek of privilege and Eurocentric notions, to comment on the Kurdish situation to a Kurdish audience can easily become patronising and in bad taste. What can a foreigner possibly have to teach people about themselves? You may instead want to shine a light outwards, towards readers unfamiliar with Kurdish history, and this requires another language. “Texts must experience the condition of exile.” said Emily Apter, and which better way to exile a text than to force it into a language which is not its own?

So you choose English, because, yes, “the Anglicized subject is at once bullied and seduced into accepting the corporal burden of English,” to cite Susie O’Brien & Imre Szeman.

This should be a narrative in Kurdish. The narrative must be written in English.

Though this is the right choice (you hope), problems arise immediately, as they tend to for immigrants pretending to be something they are not. You are suddenly tempted to add explanations for your audience that you would refrain from adding if you were writing about a people to themselves.

For instance:

1. The men would have to be defined as Kurdish, as you suspect merely writing “men” would conjure a group of white people to the reader.

2. A Kurdish reader would understand that the choice of vodka, rather than the traditional arrak, indicates that these men are rather affluent or at the very least cosmopolitan (mostly this cosmopolitism is derived from a life in exile, from refugee camps, from being a foreigner where fluid thoughts have had to be rendered as malformed syllables and broken grammar and have been mistaken for stupidity), so when you lose this element you may well be tempted to linger on other details, the brand of vodka, the logos on their polo shirts, in order to convey the same thing in a much cruder manner.

3. You will have to explain what happened in 1996, a reference that would be evident to Kurdish readers but an obscure historical footnote for everyone else. Also you’ll want to briefly touch on the sanctions, embargoes and the overall financial situation that made the purchase of a cassette player in 1996 – when even CDs were beginning to be replaced by MiniDiscs and Mp3s – something that required significant capital.

Your text is now overwritten, heavy with exposition, and you haven’t even dealt with the question of language.

The dialogue will be laboured, tortured into resembling Kurdish. Perhaps you will try to mirror the cadence of a Kurdish speaker; perhaps you will keep the expressions intact, all the “may I be sacrificed in your honour”-style sentences that seem so clunky when translated. You could also use the trick that all those world lit novels of the 1990s used: sprinkle English dialogue with some non-English words for added authenticity. You try, you try, you fail, you delete.

(All fiction is based on artifice, but for some reason writing non-English dialogue in English often seems like an artifice too far. If only there was some form of literary subtitle, you think. {{1}}[[1]]Yes, of course there is the footnote which has a long literary history: remember how War & Peace began with a long chunk of French dialogue, which Tolstoy then translated (badly, one might add) into Russian in the footnotes. But this does not seem like a very good option: if none of your readers understand the dialogue in the original language, in effect you’re just asking them to do more work. You suspect your readers would hate you after one or two pages of this.[[1]])

You also worry, as all translators are wont to do, about the weight of words. You are reminded how for centuries, the French have been misunderstanding Nietzsche because the French “sujet” does not contain the “critique of the effects of subjective submission” that the German “Subjekt” does (cf. Emily Apter’s Against World Literature: On the Politics of Untranslability and Barbara Cassin’s Vocabulaire européen des philosophies: Dictionnaire des intraduisibles). The Kurdish word for looting, تالان, best transliterated as “talan”, has an inherent weight to it from its frequent use in Kurdish society under various dictatorships and processes of ethnic cleansing that is immediately lost in translation, as the English “looting” has since long lost its primal association to times of war (and is mainly used in times of riots, as a byproduct of temporary capitalist collapse).

What you are left with, then, is a text that panders to its audience in its need to hold the reader’s hand through a history with which she is not familiar, a text infused with exoticism, a narrative forced into a form that is inherently Western, with all the issues that arise when, to cite Franco Moretti, “Western form meets [non-Western] reality”. These texts, as selected by Western publishers, often seem to include an outmoded paean to humanism, as though to comfort a bourgeois reading culture, to ensure that the narrative that we are all the same is heard. Fredric Jameson, in his otherwise unspectacular essay “Third-World Literature in the Era of Multinational Capitalism (wherein he actually states that “Nothing is to be gained by passing over in silence the radical difference of non-canonical texts. The third-world novel will not offer the satisfactions of Proust or Joyce.”) provides a rare insight when he notes that “Indeed our want of sympathy for these often unmodern third-world texts is itself frequently but a disguise for some deeper fear of the affluent about the way people actually live in other parts of the world”. This is echoed by a much-debated editorial in N+1 wherein the editors argue that “Global Lit tends to accept as given the tastes of an international middlebrow audience” and that “the bestselling Kite Runner, by the Afghan-born Khaled Hosseini, made some Americans feel better, and others worse, about our war over there”.

Above all, perhaps, it rankles to use English because of the ravages that the British Empire wrought on Kurds and the possibility of Kurdish statehood. If Ngũgĩ wa Thiong’o is accurate in his assertion that “African authors should be clear about the fact that when they write in English they are contributing to the expansion of, and dependence on, the English language.”, then to write in English is a betrayal.

This should be a narrative in Kurdish. The narrative must be written in English.

***

international capitalism is a system that is simultaneously one and unequal: with a core and a periphery (and a semiperiphery) that are bound together in a relationship of growing inequality.i.e. the destiny of a culture [] is intersected and altered by another culture (from the core) that completely ignores it’”

(Franco Moretti, Conjectures on World Literature”)

Most novels that you read today seem like relics, as though modernism never happened at all, Flaubertian narratives in which characters hold the latest consumer technology to make you, the reader, realise that it is meant to take place in the now. But it does not feel like any reality you experience on a daily basis, it feels literary: as though what we consider realism is merely what authors convinced readers reality looked like a hundred and fifty years ago, static narratives that embrace the provincial when finance and politics are now global. The very conventions of the realist novel, so daring when they were perfected by Balzac, Flaubert, Zola, have now trapped narratives in an individualistic, humanistic world order. After all, how to describe the light-speed flow of capital, the corporations with human rights but without human obligations, the drones killing the anonymous in a form that is structured around individual agency, about self-realisation and a human perception of time? The novel is doomed to fail. If contemporary capitalism and consumer culture are a part of contemporary fiction, it is often as a mere gloss, rather than the actual spine of the constructed reality. Similarly, the challenges of globalisation are reduced to facile exotifications, the non-Western reality forced into a Western form. The novel was not designed, after all, with non-Western cultures in mind.

What you want is the literary future imagined by Bhanu Kapil — an author who has managed to dismantle all the problems listed here with aplomb — namely “a literature that is not made from literature.” The heroine of her novel Incubation: A Space for Monsters is half girl, half machine/cyborg, her identity and culture shifts along with the text, as essential a creation as any archetype. You are heartened by Julius’s dérive in Teju Cole’s Open City where the character maps out a New York of immigrants and asylum seekers before he transforms the 20th century urban dérive into an international one, by travelling to Belgium, to Nigeria. You embrace the aforementioned Cyclonopedia, a dense but fragile text that can barely even carry the categorisation of novel, with its fake translator’s notes (e.g. “The linguistic structure of the original Farsi text is highly inconsistent, to the extent that one assumes it to have been written by more than one author.”) making the reader realise just how many truths a narrative can contain.

We heed the warning in the aforementioned N+1 essay that “Global Literature can’t help but reflect global capitalism, in its triumph, inequalities, and deformations,” but why should literature not instead revel in these deformations? You realise that English literature always has been “an unsteady amalgam of [the] voices of the vanquished, along with the voices of the dominant English regions” (to cite Stephen Greenblatt) and if you are to dissent from Lorde and try to use the master’s tools to dismantle the master’s house, you could do worse than making English your own Latin, a tool for a vulgar novel. Let there be allusions that remain unexplained, let there be dialogue that is not naturalistic, let there be disregard for the master’s rules, let the work contain the fractured realities as we see them today.

—Agri Ismaïl

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Agri Ismaïl is an Iraq- and Sweden-based writer whose work has appeared in the White Review, 3:AM Magazine, Vol. 1 Brooklyn, Al Jazeera, and the Swedish journal Glänta among other places. He can be found on Twitter.

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Apr 062015
 

George Szirtes

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Overheard

That night I spent my last nickel to call Steve.
The box was empty bar the usual cards
advertising the usual services of night.
One lives for such small favours, such rewards.
One lives for what night keeps up its loose sleeve.

Steve, I said, come down. It’s quite all right,
there’s no one here to speak of, just a queue
waiting to get into a show and they’ll be gone
once the doors open. It’s just me and you.
We will be reasoned, affectionate, polite.

The stars collide and break up one by one.
The street is empty now. I’ve seen the show
already and it’s fine.  There’s a decent bar
in the next block. I’ve seen the headlights glow
then vanish. There is nothing to be done.

So Steve came down, it wasn’t very far,
and then it started raining as it does.
I felt the usual tightening in my throat.
It was the same then as it ever was.
It’s what we were before. It’s what we are.

Let’s talk then, you and I, as if by rote.
Let us repeat the words and walk past doors
as if they weren’t there and neither was the rain.
These streets and bars are our familiar shores.
But let’s head out now Steve. Go get your coat.

.

Photograph of a face

Should someone ask me what life is, I’d say
this is, knowing it is only you, but reading
your face, the light enveloping it, into all faces
for what a face might mean when it is loved
and stares into the dark room of the world
as though that too were life, the light as kind.

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Romance

They were writing Valentines to each other when the words began to splinter. They are more beautiful like that, they thought. Tiny and clear.

He drew a word from his pocket. It was old and yellowed. Give it to me, she said. I’ll wear it when it occurs to me to do so. Maybe tomorrow

So he bought her a dress of words and she put them on. Now try dancing, he said. You spell them out first, she said.

See this word ‘love’ he said. You can have it. I have more back home, but none as nice as this. Try it. It was hotter than she had expected.

She held the word at arm’s length. She had the most beautiful arms. The word was not important. It was the arms. The hands. The fingers.

The word ‘sex’ was never mentioned. It stood outside the door looking at its shoes so she came out and polished them.

I am sure it was in my handbag, she said. Then he drew it out from behind her ear. It sounded like the word but it was only a close rhyme.

What is the right word for your body, she asked. I couldn’t possibly pronounce it, he replied. But I have written it down.

There is a word in my mouth, she said. Open, he said. Yes, I think I can see it. Breathe gently. It’s one of mine. Now blow.

She put the word down by his hand. He picked it up and examined it. It was breathing. It had a scent. He popped it into his mouth.

 .

Caedmon

My mouth was empty
when the words flew out, light, free,
loud, unencumbered.

I watched them swooping
over rooftops, their flight path
dazzling and certain.

They were beautiful!
How marvellous to master
the air and let go!

They made shapes in voice
and light. They were the language
of grace in movement.

Being so dazzled
I forgot everything else.
I was blank, weightless.

I became language,
a hot mouth, a form of flight
powered by rapture.

I could be written
out of the world, be nothing
but the cry of birds.

My mouth was empty,
there was nothing left in there
except a hot tongue.

Fly home dear words. Nest
in my mouth. My tongue is hot
with yearning for you.

Let me believe you.
Speak me into being. Sing
the heart of the house.

 .

A Low Flying Plane

Somewhere in a sky
purring with cloud and light, planes
talk to each other.

What is the language
at the bottom of the throat,
that deep-lying growl?

When does it enter
the hangar of the stomach,
how does it park there?

From nowhere at all
the planes appear. The sky cracks
under them and bursts.

I’m trying to hear
the subtext of this, the blown
language of such noise,

the sense of low flight,
the way it presses dense air
into liquid shape.

Then the plane is gone
but things have changed. The tongue,
the ear, the dead sound.

—George Szirtes

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George Szirtes was born in Budapest in 1948. He is the author of some fifteen books of poetry and a roughly equal number of translations from the Hungarian. His New and Collected Poems (2008) was poetry book of the year in The Independent. The Burning of the Books (2009) and Bad Machine (2013) were both short-listed for the T S Eliot Prize which he had won earlier with Reel (2004).

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Apr 052015
 

Kraft and Dutton original-001Richard Kraft & Danielle Dutton

Like a dream, it slips off the binds of the mind, building up structures which differ from those present upon rational waking. — Natalie Helberg

Siglio_Here_Comes_Kitty_Cover

Here Comes Kitty: A Comic Opera
Richard Kraft with Danielle Dutton
Siglio Press
64 pages, Hardback $32.00 CAD
ISBN: 978-1-938221-08-8

 

Richard Kraft and Danielle Dutton’s Here Comes Kitty, a collage project (Kraft’s) with written interludes (Dutton’s), beautifully, wantonly, defies review. Like a dream, it slips off the binds of the mind, building up structures which differ from those present upon rational waking. The images it combines are unlikely bedmates. What it says, if it says anything, it says without concepts. It channels disparate locations and histories into singular, pressurized, visible forms. It could be read in terms of densely layered symbolism, but it would be wrong to side with Freud and insist on an authoritative parsing. How could we render this work which consists of carefully staged collisions, of artful incoherencies, coherent? How could we render the visible using words? We delimit and inevitably limit the unlimited, prodigious thing. We elaborate on it and hope to illumine. We describe and impose analysis. We suggest, even though these genealogies are uncertain, links to what has come before.

In 1933, the Surrealist and former Dadaist Max Ernst travelled to Italy with a suitcase full of wood-engraved illustrations. Some, he had excised from lurid French novels, others, from books on natural science and astronomy. There, over a three-week period, he fused these materials, breaking with his earlier approach to collage by using particular illustrations, in their entirety, as base pictures, which he reconfigured through the superimposition of other images, other bits of paper. The resultant pieces, violent, sexual, and suggestively eldritch—each, in line with the Surrealist spirit, and not unlike Kraft’s collages, ‘a fortuitous encounter of disparate realities’ on a plane ill-suited for them—became the content of Ernst’s Une Semaine de Bonté, which was framed as a collage novel.

Une Semaine is structurally chaotic; this is true of Here Comes Kitty as well. In keeping with the Surrealist’s embrace of Freudian dream-logic and loose associations, there is, to all appearances, no reason for the particular order of pieces found within each of Une Semaine’s seven chapters; in the case of Kraft’s work, there is no reason for the ordering of panels and pages found within the chapter-less text. No reason, but perhaps a rhyme. Repeated characters, symbols and settings lend a degree of coherency to the chaos of the pictorial, seeming anti-narrative in Une Semaine. Here Comes Kitty similarly recycles its motifs; in doing so, it orchestrates a clashing of tropes associated with birth and death, with innocence and sleaziness, with mirth and barbarism.

Kitty_page_28_11.5_

While Ernst used multiple found illustrations as base texts for the pieces making up his novel, Richard Kraft has used a single Cold War comic. The comic pits a Polish infiltrator against the Nazis. Here Comes Kitty is then literally built on the back of, and saturated with, a militaristic image repertoire. Yet each subtly bellicose comic panel is also ornamented with images large and miniscule from far more sanguine and even sacred source texts. Kraft has designed each panel loosely on the model of Indian miniature paintings; they are essentially for the eye which craves detail, which wishes to look closely and stall the motion forward that is the narrative impulse. Butterflies and birds, bright red lips and other playfully mismatched body parts are rife. Indian gods and goddesses are present. Mammals, domestic and exotic, run amok. Phalluses are in abundant supply, along with their only slightly less discrete symbols.

Ernst’s collage text is framed explicitly as a novel, but Kraft, punning, has framed his as a ‘comic opera.’ That is, Kraft’s collage looks the part of a comic, though it does not read like one. It is a comic whose panels are abused boundaries. Some images span multiple panels, occluding their borders. Some thought bubbles and speech bubbles do the same. The work’s various word bubbles contain fragmented, sometimes biblical, sometimes utterly random, sometimes oddly fitting, and sometimes onomatopoeic language: A swinging couple is pasted over an officer; the woman twirls in her green dress; her smile looks like it’s about to break; her partner exudes happiness. The officer’s speech reads “THOU DUMB AND DEAF SPIRIT, I CHARGE THEE TO COME OUT OF HIM…” Choir-boy heads from a single source-text, moreover, are scattered throughout to remind us, with a wink, that the text is ‘meant’ to be sung:

Kitty_page_13_11.5_

As collage, which is to say by its very appropriative nature, Kraft’s work sets itself afloat on a sea of references. In this respect it is not unlike a comic opera. Like a comic opera, it satirizes; it renders ideological authority—whether in the text this takes the form of religious icons, particular political figures, or green uniforms—absurd. For Here Comes Kitty, sacred cows are comestibles. Beyond this, the work paints red lipstick on the horrible. It snatches up the horrible and hands it a drink and incorporates it into a Dionysian revel.

Though the book is not, like Ernst’s, divided into formal sections, Danielle Dutton’s poetical prose does disrupt Kraft’s thirty-two-page collage at regular intervals. There are four textual interludes, each of which consists of four pages of writing. The written pages carry on the same associative (or dream) logic that characterizes the collage pages, only of course in a different medium; they also riff off of some of Kraft’s motifs. Each of Dutton’s pages functions as a contained unit with an abstract narrative of its own; a given page’s content only loosely resonates with that of adjacent (written) pages. The sentences which make it up are subtly discontinuous:

I’d begun to feel a direct relation to each of the words I spoke. Mushroom. Angel. Destroyer. Had all this happened before? A small man took my bag. “Think of it as a hotel,” a man with a mustache advised. A chorus of boys was singing. I was sure it had happened before. “Their voices are the voices of angels,” someone called. This was a kind of sickness. I was standing on the grounds. In a certain spot in Germany,” I told the morning group, “you’ll find the longest earthworms in the world.” Someone passed a bottle, but the doctors never saw. “No arms, no legs, no bones!” I cried. One doctor had a headache. One doctor had no neck. “Be happy you’re not dead!” the handsome doctor recalled.

In working with the page as her principal organizing unit, Dutton was also coordinating her contribution with the larger project: Kraft used the page-spread as his unit when designing the ambient “comic”; each panel had to have visual appeal when considered as part of this larger, two-page unit consisting of multiple panels, in addition to capturing the eye on its own. Kraft was also working with a second version of the collage, a bird’s-eye, or god’s-eye version, in which all pieces could be viewed together simultaneously, rather than one after the other, as we would view them in the necessarily sequenced, though decidedly repetitious and non-linear, book form of the project.

Even this book version of the project, however, insofar as, like Ernst’s chapters, it is irrational, insofar as it is not logically apparent why this panel follows that panel, why this page was deemed the rightful successor of that page, dissents to time. Relatedly, it invokes pursuit and voyage as themes, yet confuses procession: The title, Here Comes Kitty, announces the arrival of a possible mammal, a possible guide: “KITTY IS HERE” announces a panel. “Look, it’s a cat!” cries a choir-boy, though there is no cat to be found. Eventually, a recurring cat image is given a speech bubble: “FOLLOW ME!” The collage is riddled with motion motifs. Miniature soldiers and other figures march to and fro, with or against the left-to-right grain of the read. Bodied and disembodied hands are perpetually pointing the reader in incompatible directions. Speedboats and other ships circulate, though they are never navigationally in sync; whatever voyage we have been enjoined to partake in, dizzies: it takes us from land to sea, to land, to sea.

Alchemical tales often begin with journeys. Some feel that the overall structure of Ernst’s Une Semaine is in fact less arbitrary than it appears to be, that the succession of chapters symbolically mirrors the steps involved in the alchemical procedure; alchemy had captured the imaginations of the Surrealists working in the earlier part of the twentieth century. Ernst’s novel explicitly appropriated alchemical symbols, the images associated with its elements: lions and men as the representatives of earth, dragons to evoke fire, women and the sea to bespeak of water, birds to signify air and the seven stages of the alchemical process more generally. Very similar elemental and zoological dimensions are discernible in Here Comes Kitty. Birds are ubiquitous, as are tides and conflagrations. Lions are not alien to this territory, nor is sun and moon imagery.

In the alchemical symbolic, the sun is yoked to sulphur and the moon to mercury. The alchemical process is supposed to culminate in the integration of the sun and the moon, of the masculine and the feminine, into a single androgynous figure. Both Ernst’s novel and Kraft’s comic opera achieve this amalgamation through the free combination of male and female body parts, and Kraft additionally through gender-bending thought bubbles (a male officer’s reads “I am a big girl. I sing! I sing!”). Ernst’s novel also consciously (and cannily) aligns alchemy and collage in order to exploit the former’s allegorical pertinence to the latter: in alchemy, a base of primary matter is destroyed, recombined, and purified to produce gold or silver. In collage, essentially the same thing occurs, only it is a source text which is aesthetically re-particularized. Here Comes Kitty is not interested in rehashing this connection, for the idea has been done already; however, it does stand at the edge of itself, emanating a related but original form of molecular intensity:

Kitty_page_11_11.5_ (2)

There is a kind of unbridled pleasure circulating through Here Comes Kitty. Its intrigue is addictive. It is serene and cataclysmic. It is spiritual, yet sinister. It is all delinquent-joy and death-drive, and yet it is equally inexhaustible, incessantly generating: There is a choir-boy’s head on the last page, gobbling wieners. He seems to be in a wooded area. The white rabbit says “HURRAH! LET US PLAY.” The owl says ‘abandon ship.’ The panel commands us to ‘set fire,’ and then to hush up and wait.

— Natalie Helberg


Richard Kraft
is a multi-disciplinary artist based in Los Angeles. He has produced video, collage, photography and performance art. His work privileges open fields of meaning; it defamiliarizes by making use of incongruity and paradox. Kraft has exhibited in various galleries (Charlie James, LA Louver, Rosamund Felsen) and non-profit spaces (the Portland Art Museum, Bemis Center for Contemporary Art, the Photographic Resource Center, and the Laguna Art Museum). Richard has also co-authored a chapbook, In the Air (2013), with Peter Gizzi, which was released by Manor House.

Danielle Dutton is the author of Attempts at a Life, a collection of lyrical narratives, and an experimental novel, S P R A W L, which was a finalist for the Believer Book Award in 2011. Her work has appeared in numerous journals and has also been anthologized in A Best of Fence and I’ll Drown My Book: Conceptual Writing by Women. Dutton has worked in the capacities of managing editor, production manager, and book designer for Dalkey Archive Press. In 2010, Dutton founded the acclaimed experimental small press, Dorothy, a publishing project. 

helberg pic

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.

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Apr 042015
 

tsvoboda-early-pix2

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DIRTY THIRTIES

PEEL THESE COUPLE of potatoes and make the pig happy, her sister says. It’s been eating dirt.

Molly gets taken by the arm into the kitchen, Molly looking right past her―she is the shorter sister―right past her ear. You see another duster out there? That spread of cloud isn’t a thing to worry over, says her sister.

She gives Molly the peeler to grip. Molly takes up a potato in such a way as to break your heart, like it was left alone in the bin. Which it almost is.

Her sister goes about her business, ripping feed sacks into strips. She has been up to this since early, since she saw her head shape in dust around her pillow. She has seen that before, when she was sure no weather like this could go on and on and she didn’t fuss with caulking the windows with feed sack. She’s going to fuss now. She was never so careful a cleaner as Molly, Molly used to sweep at the dust in the middle of the night.

She steps out to the barn to get another sack and returns quick.

The kitchen’s empty. She throws down her burden, she wipes her hands on her bum. Molly!

Where she finds her, this time in the bedroom, Molly’s face is wet, teared-up. The pump’s about dry out there and you’ve got it spurting, says her sister. She drags her back into the kitchen.

She finishes the potatoes herself with Molly looking on, Molly looking on and on. You got to keep busy, she says. She gives her the scrub brush.

Molly sinks to her knees. There is hardly room for both women in the kitchen and Molly works wide, will scrub out a whole corner in a single swath. Her sister splashes down some dishwater and Molly scrubs and scrubs, then sits back on her haunches and looks toward the bedroom and coughs.

You catch that dust cough now? Her sister pours milk into a cup and gives it to her. Tastes like tumbleweed, she says. Cow doesn’t eat anything else.

Molly stares into the cup. Molly drinks it.

Her sister starts ripping the strips of feed sack again, humming what song she heard on the neighbor’s radio. Car coming, she says after a bit.

Molly’s already half legged it back to the bedroom. Her sister doesn’t aim to stop her, she hasn’t the heart for it, she knows who’s coming too.

The old young man drags in, his britches gone to thread and his head low. Molly any better?

She’s in the room, she says.

He takes a seat in a turned-around spindle-back chair. Well? Get her out.

You do it.

He does not so much as move a muscle.

She goes in to coax. Molly, come on, she says. He’s here. He’s tired of coming.

She has to pull her out this time, pry her fingers free of the door frame, then she forces her to sit beside him at the table that he’s pulled the chair to.

Molly coughs.

Honey. He takes her hand.

I kept her in the house all day today, her sister says. It’s not so far to the road that if she’d run, with her luck, there’d be a car coming. There are more cars today, going away.

Molly turns his hand over and touches where it is lined with dirt. The baby, she says, quiet like it will wake.

He flips his hand and holds hers down so she can’t get away. He heaves a sad sigh and sticks his head even with Molly’s so as to look her in the eye.

Molly breathes heavy as if her stomach’s about to turn.

After a while of watching the two of them, her sister says, You got to try to work the plow again. We can’t eat a plow.

He drops Molly’s hand, runs his own through his hair, says, Another duster coming.

You’re as bad as her.

She takes things out of the cupboards they’re kept in, flour goes in a cup, she ladles water into it.

He watches her as if he’s out of practice looking, then he looks into Molly’s face again, where it is crossed with dirty tears, then he stops. Sawyer said he found his way back to his house today only because his fence was glowing like a light bulb.

You don’t say, her sister says. She has a paste of flour and water going.

Some kind of electricity that comes with the dust. Lit it right up, made the fence come alive.

Molly starts―what does she hear? She wrenches free of him and gets up out of her chair and takes a step for the door of the bedroom.

Dead is dead. She knows it, says the man.

Molly has her back to them, she’s almost to the threshold.

Her sister says, Cold for July, and shifts the cup toward the window where a single cloud sits over by where they once wanted to put in a big new street, or so she says and then goes on: old man Dickens walked all the way over here to give me these feed sacks.

Nice of him, he says.

Molly has slipped out of the room.

Her sister slathers a strip of sack with the flour paste, her hand running it the whole length.

He watches her. I tore up the cover, he said, yesterday. Before the storm. Just before.

The cover? The bed cover? She turns to him in shock at the talk of such violence.

I mean–he puts his hands to his eyes and rubs–I mean land cover. I did plow, and the land pulled back all as nice as a piece of cake. It would’ve grown corn, it was that kind of dirt. I plowed it and it come up and then the wind blew it away like it was waiting for me to get a mouthful of it.

He scratches at his stiff hair. I want the flour sifter if you can spare it.

No, she says.

After Sawyer told me about the electrified fence, he showed me an arrowhead the size of a knife blade. Yea size, he says, his hands wide. He said he took a flour sifter down to his blowout and found it.

Not with a sifter did he find something as big as that. You find it yourself with your eyes.

I ain’t got the knack, he says, looking hard at her.

She wipes the paste off her finger and goes in and brings Molly back into the kitchen, gets her set up with her scrub brush again. Molly scrubs out a new corner, moving the dust and water in dark swirls. Maybe if she were expecting again, her sister says. Maybe that would perk her up.

The man slaps his thigh, and dust from his pants rises into the air. I don’t know how that will happen. She won’t won’t let me set foot in that room.

Molly scrubs.

Her sister applies the wet feed sack strip to the window crack, the one side where the dust blows in worst.

A corner of land, he says. I just wanted to stomp the land back down. Weeds grow anyway. Why not what I try to plant?

Molly starts sobbing.

He looks at her sister, they both step away from Molly’s shaking shoulders as if the kitchen is huge, they step back.

Four months almost to the day, he says, and shivers. She was watching him just fine in that room. I don’t see why she thinks she wasn’t.

Stray dust smacks the window.

Even wrapped him with rags of turpentine, says her sister. He hardly coughed.

Molly coughs, gets up off her knees and, stumbling, runs back into the bedroom again.

Her sister starts pressing the strip into the window wood but the top of the strip is so heavy with paste it bows and peels down. You could help, she says.

He stands at the threshold of the bedroom, then he doesn’t, he is over by the stove, he is beside her. He holds the strip into place while she rubs more paste onto another, more flour they don’t have much of, less water.

His arm sweats not so far from hers, his filthy hand is right next to her face.

The sister bites his thumb.

He doesn’t pull it away. She bites him again, holding the new strip against the dust that is coming, that is coming through no matter what she does.

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RUGBY

HERE COMES HIS BROTHER. I can tell by the tread, bear-heavy but light-footed, even more solid than his brother’s, who tiptoes into some game position I don’t know the name of, being ever-so-slightly rugby-educated, but certain he blocks. I’m mostly asleep from the exhaustion of teaching three-year-olds to pinch pots for their mothers all day, preventing them from throwing the pots at each other. The brothers like art like honey-on-pancakes, good if that’s all you’ve got. The younger isn’t home yet, the one whose room I rented while he roamed various continents rugby-free, who, still jetlagged, claimed his room and me the night he deplaned. You can stay, he said, the fey kerchief of vacation still wrapped around his forehead.

His brother is light-footing his way into what is still referred to as my room. It is dark but he can probably make out the blow-up of his brother and I unclothed, a lot of negative space going positive, hung over the bed. I like this brother, the one now hovering, beery-breathed and gentle with his punches when the two of them fight after games, mud-caked and happy having either won or lost, the game played all over in the living room. Furry in the face, arms, legs, and back, a nimbus of soft, the two of them doubled, exhale male.

He touches my face. I play-sleep.

My lover and I take three ferries, hike to a promontory and sleep in bags. A sort of sleep: sausaged with his big body and member, there’s not much turning room other than inside each other. Then there’s dawn and food: we knife open oysters from their beds. He’s lithe across the rocks in his nudeness despite his size and fur, he’s ridiculous running after me, mock caveman. I’m restless when caught, asking for another story about his trip abroad. I was so stoned, he says. All of it was art. I set the timer for the picture of the two of us anyway.

I’ve never seen a rugby match, just the aftermath, the blood and crossed eyes, the storm of beer. They tell me not to. No—they never say. They practice and practice, ramming the house beams, then one day they don’t, they play for days in a tournament, blood and beer morning and night. They can’t hide their lust for the sport, I don’t get it, so they tell me okay, go, and I witness a hugging mass of milling men, grunting, for an hour. Not much with regard to a ball. Both of them are shy afterwards, sleek from the shower, all warrior and new gut. They never disagree about who did what and they never tell me the rules.

Toward their parents they are deferential: Please pass the butter. Their mother, though cordial, could wallop them as well as the father, at least with her love-torn eyes at the least. The brothers arm-wrestle the father, a ritual demanded and met with some regret from the brothers: they now win. But their father is happy, all congratulations, a kind of Eden is breached, they’re men on their own.

I’m inspected and fed. They’ve seen the photo, the art over his bed.

It’s not you is what I try to say to him, then I say it. It’s everything else, my pot-muddy job over and there’s another job so far off I have to live elsewhere. You can visit.

He’s shy about feeling, what does he feel? He strokes his fair beard for an answer. Out of the house means out of his long reach, means it’s a decision he’s tentative over, me being still art-alien, unknowable, me with my will and my wont that he wins with his out-of-character respect. We stand on the porch with my bag, ready for transport.

Fuck respect, he’ll keep the photo.

There’s a roommate too. He drinks late at night and says his door isn’t closed, and he plays rugby too, on the better team, and it’s the season of switching love-fests and rock and roll heavies. I try him for luck but his chest is too hard, I can’t even lay my head on its ridges and sigh. My foolishness makes him drink late and later, but neither of say anything to either brother. You want coffee? he states now, holding his cup out to me. I can’t shake my head. He’s gathered at the door too, as if I’m baggage to be handled. I kiss them all but my lover’s brother is the saddest, he’s the one who cries out Goodbye.

Driving to the game drunk a week later, his brother screams at the traffic, he goads us to scream with him, the road twists and carooms while he hardly holds the wheel. We miss many cars so close we could be two-wheeling. And there’s still the ride home. How to get home where I live in my room so far away without anyone else for a roommate? They won’t visit. I’m here now to show them I’m the same from my place not so convenient, but what game am I playing? You have only one life, my lover says, as if that’s why I should risk it, kissing me so hard in the back seat that I have to close my eyes, that I should.

—Terese Svoboda

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Terese Svoboda‘s most recent novel, Bohemian Girl, was named one of the ten best Westerns by Booklist. She has stories coming out in The Common and Exterminating Angel, and she won a Guggenheim last year. www.teresesvoboda.com.

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Apr 032015
 

cid corman and gregory dunneCid Corman & Gregory  Dunne

Cid Corman was born in Roxbury, Boston, in 1924. His seminal magazine Origin was one of the first to publish poets such as Charles Olson, Gary Snyder, Denise Levertov, and Robert Creeley. In addition to the magazine, Cid, a poet and translator, organized poetry events around Boston and started the country’s first poetry radio program, This Is Poetry at WMEX featuring readings by Creeley, Stephen Spender and Theodore Roethke amongst others.  In 1958 he moved to Japan where he continued to edit Origin and in 1959 published Gary Snyder’s first collection Riprap. He began to translate Japanese poetry, in particular work by Basho and Kusano Shimpei. A prolific poet, he published over a hundred books and pamphlets. In 1990 he published the first two volumes of his selected poems Of. In all there are five volumes each containing 750 poems. Volumes 4 and 5 were just published in January of this year. Although described as a selected poems, Corman did not necessarily see it that way. He saw it as a single book that told his life in passing. Cid Corman died in Kyoto on March 12, 2004.

cid-corman

I am grateful to Greg Dunne, not just for the extract from his new book but for the wonderful opportunity he gave me back in 2000 to spend an afternoon visiting with Corman in his home in Kyoto. I had been travelling with my wife and young children in China for several months and stopped off in Japan on the way back to visit Greg. Over the years I had heard the story many times of how after moving to Kyoto Greg had stopped in at a coffee shop, CC`s, that sold western style ice-cream and cakes. The shop turned out to be Corman’s and Greg soon joined with a small group that met with him every two weeks for gatherings that lasted five hours or more. Cid read and talked poetry with them, discussed their work.

That afternoon, however, we talked to Corman about his work and his life. I got the feeling that he liked visitors so that he could relate the stories of his past to them, and through those stories reaffirm his true relevance to American poetry. This seemed to me to be borne of disappointment, sadness even – an awareness that his decision to live in Kyoto had left him largely forgotten in his home country. Nevertheless, it was evident that deep-down he knew that the poet’s life was exactly that – a life, a way of living. And he talked that day too of not even wanting his name on his poems at all, at refusing publicity when it occasionally came his way.

He excused himself at one point and left the room briefly returning with a copy of the first issue of Origin. He was proud of it, and rightly so. He spoke then of his writing routine. His morning began by writing letters, long letters to anyone who had taken the time to write to him. “If you write to me,” he told me, “I will write back.” After his letter writing he began work on his poems. He took me in to see his study. It was stacked high with manuscripts, heaps of paper across his desk and all around the room. “I write a book of poems a day,” he said. Most of these pages would probably never see the light of day. The act of writing to him, it appeared, was akin to the act of breathing – a breath in/a breath out, a word given/a word taken. This was not a rushed process; it was not a mountain of first drafts, of beginnings, but an ongoing expression of self.

Cid Corman

Later we took a pleasant walk to the post-office to mail off his letters and then said our goodbyes.  Despite his generous offer, I never did write to him. I regret it enormously of course but, in some ways these feelings of regret seem apt – a more fitting response to our short afternoon together.

—Gerard Beirne

quiet accomplishment cover

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What is theoretically innovative, and politically crucial, is the need to think beyond narratives of originary and initial subjectivities and to focus on those moments or processes that are produced in the articulation of cultural differences. These ‘inbetween’ spaces provide the terrain for elaborating strategies of selfhood – singular or communal – that initiate new signs of identity, and innovative sites of collaboration, and contestation, in the act of defining the idea of society itself. …….~ Homi Bhabha

A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing.…..~ Martin Heidegger

IN 1990, CID CORMAN PUBLISHED the first two volumes of this five-volume magnum opus book of poetry, of. The work was monumental in scope – each volume consisted of 750 pages of poetry. The book included many translations of poetry from around the world and from many different time periods that stretched from the earliest of times – Greek, Hebrew, and Chinese texts – up through contemporary poetry translations. In an unusual move, Corman left his translations un-sourced, that is, he did not attribute his translations to their original authors openly. Some fellow writers, notably Clayton Eshleman, found Cid’s practice suspect and wrote to Cid concerning it. Eshleman explained his dismay in the following way: “I was shocked to find Cid’s translations here, of Homer, Sophocles, Catullus, T’ao Ch’ien, Montale, Villon, Rimbaud, Basho, Malarlarme, Rilke, Ungaretti, Char, Celan, Artaud, and Scotellaro, treated as Corman poems. So I wrote to him questioning such appropriation” (Eshleman).

To do justice to the book, a book of this size and scope, and a book that is the culminating event in the life of a significant American poet, more attention is warranted in exploring the act of his incorporating un-sourced translations into the book – how it was accomplished – and what rationale there may have been for the move, assuming the act is not simply one of appropriation. To understand, appreciate, and comprehend more fully what Corman was up to then, one needs to begin with his poetics, with what informs them – his sense of poetry and its role and place in culture, society and life.

Translation came early to Corman and through the activity – within it – he found himself drawn into a larger community of poetry that would sustain his interest and attention throughout his life. For Corman both the writing of poetry and the translating of poetry developed at about the same time when he was in high school. Here he began translating Greek and Latin poetry. Later, during the war years (World War II), when he stayed home from the war due to his youth and illness, he went deeper into translation. In conversation, some years ago (1994), at his home in Kyoto, he told me about his start in poetry and how intertwined it was with his activities in translation:

…The first quatrain I wrote one Sunday two weeks after Pearl Harbor was… (shakes his head in disapproval)… almost like a translation from ancient Greek, because I had been translating the Agamemnon of Aeschylus at the time. I had studied Greek in high school, and I was very interested still in Greek literature and read quite a bit at University, mostly on my own, this was not for any course. is was just for my own satisfaction. I had read no translation of Aeschylus that struck me as being accurate or true to the thing…. when I started out… I wanted to know about meter. I wanted to understand how poetry was structured, why they used rhyme, the way poetry moved. (Corman, APR 25)

The translation of poetry affects his poetry. Even as a young man, he was able to see the effect that translation was having on his poetry. The force, or influence, is so strong that he seems to recognize a need to disassociate the two: he is unsatisfied with his own poem because it reads too much like the work he has been translating: “. . . almost like a translation from ancient Greek, because I had been translating the Agamemnon of Aeschylus at the time.” The translating of poetry is shaping this poet – the translation work is exerting an influence that Corman recognizes and understands as becoming a part of him. Though he seems to understand the influence can be negative at times, he does not disavow the overall positive influence that the practice is having in teaching him how to become a better poet. In our conversation that day, he went on to make the following points:

By the time I was a sophomore, I was studying Baudelaire, Rimbaud, and Mallarmé. And those poets struck me very strongly. They were new to me, and they were different than American poetry. But, I figured by translating I had a way of getting closer to what they were doing, and by doing that, I could learn.

So… it was the beginning for me. So I translated almost all of Les Fleurs du Mal for myself. They weren’t meant for publication. To learn. So it was for me, my education. (Corman, APR 25)

One sees from these comments that Corman understands his beginnings as a poet to be closely associated with his beginnings as a translator. We see also his passionate interest in non-English poetries, and his interest in translating as a means of education, of educating himself as a poet. In looking at the poetry of others, at other poetries, and translating that poetry into his own language, Corman put himself in conversation with other poets, and more importantly found himself within a conversation of sorts that involved poetry – a community of poets that carried him beyond the borders of language, state, and time. In this community, poetry itself became a unifying force –– a center that actually did hold, at least for Cid Corman.

We see further evidence of Corman viewing himself as working within a tradition and within a community when he collects his prose writings and publishes them as one book in two separate volumes. The first volume, Word for Word: Essays on the Arts of Language (Black Sparrow Press, 1978), contains essays related directly to his own poetry and poetic theory. The second volume, At Their Word/Essays on the Arts of Language (Black Sparrow, 1978), concerns itself with translation, and with the work of other writers: “At Their Word.” The two volumes make for a whole; with each volume informing what is said in the companion volume. Corman knows how essential translation has been in helping him to shape and refine his own understanding of poetry and how, in turn, his poetics have informed his translations of other’s poems.

And as it turns out, the first two essays in the second volume take up the topic of translation. Here, in the first essay, Corman offers five translations and commentary upon those translations: “translator’s notes.” The poems he offers are from Rilke, Baudelaire, and Montale. In his prefatory comments at the start of the essay, he offers the following explanation:

The versions here offered (my emphasis) are representative of different approaches possible. In all cases, however, the poems are pieces that have been savored and put into English originally for no other purpose than to prolong the translator’s own pleasure and perhaps to discover some possibility in them for his own tongue. Only where the results seem felicitous poems too (my emphasis) have offerings (my emphasis) been made to a larger audience. (Corman, ATW 10)

Corman’s use of the term “offer,” underscores his sense of giving – or gifting – the translations to the reader with humility – he makes no claim that the translations are definitive. They are offered – the reader can take them, or leave them: “The versions here offered . . .” They are being offered because the original poems were poems that he appreciated so deeply that he was moved to translate them, poems he “savored and put into English to prolong his own pleasure.” His versions of the poems, and only those versions that have become poems in English, and thus deemed worthy of being shared, become “offerings” to a wider audience. Corman’s explanation, particularly his use of the word “offerings,” implies both his giving something of himself to the reader – his work as a translator – and also – and more to the point here – his gratitude for the gift of the original poems. In this gesture and use of the word “offerings,” he implies his awareness of being part of a community that has involved many others over time.

He shows this attitude of gratitude towards the original poets and those who have translated the poem when he speaks of titling one of his translations, in this case the Baudelaire’s poem, “La servante au grand coeur dont vous étiez jalousie.” Unlike other translators who have tried to approach the untitled poem by translating the poem’s first line as the title and coming up with titles such as “The Servant” or the “The Kind-Hearted Servant of Whom You Were Jealous,” Corman titles his translation simply “after Baudelaire.” In his “translator’s notes,” he explains that “’After’ . . . is quite honest, for countless versions over many years achieved this result – which is finally a sort of homage to feeling shared.” The word “homage” as in the case of the word “offering” suggests an awareness on Corman’s part of being involved in a community – a world poetry – and a world that can be shared across time, space, and culture. Here is Corman’s version of Baudelaire’s “La servante au grand coeur dont vous étiez jalousie:”

after Baudelaire

The bighearted nurse
you envied, buried
sod, merits flowers.
The living thankless
rest between warm sheets
while the poor dead feel
all alone, no one
to bring them fresh trash.

If, at the good fire,
I saw her sitting,
some December night
found her in my room
crushed from the long bed
gazing at this child,
what cold worlds tell her
tears filling those eyes?
(Corman ATW 10)

Corman felt a need to translate, as well as a need to share his translations of poetry with others: To make “offerings” to a larger audience. We see further evidence of this in the story of his coming to translate the poetry of Paul Celan and to publish that poetry in his magazine Origin.

After leaving the University of Michigan, and after a few years back in Boston where he hosted a weekly poetry radio program, Corman was awarded a Fulbright and traveled to France to study at the Sorbonne. In Paris, Cid wrote poetry and immersed himself in translation. During this time, in 1955, he met the poet Paul Celan, virtually unknown in North America at the time, and began translating his work into English. Some years later, when Corman wanted to publish his Celan translations in his magazine Origin, he contacted Celan to ask permission. Celan refused to give permission and threatened litigation against Corman if he pursued publication. After some consideration, Corman went ahead and published the poems in Origin and, as promised, Celan wrote an angry letter to Corman threatening “persecution” – an ironic typographical error, as Corman would later remark to me, considering Celan’s persecution by the Nazi’s during the Second World War. Celan had meant to write “prosecution,” of course.

In 1994, when I asked Corman how he first meet Paul Celan, he told me the following story:

My friend. I was living with her at the time: 1955, in Paris. Edith Aron (German, but reared mostly in Argentina, of Jewish descent too) who had helped Paul Celan get a job with UNESCO introduced me personally to him one day. He seemed very dour to me and they did most of the talking. Both near my age – early 30s. And she gave me his first two books and suggested we translate from them together. We did. And I did the first English versions ever and a few were published in Toronto by Ray Souster at once. I didn’t like those first two volumes as much as what followed. And I bought each of his books as they occurred thereafter and translated each – with someone native to German assisting. I met him just as he was really coming into his own. And I have translated all his work – much of it still unpublished.

I asked Corman what specifically attracted him to Celan’s work, and he answered in the following way:

His depth of language use – not as technics (cf. Zukofsky) but as the only way to get language to tell what life humanly is – touched me. I couldn’t /wouldn’t be as obscure and “difficult” as he allowed himself/his language to be, but I could feel the truth of what he was doing, or trying to do. And that moved me. To want to share that work – despite his challenging me. (Corman, APR 26)

Corman speaks in terms of feeling “moved” to translate the work, feeling compelled to share the work of Celan with others. He decided to publish the translations despite Celan’s “challenging” him. His rationale being, in so many words, that he felt compelled to share it – that he could feel “the truth” of what (Celan) was doing: “His depth of language use . . . as the only way to get language to tell what life humanly is – touched me.”

One might find fault with Corman’s rationale as stated here. Is his desire to share the work reason enough to publish his translations without Celan’s permission? But in questioning Corman rationale, one would also do well to consider Corman’s passion and sincerity to share the work. Every- thing about Corman’s life in poetry suggests that his reply to Celan was sincere. Of course, I do not mean to assert that passion and sincerity, in and of themselves, make Corman’s actions right or absolve him of honoring the wishes of Celan. What I do want to point out is that Corman was deeply motivated to act in the way that he did act, and that his action speaks to his understanding of poetry in the world, and per- haps also to questions of ownership of it.

Corman felt Celan’s work should be shared – that it needed to be shared. This desire to share poetry has remained consistent throughout Corman’s life: his poetry radio program in Boston was a way for him to share poetry with a wider community. It was a way of creating a community around poetry, for poetry. His founding of the magazine Origin was another way in which he worked to share poetry with a larger community: he wanted to get poetry into the world, particularly the kind of poetry that mainstream poetry magazines were not taking seriously, at least not taking seriously enough to publish.

Written correspondence was a further way in which Corman shared poetry with others. Correspondence, i.e. letter writing, was a central part of his life as a poet. In conversation once, he referred to it as his “life-line.” When I asked him if there was anything that stood out in the letters that he received – anything remarkable? He told me, “Everything. Every letter is my news. Is poetry” (Corman APR 26). At the time, I didn’t think he meant that the letters were themselves really poetry – but over the years I have come to doubt that first understanding – maybe he did mean it, literally. After all a letter, like poetry, involves the experience of one person sharing news, to use Pound’s word for poetry – news that stays news with another. Letters and poetry are correspondences, if you will, that share an experiential quality about them: the words of the writer being shared with the reader in an intimate way. So for Corman, this idea, of letters being “poetry,” is not as far fetched as it might at first sound. Perhaps his feeling on this accounts for his publishing letters right alongside poetry in his magazine Origin. In the first series of Origin (1951-1957) Volume XIV/Autumn, for example, he published the following section of letter by the Canadian poet Irving Layton:

Letter to Cid Corman

Lac Desert, County Lab
Quebec
August 5, 1954

Dear Cid,…

In all these poems I’ve tried to express the idea “in the image,” for although as a rule I leave theorizing about poetry to others, there are one or two work-a-day rules I try to govern myself by when writing verse. For me, rhythm and imagery usually tell the story; I’m not much interested in any poet’s ideas unless he can make them dance for me, that is embody them in a rhythmic pattern of visual images, which is only another way of saying the same thing in different words. If I want sociology, economics, uplift, or metaphysics; or that generalized state of despairing benevolence concerning the prospects of the human race which seems to characterize much of present-day poetic effort, I know my way around a library as well as the next man. Catalogues are no mystery to me. I regard the writing of verse as a serious craft, the most serious there is, demanding from a man everything he’s got. Moreover, it’s a craft in which good intentions count for nil. It’s how much a man has absorbed into his being that counts, how he opens up continuously to experience, and then with talent and luck communicates to others (my emphasis) without fuss or fanfare or affectation, but sincerely, honestly, simply …

Yours, Irving

This letter appeared in Origin alongside Layton’s poems. It was not set off as a prefatory statement of any kind but appeared on the page as if a poem, in the flow of the poems presented there, with several poems preceding it and several poems following it.

Poetry is a craft, according to Layton, that demands much of the poet: “demanding from a man everything he’s got.” It is also a craft that demands the poet open up “continuously to experience,” a craft that calls upon the poet to communicate to others “without fuss or fanfare or affectation, but sincerely, honestly, simply . . .” These ideas are all in sympathy with Corman’s own poetics, as editor and as poet. Certainly, an open- ness to experience, and a direct form of communication/address are characteristic of Corman’s poetry. Here, Layton’s letter may be seen to be a poem in Corman’s eyes in so far as it achieves a rhythmic liveliness in its prose while communicating in a direct, unaffected and sincere way. A piece of writing that opens up to experience and communicates with others. In publishing the letter, we see Corman, the publisher, opening up to the experience of the letter and sharing that experience with others. In placing poes and letters in the magazine in such away, Corman seems to ask, “Why can’t a letter such as this be read as a poem?” Corman opens himself to the possibility of the letter being read in such a way – opens himself to that experience. In publishing the letter, Corman participates then in a reciprocal gesture of gift giving, and communicating with others – he shares Layton’s letter with a wider audience.

Corman’s active life as a correspondent is legendary, and the books of correspondence that have been published over the years indicate this – no doubt more books will follow.  The many letters between Corman and Charles Olson, for example, were edited and published in 1987 and in 1991 (Charles Olson & Cid Corman, Complete Correspondence 1950 –1964 Volume 1 and Volume II. Ed. George Evans, National Poetry Foundation, University of Maine Press); Olson’s letters to Corman were published earlier in 1970 (Charles Olson, Letters for Origin, Cape Goliard [London] and Grossman [New York] Ed. Albert Glover); a collection of Lorine Niedecker’s letters to Corman was published in 1986 (Between Your House and Mine: The Letters of Lorine Niedecker to Cid Corman, 1960 – 1970, Ed. Lisa Pater Faranda, Duke University Press); a more recent volume of Corman Letters was published in 2000 (Where to Begin, Selected Letters between Cid Corman and Mike Doyle, Ed. Keegan Doyle. Ekstasis Editions).

The contemporary American poet and translator, Andrew Schelling provides a telling and instructive story of his coming into correspondence with Corman through the aegis of Clayton Eshleman, who had known Corman in Kyoto years earlier and knew first-hand of his approachability, and his willingness to help younger poets. As Schelling recalls in a tribute that he wrote after Corman’s passing in 2004, he was a “fledgling poet . . . just beginning to publish . . . in the early to mid eighties” when he first corresponded with Cid Corman. Clayton Eshleman told him he had “to get in touch with Cid Corman.” Eshleman’s suggestion was a piece of “true counsel,” and not simply “a piece of advice.” Schelling listened to Eshelman and contacted Corman and they began corresponding. In short order, Schelling and Corman became correspondents. Corman replied “to every letter instantly,” Schelling says, expressing wonder at Corman’s generosity and attentiveness: “his aerograms usually leaving the day my own had arrived. Always an aerogram, always every patch of space on it filled with typewritten words—almost always a small poem or two or three typed onto the outside.” (Schelling)

As a poet living far from the American scene, one might expect Corman to have less to offer Schelling than an elder poet based in the U.S. and familiar with contemporary American poetics. Schelling however did not find this to be the case. While it was true, Schelling concedes, that Corman was not always up to date on the latest developments on the American scene, and that poetry news reached him “in curiously winnowed ways,” Schelling felt that Corman had something special to offer. According to Schelling, Corman’s “expatriate status gave him an in-touch status hard to qualify but completely visible to all who knew him. He was more a citizen of the world than are most American poets. His correspondence permitted him equal access to friends in Japan, Australia, Germany, Canada, and Mexico.” Corman was in his own curious way at the center of things – his correspondence had him in touch with poets around the world. For a young poet like Schelling, a poet interested in translation, Corman’s international contacts and his active engagement with translation had much to offer Schelling.

Corman wrote tens of thousands of letters to contacts around the world during his lifetime. His correspondents included friends, family members, and poets, as well as politicians, philosophers, artists, and religious figures. His correspondence with others was something that he wanted to share, that is, he wanted not only to connect with others through correspondence, but he wanted to connect others to others through correspondence. If he thought that one of his correspondents would benefit from getting to know another of his correspondents, he would try to put them in touch with one another. Through his correspondence then, Corman tried to introduce different writers to each another. When I first began corresponding with Corman on a regular basis, he frequently went out of his way to send me contact information about writers he thought I should connect with.

When one looks at the sum of Corman’s life then, one feels convinced that Corman felt poetry was, in large measure, about sharing and community. He felt that one of the most fundamental qualities of poetry was found in its ability to bring two individual lives together – to create a community of two: a conversation between the reader and the poet. This sentiment is found throughout his oeuvre. Here are four poems that demonstrate some of this:

Poetry becomes
that conversation we could
not otherwise have.
(Corman, ND 86)

Assistant

As long as you are here –
Would you turn the page?
(Corman, APR 23)

The Call

Life is poetry
and poetry is life — O
awaken — people!
(Corman, APR 21)

There’s only
one poem:
this is it.
(Corman, ND 121)

In elegant and conversational language, Corman asserts the primacy of poetry in human relations in these poems: “Poetry becomes / that conversation we would / not other- wise have.” Poetry is unique and solitary in what it offers – nothing else is quite like it.

In the second poem we see a humorous and yet quite serious invitation for the reader to participate actively in the reading of the book. It is as though Corman himself were reaching out through the poem to make contact with the reader and participate in the reading of the book: “Would you mind turning the page?” The poet shows up and speaks directly to the reader – let’s the reader know that he, the poet, has thought of him. The poet has envisioned the reader one day finding himself on the page and reading. This is the community that Corman values – the interaction of one person conversing with another through the medium of poetry. Corman moves through time and space in doing this, he is aware of the poem’s ability to transcend time and space and remain relevant – to still speak. Here he quietly alludes to times’ passing and to the ephemeral nature of life: “As long as you are here.” This conversational line, a line we commonly hear, is brought to bear its full measure of import within the poem: the weight of intonation and stress falls precisely on the word “are:” “As long as you are (my emphasis) here.” If Corman were not the poet that he is, he might have written “you’re” instead of “you are.” Corman wants the reader to sound “are:” “As long as you are . . .” In other words, as long as you are here, and alive, will you turn the page?

This subtle gesture points to one of the enduring qualities and strengths of poetry: the poem speaks to the reader even when the poet is gone. It speaks to the movement of time, the movement within a lifetime, to the human condition of being here now and knowing we will not always be. The poet after all, is not really with the reader on the page in the present moment of reading. He has passed on. The reader in reading the poem understands this, feels it through the poem.

The final two poems cited above get at similar notions as the first two poems. “The Call,” again announces the primacy of poetry, equating it with life itself: “Life is poetry/and poetry is life – O.” And the final poem makes the playful and, at first glance, seemingly audacious statement, that “There’s only/one poem:/this is it.”

Of course, in a real sense, Corman means exactly what he says, and that is, that the impulse behind the writing of a poem, the engine of the poem, the origin of any poem, of all poems, is the same at its source – it is the impulse to speak, it is the “O” of breath and being – the reaching out of one to another through language – the poet and reader together – the song that brings one to another. It is at base a connectivity, and communication, a form of communion, or community: ”the conversation/we could not otherwise have.” Seen in this light, we understand the claim that the poem makes: there is one poem and it resides in our very breathing and breath. It is life.

This poem, this last one, is an especially helpful poem to consider in relation to Corman’s book of and his questionable act of incorporating un-sourced translations into the book alongside his own poems. I say this because in this poem, we see a clear statement which may be seen as supporting what Corman has done in the book; that is to say, he makes his poems and his translations one book, one unified book, one poem: “There is /only one poem:/ this is it.”

***

Of is, at first glance, a strange title for a book. How many books can one think of that contain a preposition for a title? Strange as it is, it is a title that is precise and telling, and one meant to draw attention. When one opens the book, one finds a preface that immediately addresses the rationale behind the titling of the book:

for those who find themselves here
and sounding the words care to be

this is a book of a life as exacting as any
other, not in chronological order, but
through as for all time: a small proportion of
what has occurred to me and to which the work
unseen is complementary

the title reflects a precisely physical metaphysics:
the meta the indissoluble unfathomable fact: the
genitive case: to which we are all beholden and
within which we remain hopelessly particular

and to the extent that a poetry can, these poems
articulate it – which humbly (meaning – aware
of there being no choice) reveals transparently,
whatever else may be felt, I trust (trust implying
you), wonder, gratitude, pain, and love.

(Corman, of Vol. I, 2)

The Preface begins by immediately engaging the reader: “for those who find themselves here/and sounding the words care to be.” The reader is said to be “sounding” the words, suggesting that the reader is actively involved in both sounding the depth of the words – the depth of their various and associative meanings – as well as physically making the sound of the words in their mouths – “sounding” them. The words themselves are said to be things that “care to be,” underscoring Corman’s emphasis on our appreciating “words” as having an existence beyond the individual’s control – emphasizing, reminding the reader that words exist independent of the individual speaker – that they are thus shared within a larger community. If words did not possess this characteristic capacity, of what use would they be? To the extent that words are shared, they carry meaning and significance for us, and they bring us together, allow us to communicate with each other. Readers can “find themselves here” (my emphasis) precisely because the words on the page belong to the reader as much as they belong to the writer.
 As Corman says, “The title reflects a precisely physical metaphysics,” that is, it attempts to underscore the existent relationship between the individual and the world beyond the individual to which the individual is both separate from and a part of: “the genitive case: to which we are all beholden and/within which we remain hopelessly particular.” Language is thus the bridge, or the “connectivity,” as the post-colonial scholar Inderpal Grewal refers to it (Grewal 236).

Corman continues to elaborate upon this theme on the following page of the book with another epigraph. Here he translates the Greek of Philo of Alexandria (20 B. C. E. ~ 50 C. E.). It is salient to note that Philo himself was writing a literary work in Greek that was based on the older Hebraic writings of the Bible (Genesis), namely the Old Testament. Thus Philo too, like Corman, was involved in translation – the crossing of linguistic borders. Corman translates the epigraph as follows:

The soul of the most perfect is fed by the word as a whole; we may well be content should we be fed even by a portion of it.

PHILO: Allegorical Interpretations of Genesis. III, Ixi, 176.(Corman, of, Vol. I. 1)

In this epigraph, Corman once more alludes to there being a whole to which we belong: “the word as a whole.” With my layman’s knowledge of ancient texts, I cautiously interpret Philo in the following way: I take the “most perfect” as referring to God. Following upon this, I understand God is fed “by the word as a whole.” I read “the word as a whole” to refer to the whole of humanity, and that humanity’s offering God prayers, songs, poetry – praise feeds God. If the word as a whole is what God – “the soul of the most perfect” – is nourished by then we lesser ones might be sustain by, and should be “content” with, even a portion of it, the word: our own individual languages. The divine world and the human world are bound by, and through, the word. For Corman then, poetry is nothing less than manna – an essential thing – meant to be shared. Further, it is the diversity of languages that Corman is signaling as being of importance. It is not one particular language but the word as a whole – all poetries contributing to the whole that feeds the most perfect.

With this title, preface, and epigraph, Corman makes the case, rhetorically, for including un-sourced translations from many different languages and time periods into the book. His gesture is to say that we are OF this material – that the poetry of the world belongs to all of us. Moreover, he means to suggest that we are shaped by our inheritance of these languages, poetries, and cultures. We are of them – born into a scene and situation that we did not ourselves wholly create. He honors the inheritance.

In 2000, Corman responded to the charge of appropriation – whether or not his use of un-sourced translations in of was a form of appropriation. Did he deliberately leave the names of the original authors of his translations off the page? In his characteristically frank way, he acknowledged that he had done so while emphasizing that he did so with a purpose:

Yes, of course. Take Eshleman, who I know very – have known very well: very angry at me for doing that, not to give the credits. But anyone who’s really interested could easily recognize… Most of them are very famous pieces; the others, often the title gives it away, where the source is. Anyone who’s really interested could easily find out. But the point is precisely I don’t want the names introduced. My dream, even when I first began, the first year I wrote poetry, was to be anonymous; and if you look at my books that I myself designed without fail, my name is not on the title page. This is unique: there’s nobody else that ever has done this and I do it deliberately. My name is put as a signature at the end, but actually, I would rather have my name not in the book at all…

(Corman, ICPR 1)

“But the point is precisely I don’t want the names introduced.” Corman doesn’t want the names introduced because he wants the work, of, to be that whole that he alludes to in the epigraphs. His own poems will be part of the book, but they will find themselves within a community of poetry – his poems will be at home within a greater whole.

While I think it is understandable how the charge of appropriation could be leveled at Corman – for he does incorporate translations of others’ poems into his book – I believe under close analysis the assertion of appropriation does not stand up. “Appropriation” doesn’t adequately come to terms with the nuanced complexity of Corman’s gesture, and it is in the nuance and carefully balanced aesthetic manner in which the translations are brought into relationship with Corman’s own poetry that matters. The manner in which the translations are incorporated allows for them to be felt as translations, known as such, while not overtly crediting them as translations nor naming the authors.

Corman asserts in the interview that anyone really interested in finding out the source of a poem can easily do so because the poems are well known, or they are tagged in a way that allows them to be identified: “But anyone who’s really interested could easily recognize . . . Most of them are very famous pieces; the others, often the title gives it away, where the source is.” In other words, Corman maintains that the translated poems remain in some fashion distinct and particular, in some way known and sourced.

This is in keeping with what he announces in the Preface and through his use of epigraphs. In some measure, “a precisely physical metaphysics” is enacted in the book: the translated poems remain particular within a constellation of other poems, including Corman’s own. The ability of Corman to translate poems and incorporate them so that they become both distinct and a part of the whole is one of the signal achievements of the text. And in so much as readers experience the poems as translations within the book, that is, poems different from Corman’s own poems, a multitude of voices are allowed to enter the book and circulate through and between Corman’s own poems.

For Corman to insert the names of the original authors on every page where a translation appeared would be to break (brake) the resonant play of the poems echoing off each other. It would be, in short, contrary to the aesthetic intentions suggested in the titling of the book. This is to say that the listing of sources would break the text into discrete parts and detract from the whole that Corman is trying to create.

When readers encounter translations in the text, the readers should understand that the poetry is other than Cor- man’s own. When Corman’s friend and fellow poet, Clayton Eshleman read the book, he had precisely this experience – he recognized certain poems as translations despite their lack of citation. The first poem, for example, is entitled Shingyo; as such, it immediately signals a foreign language – in this case Japanese. The poem is actually a translation of an ancient prayer, a sutra that comes from India. Just as Philo’s use of the Genesis story demonstrates his awareness of precedent, Corman too chooses a work that demonstrates his awareness of precedent, and the way in which languages and ideas cross borders and are shared among and within communities. The sutra, which is well known in Asia and in- creasing in the West, was written in Sanskrit at around 350 C. E. Later, Buddhist monks brought the sutra to China where it was translated into Chinese. Then the Japanese brought the sutra to Japan, and translated it into Japanese. Here, the sutra, known in English as “The Heart Sutra” is a work that has passed over and through many national borders, languages, and cultures to be shared anew through further translations. Interesting to note, and apropos to what Corman has said about his own wish for anonymity in poetry, the poem he begins the book with – his magnum opus – is an anonymous work, a poem that has been chanted by many different people of various cultural backgrounds for ages.

Beginning the book with this poem amplifies the theme struck by the epigraphs and the Preface, that is to say, the poem moves us to confront the paradox that we find ourselves in – we are particular and yet each exists within a community – in relationship with others – our shared language tells us as much: no one person invented the language, and no one owns it. It is shared. Shingyo speaks to a condition of enlightenment, which would have us acknowledge being both a part and a whole, a poem that celebrates non-duality:

SHINGYO

Seeing reflecting sense nonsense
Friend – here is emptiness here is form
Unborn undying – untainted
unpure – no more no less – therefore
Friend – nothing to know or not to
to come to this – the suffering
reaching where it is and is not
Come – body – and go – body – no
body – gone to the other – gone.
(Corman, of, Vol. 1. 5)

The poem speaks to a sensibility that is unified, a non- dualistic sensibility – one that recognizes both the part (“body”) and the whole (“gone to the other”). It reaches through both – goes beyond opposites – to locate a site of commonality in a singular word of compassion “Friend.”

It is not only by titling the poems carefully then, as in the case of “Shingyo,” and by including well-known translations that Corman indicates which poems are translations: Corman also employs other techniques that quietly signal translation. The entire first section of the second volume of the book, for example, is indexed in the back under the title “Offered,” echoing the title of the book, of. Indexing the poems in this way, suggests that the majority of the poems in the section are translations, as they indeed are.

And it is not only by his unobtrusively marking the poems as translations that Corman succeeds in building the polyphonic quality of the text; He also succeeds through skillful translation. Corman is careful to honor the text, to honor the rhetoricity of the original. This is to say that his translations are distinguished by what the post colonial scholar Gayatri Chakravorty Spivak refers to as “fraying,” a manner of translating that eschews the long searched-for equivalency between the original and the target language in favor of acknowledging qualities of the original that may be better left un-translated, giving the text a frayed or roughened feel. As Spivak puts it, “The task of the translator is to facilitate love between the original and its shadow, a love that permits fraying, holds the agency of the translator and the demands of her imagined or actual audience at bay.”

Corman’s translations leave the text open and rough with possibility. When balanced between the translator’s agency and the reader’s expectation, Corman honors the rhetoricity of the text. In 1964, long before the term of fraying came into use in translation studies, Corman spoke about his willingness to retain Japanese words in his translations. For example, in the Preface to his translation of Basho’s Oku-No-Hosomichi, (Back Roads to Far Towns, Munjinsha 1964) he and his fellow translator decided to retain original Japanese words in the translation. Corman expressed their decision this way:

If the translators have often not accepted Western approximations for particular Japanese and/or Chinese terms, it is not to create undue difficulties for readers, but rather to admit an exactitude otherwise impossible. As a result, notes may be needed in greater profusion than before. (Basho, BRFT 10)

Corman is not going to smooth the text out so that it reads comfortably in English if that means compromising too much of the complexity of the original. The original words, rich in associative meanings, may offer a complexity that the English words cannot adequately represent, that is, the English equivalent is not accurate enough. This decision on the part of translators (Corman and Kamaike Susumu), make it is necessary for them to use original Japanese words in the translation. In translating Basho’s Oku-no-Hosomichi, Corman and Kamaike retain original Japanese words in both the prose and the poetry. Here is some of their translation work – the poetry following the prose:

Afterwards off to the Sesshoseki on horse sent by
the kandai. Man leading it by halter asked for a
tanzaku. Beautiful he wanted one:

across the meadow
horse take your lead now from the
hototogisu
(Basho BRFT 25)

In this brief passage, Corman and Kamaike retain four Japanese words. Their notes in the back of the book relate the following:

kandai: Castle overseer
Sesshoseki: Still exists, though fenced about. The legends associated with it are told in Noh of the same name.
tanzaku: Narrow strip of fine paper to write poetry on; a poem
hototogisu: Japanese cuckoo, whose name is its song.
(Basho BRFT 122)

In using original words the translators intend “to admit an exactitude otherwise impossible.” They bring the Japanese flavor of the original in – they “admit” it – because English does not have similar words that are reliably precise. By retaining the Japanese words the translators allow the shadow of the original to be felt and appreciated. By “shadow” I mean to suggest that Corman and Kamaike’s translation emphasizes that while it is not the original it does retain some of the original’s defining qualities. Hototogisu, for example, is the Japanese cuckoo, but more to the point – and the point Corman and Kamaike want the reader to experience – is the fact that the name of the bird IS the bird’s song. When the reader reads “hototogisu” the reader hears what the Japanese themselves believe the bird sounds like when it calls. And it just so happens that this has a further meaning (or possibility of meaning) – the sound of the song is imaginatively thought to be the sound of a Buddhist sutra. Thus, the bird is thought to be, figuratively speaking, chanting a sutra. The bird and its call are steeped in the folklore of Japan, and its literary history and culture. The reader gets the onomatopoetic sound that the Japanese themselves feel best represents the sound of the bird. The reader is thus connected in this way with Japan: its animals, culture, language, and people.

Corman frays many of his translated texts in of in similar ways. When he translates Catullus, for example, he uses the Latin title of the poem and translates the poem in the following way:

IUCUNDUM, MEA VITA

Happy, my life, to me you propose love
This ours between us perpetual be.

Great gods, see that she really can promise
And she say so honestly and from heart,

So that it be ours all life to continue
Eternal this trust of blest affection.

I will tell you the secret.

(Corman, of, Vol. II, 30)

Encountering a poem such as this would lead any observant reader to conclude that she is indeed reading a translation. Why else would the poem be titled in Latin? If this doesn’t wake the reader to the fact of the poem being a translation, the reader could Google the title and find the poem ascribed to Catullus. In other worlds, the poem calls out to be understood – read – as a translation. The fraying one finds in the translation makes this even more abundantly clear. This translation is not rendered in Corman’s contemporary American English, but in a distinctively textured, tonal, and syntactical manner quite foreign to it, resulting in a poem that sounds ancient. Some of the ancient sounding qualities of the translation come from Corman’s mining the possibilities of the original Latin poem. Corman draws our attention to the word “ours:” “Happy, my life, to me you propose love/this ours between us perpetual be.” Here, “ours” functions as a noun and retains its Latin sense of something not only as something shared between people but something alive and living, and “ours” that is, “perpetually to be, a love that comes “honestly” and “from heart.” The word “ours” is struck again in the penultimate line with stress and weight – “So that it be ours all life to continue.”

Beyond the polyphonic and the symphonic qualities that the book achieves by bringing in such a rich variety of voices from various cultures, languages, and time periods, Corman’s book, of, reminds us that we come from this stuff – from this poetry – and that our languages and poetries have played a role in shaping the world we live in – the way in which we see and understand ourselves and the world.

Homi K. Bhabha, the literary scholar and cultural theorist, in commenting upon the contemporary Mexican American musical artist Guillermo Gomex-Pena, who travels between Mexico and American to sing songs on both sides of the border, both old and new songs – a man who sings to different audiences – Spanish-speaking audiences and English-speaking audiences, may provide us with the clearest lens yet by which to discern and appreciate what Corman achieves in his own crossing of boundaries – the boundaries of time, space, languages, cultures, and poetries – not to mention his crossing back and forth between his own poems and his translations.
 According to Bhabha, Gomez-Pena’s actions of performing songs in both languages on both sides of the Mexican and U.S. border – songs that are traditional as well as new – creates a generative “inbetween space” that allows for the artist to elaborate “strategies of selfhood – singular or communal – that initiate new signs of identity . . .” This “inbetween space,” he asserts, is a site of “collaboration, and contestation.” (Bhabha LC 336) Corman’s work too creates such an inbetween space. It also creates a site of collaboration and contestation in so far as we see him collaborating with other poets through the act of translation, taking their poems and translating them into English. We can see the contestation in terms of his own voice, his poems, asserting themselves through the surrounding poems, many voices vying, if you will, to be heard.

In fact, Bhabha prefaces the above comments by saying that what is “theoretically innovative and politically crucial is the need to think beyond narratives of “originary and initial subjectivities and to focus on those moments or processes that are produced in the articulation of cultural differences.” It is precisely this activity that opens up what he terms “the inbetween space which leads to new signs of identity . . . in the act of defining society itself:”

What is theoretically innovative, and politically crucial, is the need to think beyond narratives of originary and initial subjectivities and to focus on those moments or processes that are produced in the articulation of cultural differences. These ‘inbetween’ spaces provide the terrain for elaborating strategies of sellfood – singular or communal – that initiate new signs of identity, and innovative sites of collaboration, and contestation, in the act of defining the idea of society itself.” (Bhabha, LC 337)

Corman’s inclusion of poems from many languages – translations – poems both old and new – creates an “inbetween space” that is at once familiar and de-familiarizing – Corman’s own poems written in vernacular contemporary American English sound familiar to the American ear, whereas the translations, such as a poem like “Shingyo,” sound much less familiar because they are sourced in different languages, time periods, or cultures and because Corman’s renderings in English of those translations tend to be deliberately marked or frayed, creating a degree of dissonance between his own poetry and the translated poetry. In this way, Corman creates a gap, a space, and in-between, that allows, admits, a larger world of poetry to enter. He gets beyond, as Bhabha would have us do, “originaries and initial subjectivities” and allows the reader to experience a larger world of poetry by allowing her “to focus on moments or processes that are produced in the articulation of cultural differences.” It is through this performance, this act, that Corman succeeds in initiating “new signs of identity,”which would lead to “the act of defining the idea of society itself ” (337).

The new identity that Corman wants us to embrace says that WE are OF this stuff, this material, this poetry. It is an identity that includes others – other languages, other poetries, other stories, and it accepts them graciously and identifies with them as human stories, familial stories. The new identity implies that the poetry of the world is gifted – offered – in the way that language itself is gifted to each of us, that is, handed down to us by our mothers and fathers, freely given. Corman’s move is deliberate and provocative – an insurgent act – and we should understand it as such and appreciate it as such. Rather than apologize or become defensive in responding to Eshleman’s question regarding appropriation, he becomes more assertive: “. . . the point is precisely I don’t want the names introduced. My dream, even when I first began, the first year I wrote poetry, was to be anonymous” (Corman, ICPR).

In placing translation directly beside his own poems, Corman forces us to ask questions about poetry and poetry’s role and place in the world at a time when cultures and languages are crossing borders more rapidly than ever before. He asks us if we are ready to hear what a world of poetry has to tell each of us about the nature of our existence on the planet. Do we understand the generous loving gesture that the poem itself is offering each of us? Can we approach not only poetry but each other with a larger sense of gratitude, or, as he would say in another poem, can we listen to the poem and each other?


Listen.
What is it – you ask?
I keep telling you:
Listen.

(Corman, ND 64)

Corman wants us to understand that poetry is as important now as it’s ever been in helping us through the night in helping us understand who we are, and what we are – even if poetry is nothing but cry in the night, even if it’s simply one person reaching out to another. Corman is not concerned with copyright issues, or questions of appropriation. It is as though he deliberately pushes these concerns aside in order to get at something more elemental and vital, and that is to remind us that poetry bring us together into a conversation – that language itself comes before ownership, that it is held in trust and commonly constructed. What ever it is that compels a person to write a poem, or for a person to read a poem, gestures toward shared community.

Corman’s magnum opus, of, by combining both translations from other poetries and placing them beside his own poems in a single book allows us to think beyond boundaries into new spaces that allow for a world of poetry to open up, a large world we find ourselves a part of. In doing this, the book reminds us that poetry, to be worthy of the name, to remain vital in our lives, must remain within the community as something offered and shared.

Family

We know it is love
Because we are – as
The stars are – because

Dante and Shakespeare
And Homer were and
So many others

Who never leave us
Alone – light shining
Under the closed door.

(Corman, of Vol. II 378)

—Gregory Dunne

§

Works Cited

Bhabha, Homi K. “Locations of Culture.” The Transnational Studies Reader: Interdisciplinary Intersections and Innovations. Ed. Peggy Levitt. New York: Routledge, 2007. 233-237. (Print)

Corman, Cid. At Their Word: Essays on the Arts of Language. Vol. 2. Santa Barbara, California. Black Sparrow. 1978. (Print)

Corman, Cid. Back Roads to Far Towns. Buffalo, New York: White Pine Press. 2004. (Print)

Corman, Cid. “Cid Corman in Conversation.” Interview with Philip Rowland. Flash Point Magazine, 16 Sept. 2000. (Web) 06 May 2013. <http://www.flashpoint mag.com/corman1.htm>.

Corman, Cid. Interview. “An Interview with Gregory Dunne. “American Poetry Review. (July/August 2000): 25. (Print) Corman, Cid, Mike Doyle, and Kegan Doyle. Where to Begin: Selected Letters of Cid Corman and Mike Doyle, 1967-1970. Victoria, B.C.: Ekstasis Editions, 2000. (Print) Corman, Cid. Nothing Doing. New York: New Directions,

  1. (Print) Corman, Cid. of. Vol. 1 and 2. Venice, California: Lapis. 1990.

(Print) Corman, Cid. The Gist of Origin, 1951-1971: An Anthology.

New York: Grossman, 1975. (Print) Dunne, Gregory. “Getting the Secret Out of Cid Corman.” Poetry East: 44 (Spring 1997): 9 – 23. (Print) Eshleman, Clayton. “Cid,” Cipher Journal. 12 June 2004. <http://www.cipherjournal.com/html/eshleman_cid_ii.

html> (Web) Grewal, Inderpal. Transnational America. Durham and London: Duke. 2005. (Print)
Heidegger. Martin. Poetry, Language, Thought. Trans. Albert Hofstadter. Harper Colophon Books, New York:1971.

(Print) Niedecker, Lorine, Cid Corman, and Lisa Pater Faranda. “Between Your House and Mine”: The Letters of Lorine Niedecker to Cid Corman, 1960 to 1970. Durham [N.C.: Duke UP, 1986. (Print)

Olson, Charles, Cid Corman, and George Evans. Charles Olson & Cid Corman: Complete Correspondence 1950- 1964. Orono, Me.: National Poetry Foundation, Univer- sity of Maine, 1987. (Print)

Schelling, Andrew. “Schelling CC Death Notes.” Web log post. Schelling CC Death Notes. Cipherjournal, 28 Mar. 2004. (Web) 03 May 2013.

Spivak, Gayatri Chakravorty. “The Politics of Translation.” Destabilizing Theory. Eds. Michele Barrett and Anne Phillips. London: Polity Press, 1982. (Print)

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Gregory Dunne is the author of two collections of poetry: Home Test (Adastra Press, 2009) and Fistful of Lotus (a handmade book by Canadian printmaker Elizabeth Forrest, 2000). He has contributed to Strangest of Theaters: Poets Writing Across Borders (McSweeneys and the Poetry Foundation, 2013). His poetry and prose have appeared in numerous magazines, including the American Poetry Review, Manoa, Poetry East, and Kyoto Journal. He lives in Japan and teaches in the Faculty of Comparative Culture at Miyazaki International College. Quiet Accomplishment: Remembering Cid Corman was published by Ekstasis Press in 2014.

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Apr 032015
 

Maura Kennedy and B. D. LoveMaura Kennedy & B. D. Love

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[podloveaudio src=”http://numerocinqmagazine.com/wp-content/uploads/2015/03/I-Cried-To-Dream-Again.mp3″]

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“I Cried to Dream Again” Lyrics by B.D. Love, Bonificence Music, ASCAP/Music by Maura Kennedy, Parade of Echoes Publishing, BMI. The song will be included in the album, Villanelle: The Songs of Maura Kennedy and B.D. Love by Maura Kennedy on the Varese Sarabande label (4/28/15).

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I RECENTLY VISITED THE NOTTINGHAM, an assisted-living facility in Syracuse, to see a dear friend and former Le Moyne colleague, Gordon Boudreau, the author of a splendid book on Thoreau. Gordon’s daughter, Maura, and her husband, Pete (professionally, “The Kennedys”) happened to be there. They had just performed in Syracuse, and were now putting on, for a large and enthusiastic audience of residents, a concert that turned out to be quite wonderful. I liked everything on their playlist, all their own music, except for two pieces: Willy Nelson’s “Crazy,” on which Maura sounded every bit as good as Patsy Cline, and Gershwin’s “Rhapsody in Blue,” which Pete, a terrific guitarist, played beautifully—on a tiny ukelele!

But the highlight for me was a song titled “I Cried to Dream Again.” Maura wrote the music, to accompany lyrics by a poet-friend, B. D. Love. As the title indicates, Mr. Love is playing off one of the most beautiful, and utterly unexpected, passages in Shakespeare: lines spoken by Caliban in Act II, Scene ii of The Tempest. When the fools Stefano and Trinculo are frightened by the music created by the invisible Ariel, Caliban responds:

Be not afeard; the isle is full of noises,
Sounds and sweet airs, that give delight, and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears; and sometimes voices,
That, if I then had wak’d after long sleep,
Will make me sleep again; and then, in dreaming,
The clouds methought would open, and show riches
Ready to drop upon me; that, when I wak’d,
I cried to dream again.

Those last lines, the ones that supplied the song’s title, are an exquisite conclusion to a beautiful set-piece. What makes the lines even more extraordinary is that they are spoken by the half-human, half-bestial Caliban, whose normal vocabulary consists of brutish gabble and cursing. Even the illogical sequence of tenses in this passage is intentional on the part of Shakespeare, who retains all the beauty of the speech, while suggesting that Caliban is not quite a master of grammar. More intriguingly, the shifts back and forth among past, present, and future tenses create what Robert Graves praised in The White Goddess as “a perfect suspension of time.”

I didn’t go into all this in talking with Maura after the performance. Nor did I babble on about the lyrics alluding to the Brunhilde-Sigurd myth. But I did tell her, honestly, that I thought the song “worthy” of this astonishing passage:  even higher praise than saying that her performance of “Crazy” was as good as the great Patsy Cline’s.

I liked “I Cried to Dream Again” so much that Maura was gracious enough to send me an MP3 of the song prior to its release on their upcoming CD. In writing to thank her, I told her I liked it even more after playing it a couple of times.

The lovely imagery of moonlight, starlight, and mist may or may not be consciously Shelleyan, but the lines, “I dreamed/ I was circumscribed by flame/ when I heard you call my name,” seemed a clear allusion to the Valkyrie Brunhilde, punished by being put in a spell and surrounded by fire. That ring of fire is, of course, penetrated by the hero Sigurd, who rides through the flames, kisses and awakens her…and then leaves her.

That trajectory suits a song about love and loss, ecstasy and abandonment: “I never cried/ until you walked on by/ without one word, a nod, or sigh.” Whether it was a fully conscious allusion or not doesn’t matter; as D. H. Lawrence insisted, “trust the tale, and not the teller.” Whatever Mr. Love’s intention, this mythic imagery is there, in the song. So now, that Brunhilde-Sigurd myth joins the haunting final line of Caliban’s speech on the island’s music, becoming, at least for me, an integral part of the song.

The music Maura wrote for it verges on the magical, and the poignant word “bittersweet,” crucially placed and held beautifully by Maura in a long and rising note, evoked for me the love poems written by W. B. Yeats for his enchantress and muse, Maud Gonne. Spectacularly beautiful and never fully attainable, Maud fascinated the poet, broke his heart, and inspired some of the most beautiful and (a favorite Yeats adjective) “bittersweet” poetry in the English language.

Coincidentally or not, Maura had included in her email recent photos she and her husband had taken of themselves at the gravestone in Drumcliff churchyard in Sligo, where Yeats is buried “under bare Ben Bulben’s head,” and beneath one of the most famously cryptic epitaphs in history. This year is the 150th anniversary of Yeats’s birth. On April 9, in the Le Moyne Library, I’ll be reciting a selection of Yeats’s poems of unrequited love, many of which I have by heart (a wonderful phrase, when one thinks about it). When I do, it will be with “I Cried to Dream Again” playing, perhaps as background music, certainly in my imagination.

—Patrick J. Keane

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B.D. Love grew up in a small town in Southeastern Michigan, along the banks of a murky and probably toxic body of water called — presumably for its color — the River Raisin. His first poem, a prayer to the Virgin Mary composed when he was in the third grade, inspired his homeroom nun to accuse him of plagiarism. He did not write again for many years, until the death of his grandmother prompted his return to verse. His poetry and short fiction have appeared in numerous journals, and he’s had several books published. His lyric writing and collaboration with musician Maura Kennedy has resulted in a full-length album titled, “Villanelle: The Songs Of Maura Kennedy And B.D. Love” due to be released April 28, 2015 on the Varèse Sarabande record label. An avid dog-lover, he now resides along the banks of the murky and occasionally toxic Los Angeles River.

Read more about him @www.bdlove.org.

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Maura Kennedy The daughter of a professor of English, and the ”musical one” of seven children, Maura Kennedy carved out her moments of teenage creative solitude sequestered in a closet, blasting Queen and Kate Bush on headphones, while she read C.S. Lewis and Stephen R. Donaldson. Not given to the hermitic life, she made nocturnal escapes, crawling out of her bedroom window and across the roof of her family’s suburban split-level home, to hit the streets of post-industrial Syracuse, New York, in search of crunching power chords and soaring pop hooks.

She found them—and was always the first on the dance floor—in small clubs where R.E.M. and Squeeze were scrounging gas money for the road, and especially at a dusty used record shop, where she got a job just to spin vinyl all day. She soaked up the Kinks, the Hollies, the Raspberries, and leavened the sweetness with a strong dose of Thompson/Denny era Fairport Convention. In the stainless steel splendor of the Little Gem Diner, the Ramones autographed her Social Security Card. At college, she pawned her meal tickets to buy an amp and lived off of her bandmate’s doggie bags. She cracked a couple of ribs in the mosh pit at a Clash show and finally got the music degree. After spending the night in an upstate Greyhound station when she missed the last bus following a Cheap Trick concert, she and some like-minded friends formed a combo and blazed a trail through the Syracuse club scene. And with the breeze off Onondaga Lake at her back, she took off for Austin.

It was there that she hooked up with Nanci Griffith, and toured the US and the British Isles behind Nanci’s Grammy-winning Other Voices, Other Rooms. Working the road in the acoustic format of roots-pop mavens The Kennedys, her songwriting blossomed, as she began drawing from novels, poetry, and especially from her own dreams.

Maura’s love of both music and literature was the basis for her most recent collaboration with writer B.D. Love, and the resulting album, “Villanelle: The Songs of Maura Kennedy and B.D. Love,” Maura’s second solo album, is slated for an April 2015 release on Varèse Sarabande records.

Read more about her @www.maurakennedy.com.

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Patrick J Keane smaller

Numéro Cinq Contributing Editor Patrick J. Keane is Professor Emeritus of Le Moyne College. Though he has written on a wide range of topics, his areas of special interest have been 19th and 20th-century poetry in the Romantic tradition; Irish literature and history; the interactions of literature with philosophic, religious, and political thinking; the impact of Nietzsche on certain 20th century writers; and, most recently, Transatlantic studies, exploring the influence of German Idealist philosophy and British Romanticism on American writers. His books include William Butler Yeats: Contemporary Studies in Literature (1973), A Wild Civility: Interactions in the Poetry and Thought of Robert Graves (1980), Yeats’s Interactions with Tradition (1987), Terrible Beauty: Yeats, Joyce, Ireland and the Myth of the Devouring Female (1988), Coleridge’s Submerged Politics (1994), Emerson, Romanticism, and Intuitive Reason: The Transatlantic “Light of All Our Day” (2003), and Emily Dickinson’s Approving God: Divine Design and the Problem of Suffering (2007).

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Apr 022015
 

Toni Marques

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“WHERE’S IT?”

The question sounds as if he’s chewing a living centipede, and she thinks about Daisy and that thought almost makes her cry because Daisy wasn’t a bad centipede at all, she was just doing the stuff centipedes are supposed to do, for instance when she bit that little boy the other day while he was sleeping or something. God rest Daisy’s soul. By the way, sometimes Mrs. Kidder can be very annoying. She said she had no idea whether Daisy indeed got a soul. How come, Mrs. Kidder? Mrs. Kidder and all the gang are supposed to know everything about anything, right? However, Mrs. Kidder sometimes can be very dumb. The Daisy thing is a good example. If that favela has so many centipedes, how could you be sure Daisy is really the Daisy? Mrs. Kidder once had asked. Simple answer: Daisy used to be the largest centipede around. And how did she know Daisy was a female centipede? Mrs. Kidder had insisted. Because Daisy used to live with the girl’s family and never bit anyone inside the house, and there was that day, Mrs. Kidder said she didn’t remember it, when the girl found the little eggs. More than that, many times the girl saw how Daisy curled its body to protect its brood, right? She showed it to Mrs. Kidder, right? But, yes, no baby centipede was ever spotted in the house, just the eggs, Mrs. Kidder was right on that. Mrs. Kidder can be very dumb but also can be very cruel, because then Mrs. Kidder said that probably Daisy had eaten all the eggs. Or the babies. Mrs. Kidder is also very funny. The girl knows Daisy was no stranger to Mrs. Kidder. The truth is Mrs. Kidder enjoys playing games. But the girl enjoys playing games too. Mrs. Kidder is the best friend a girl can have.

“What did you do to my bong, you little fucker?” the man says, his voice now sounding as if his mouth is a little dark bucket full of dried saliva, a toothless bucket, of course, because neither buckets nor his mouth have teeth.

“You should ask her,” the girl says. “She is impossible.”

The girl had already finished her homework and there is nothing else to be done at night. They have no TV set, computer, anything. They just have each other, but she also has Mrs. Kidder. It’s not her problem if he refuses to be friends with Mrs. Kidder, a very distinguished lady who came all way down to Rio de Janeiro just to spread kindness and love.

“Mrs. Kidder hid your bong somewhere. Why don’t you try to find it? You can walk, can’t you?”

“You don’t play games with me, you little sucker, or I’ll sell you to The Madame. I mean it.”

The girl is now playing with her dolls. The dolls yell at each other, and the fight saddens the girl, but what can she do? They are pretty old dolls, tired pretty old dolls who are not tired of fighting, though. They argue about anything. Mrs. Kidder doesn’t like to play with the dolls, not because Mrs. Kidder is not a child anymore, but because, the girl thinks, Mrs. Kidder gets jealous when the dolls are around.

“Gee, The Madame is in jail now, you should know it,” the girl says. “The new drug lord is someone else, I don’t know his name. I don’t think Mrs. Kidder knows his name either, otherwise she would have told me, you know. Mrs. Kidder tells me everything.”

“How many stones do you think The Madame will offer me if I sell you to her?”

“I don’t know. But you can visit her in jail and ask her.”

Now the dolls are friends again. They are very complicated dolls.

“What’s the new guy’s name?” the man says.

“I told you a million times I don’t know. You should know his name. You are his client.”

“I’m gonna ask him if he wants you. Unless you give me back my bong. Where’s the goddam bong?”

The man’s voice now sounds like his tongue is made of melted rubber. Words are so beautiful, even ugly words are beautiful, you can’t talk like that. Words are very precious, that’s the reason she doesn’t like to talk when she’s at the school.

Tourist Nº1 takes his headphones off and says:

“Poor guy. He looks like an anorexic elephant, if that’s possible”.

“Very authentic stuff,” says José, the Tour Guide.

José the Tour Guide never knows the tourists’ names. Instead, he assigns mental numbers to each one. His job doesn’t make him happy.

“The stench is even more authentic, I should say,” Tourist Nº 2 says. “This plexiglas can’t hold it. We should have had those creams medical examiners spread under the nose.”

“Not all coroners use it,” says Tourist Nº 3. “They are used to it, you know.”

“Well, I’m not a doctor. I hope the next sight-seeing activity is a nose-friendly one,” Tourist Nº 2 says. “Wait a minute. There’s a woman over there.”

“Yes, there is,” the Tour Guide says. “It’s her mother’s corpse. I mean, not a real corpse. A prop one, you know what I’m saying?”

“The stench could be hers, don’t you think?” Tourist Nº 1 says. “She looks real, very real.”

“No, no. It’s a prop corpse. They’d really spent some days living with the corpse here, until city hall people were warned by neighbors and came over and removed it. Crack-cocaine overdoses or something like that, I don’t know, had just killed her. It took a while until they’d noticed it, I mean, the family.”

“There’s a lot of things you don’t know,” Tourist Nº 3 says. “The programme says this kind of tour started in…”

“2014,” the Tour Guide says.

“Ok. Still, 20 years later, a tour guide does not know what’s being shown? I want my money back.”

“Wait a minute,” Tourist Nº 1 says. “If you guys have a doll representing whoever here…”

“The girl’s mother,” the Tour Guide says.

“The girl’s mother, ok. If you have that, what else here is, like, fake? This ain’t a reality tour.”

“I want my money back,” Tourist Nº3 says again.

“Shhh,” the Tour Guide says. “You are missing their exchange. Put the headphones back on.”

“You should be more polite, you know?” the girl says. “Mrs. Kidder appreciates good manners. She’s British, you know. No, you don’t know. Forget it.”

Now the dolls have become boring, and she decides to kill them. Before killing them, though, she explains very carefully that there’s nothing to worry about, sooner or later they will be alive again.

There’s something she doesn’t like about the dolls: they used to be afraid when Daisy was around. The dolls feared being bitten by Daisy. No one in this world can imagine a centipede biting a plastic doll or any kind of doll. Poor dolls. Dolls can have soft hearts, that’s correct, but their bodies can handle almost any dangerous situation, with the exception of the heat. Rio de Janeiro is very, very warm. So the girl would like to have a job so she could buy a refrigerator so the dolls could be feel safe from the heat and from the favela’s centipedes.

“They have another woman running business here? Fuck,” the man says.

She finds it funny, the time lapse between what she says and the man’s response. Sometimes he needs a couple of days until he can find an answer to one of her questions. She laughs when she remembers that day when she asked how old he was. He couldn’t remember. When she’d already forgotten the question, he’d remembered to answer it. A wrong answer, but that doesn’t matter. He never delays the answers to Mrs. Kidder questions, though. Now he is pretending he doesn’t know who Mrs. Kidder is. He does that very often. Of course he knows Mrs. Kidder. The other day he tried to punch Mrs. Kidder on the face when she swore at him. It was a pretty funny moment, the furious but tiny, frail, toddling man speaking in tongues and throwing his fists at random because he couldn’t control them nor could he stare at her, his usually frozen eyes floating on his face like a pair of dead seagulls on the surf. The girl knew that Mrs. Kidder was a big woman and, despite not being young anymore, Mrs. Kidder was able to defend herself against him or anybody else, for that matter. That day Mrs. Kidder threw out one more stone and, more than that, she kicked everybody out the house, all his stupid crack-head buddies, a bunch of living skeletons who got so scared that they never came back. Good job, Mrs. Kidder.

Now the man is crying. He’s able to cry without shedding tears, something the girl finds remarkable because the dolls do that too.

“Give me a drink”, he says, like an old baby.

He stands up from the ground where he spends most of his time at home and looks for things they don’t have at home: drinking glasses, a refrigerator, things that he himself had exchanged for money, and the money, for crack-cocaine stones. So she knows he will go out, and out he goes.

“I understand the addicted population…,” Tourist Nº 2 says.

“City Hall supplies a regular amount of stones on a weekly basis,” the Tour Guide says. “Haven’t you read the e-brochure?”

“I have. There’s no word on alcohol, though.”

“They don’t get alcohol.”

“What about food?”

“Her school provides all her meals, on-site. He receives food stamps, which he probably exchanges for stones.”

“Then the old lady must be starving,” Tourist Nº 1 says. “That’s interesting.”

“There’s no solution to the crack-cocaine epidemics,” Tourist Nº 3 says. “That’s Rio’s solution.”

“In the beginning, part of the money the city gets from you tourists was funneled to the public health care system that handled the crack-head population. After a while the city gave up. Those people can’t be treated.”

Now she can play host to all her friends. They don’t like to come when the man is at home. That’s why she likes Mrs. Kidder more than anyone. But she understands the reason they avoid visiting her when he’s around. Whenever she can, she visits them as well. They live nearby and they’re a very nice gang.

“Mrs. Kidder!” she says when Mrs. Kidder comes in.

“Who is this Mrs. Kidder she’s always talking about?” Tourist Nº 4 asks.

“An imaginary friend, I guess,” the Tour Guide says. “The family briefing I have here says nothing about eventual family’s relatives or acquaintances. The State Tour Company selects stuff you guys can understand immediately. With a little help from the interpreting software, that is.”

“This girl does not speak English, does she?” Tourist Nº 1 says. “Or is Kidder a common Brazilian surname? She says ‘Kidder’, right?”

“I think so,” says Tourist Nº 2. “Excuse me. I have a question.”

“Yes?” the Tour Guide says.

“Why can’t we talk to the subjects? This is a stupid rule, I should say,” Tourist Nº 2 says. “Let’s talk to her.”

“Why are you laughing?” Tourist Nº 3 asks the Tour Guide.

“Forgive me. Brazil and more specifically Rio de Janeiro needed centuries and centuries to get a sense of establishing and following rules, and now an American asks to bypass the rules. It’s just plain funny. I’m sorry.”

“The girl is obviously suffering,” Tourist Nº 1 says. “This is not just a matter of curiosity, you know?”

“She is suffering indeed. She and hundreds of thousands in the same situation all over the city, all over Brazil,” Tourist Nº 2 says. “That’s precisely why we are here. Next time you try a reality tour in Finland or something.”

“Anyway, it seems to me that probably the interpreters must know whether the girl does speak English or not,” Tourist Nº 1 says.

“I’ve told you this is machine-translated,” the Tour Guide says.

“Does she speak English?” Tourist Nº 4 says. “She’s the cutest girl ever.”

“And one of the dirtiest,” Tourist Nº 1 says.

“’Neglected’ would be the proper word,” Tourist Nº 3 says. “Is she available for international adoption?”

“I don’t think so,” the Tour Guide says. “She’s available to reality tours, therefore neglected she must remain.”

“I see.”

“I don’t think she does speak English,” the Tour Guide says. “They don’t teach English in public schools anymore. And she has no access to the Internet. She’s too young, you know.”

“But you have an Internet café over here, I saw it,” Tourist Nº 2 says. “Maybe she’s been learning it online.”

“I can see some books,” Tourist Nº 1 said. “Books and textbooks, I guess”.

“That’s right,” the Tour Guide said. “None of them in English.”

“What if that Mrs. …”

“Mrs. Kidder,” the Tour Guide says.

“Thank you. What if she is a representative, a field officer with a foreign NGO and is teaching English around?” Tourist Nº says.

“No foreign NGOs are allowed in the reality tour zones,” the Tour Guide says. “Otherwise there wouldn’t be poverty shows for your enjoyment, right? So let’s enjoy it while it lasts.”

“Are there expats living here? I mean, we’ve seen Americans and Chinese people, lots of them, side by side, on that big favela, how’s it called again?” Tourist Nº1 asks.

“Rocinha,” the Tour Guide says. “Don’t forget the Brits. They’re here in throngs. The gentrification thing has happened in the South Zone favelas, where they have the best view. Here, downtown, we have no foreigners. Rio has like what? Over two thousand favelas? The gringos moved into the fanciest ones. Actually there’s no reason to call those places favelas anymore. Here in Morro da Providência we have some South Americans, you know, Bolivians and Venezuelans and Argentinians… Our amigos can’t afford the South Zone favelas.”

Valeriy the poet showed up as soon as the man left the house. A very sensible and funny man.

Valeriy asked the woman if she needed something.

“Wait a minute!” Tourist Nº 3 says. “The lady, she’s not a doll. She’s alive.”

“I don’t think so,” the Tour Guide says.

“Is she a talking doll?”

“Nope.”

“Then she’s definitely not a doll, because she’s talking or trying to talk. See her mouth? It’s moving.”

“You’re right,” Tourist Nº 4 says. “And our guide here has no clue on what he’s supposed to show us!”

“It’s not my fault, ok?” the Tour Guide says. “This is my first time with that family and my briefing says we have a doll.”

“I thought you’d referred to Brazil as an organized country,” Tourist Nº 2 says.

“You wouldn’t believe if told you how messy we used to be. Anyway, let’s see it from the bright side, my fellow tourists. That’s what crack-cocaine does, alright? It destroys a person to the point that you don’t know if a person is really a person or if a person is a corpse or if a person is a doll. I assume you all know that, but wait until we visit Downtown Crack-o-land. You’d wish they were dolls, the fucking zombies.”

The woman tells Valeriy she just needs some of his poetry. Valeriy’s poetry is a gay man’s poetry, and she likes it, despite not knowing the Russian language. She enjoys the effect of his words hammering her head. The poetry reciting sessions make Valeriy happy. He feels like a doctor managing a drug substitution therapy: crack-cocaine out, Russian poetry in.

Valeriy starts to recite his poems, but the girl can’t pay attention to him. She’s busy playing with Francis the Sailor. Francis the Sailor enjoys playing hide and seek. It’s very difficult to play hide and seek with him or anyone else because of the furniture: there are two mattresses, the man’s and the one she shares with the woman, there are the makeshift shelves where the TV set used to be and where her few books and textbooks are. But she can hide beneath the stacked clothes or in the bathroom or even outside the house, at the neighbor’s place.

“Where is the little mermaid?” Francis the Sailor asks, while Valeriy recites a poem. The woman shakes her head as if it were punched by several pairs of colorful sponge fists, and the girl is somewhere trying to keep her mouth shut, something very difficult to achieve due to the thrilling joy that overwhelms her.

“I’m here!” the girl says. “Francis the Sailor will never find where the little mermaid is!”

“Francis the Sailor?” Tourist Nº 4 asks.

“Don’t look at me like that,” the Tour Guide says. “I have no answers, alright? Let’s watch and have fun.”

“But your company should have briefed you about what you’re dealing with,” Tourist Nº 1 says.

“We’re Brazilians, ok? We should do this, we should do that, but we don’t do anything because we are Brazilians, period. Nowhere else in the world can you get something like this tour. Yes, this is something totally new. Yes, we need to improve lots of stuff. But, hey, you’re in Rio’s oldest favela watching a typical day of a crack-cocaine torn family. It’s a crack-o-rama if you will. Anything can happen to a crack-cocaine favela family, what else can I say? You see the girl running around like crazy? Perhaps right now she’s high, you know.”

“Crack-heads don’t run like that,” Tourist Nº 1 says.

“Whatever,” the Tour Guide says.

Now Petty Officer Bradley has joined the play. He tells Francis the Sailor to look for the girl outside. Francis the Sailor is not a smart man. He’s still looking for the girl in the empty house.

“Ordinary Seaman Bell!” Petty Officer Bradley says.

“Yes sir!” Francis the Sailor says.

“How many times have you two played hide and seek here?”

“We’ve played it many times, sir!”

“And how many times have you found her hiding outdoors?”

“About every time, sir!”

She loves Petty Officer Bradley’s imposing manners. Petty Officer Bradley never hesitates. Petty Officer Bradley just hesitates when Mrs. Kidder is around. Mrs. Kidder’s imposing manners can be very intimidating, even if you’re a Royal Navy Petty Officer.

“So you better find that girl outdoors right now,” Petty Officer Bradley says. “Unless you think the gallows are your destiny, Ordinary Seaman Bell!”

“No, they are not, sir!” Francis the Sailor says, before leaving the room.

The Tour Guide is feeling weirder by the minute. Nothing is happening, the girl is out of sight, and the tourists are clearly feeling weird too. They don’t want to stay here anymore.

Now they’re arguing. The Tour Guide shuts his ears down. He doesn’t want to know what’s going on. He wishes he wasn’t here. In his mind, he belongs to a happy place, full of the stuff Rio dreams are made of: laidback clients, beachfront cocktails, bikini-clad women, men in thongs, booze-fueled tips, raining yuans. No tourists searching for “culture”. No guilt-driven European and American sensitive scavengers looking for “authentic” stuff.

“I think I’ve had enough,” Tourist Nº2 says. “I want to get back to the hotel.”

“Me too,” Tourist Nº 3 says.

“I’ll go with you,” Tourist Nº 4 says.

“You?” the Tour Guide asks Tourist Nº 1.

“Yes, let’s go,” Tourist Nº 1 says.

“Praise the Lord,” the Tour Guide says in Portuguese.

“Tomorrow we have the favela extra-judicial killing sight-seeing, is that correct?” Tourist Nº 2 says.

“What?” the Tour Guide says.

“Just kidding,” Tourist Nº 2 says.

Valeriy gets worried when the woman stops shaking her head. He checks her out. Then he calls the girl.

“Dearest, where are you?”

“I can’t find her,” Francis the Sailor says.

“We need her right here, right now,” Valeriy says.

“I can sense something,” Petty Officer Bradley says.

“You can sense what?” Valeriy says.

“I am feeling weak,” Petty Officer Bradley says.

“So what?” Valeriy says.

“I don’t know,” Petty Officer Bradley says. “Never mind. Let’s find her.”

Valeriy and Petty Officer Bradley join Francis the Sailor to look for the girl.

“Where’s Mrs. Kidder? She can be useful,” Valeriy says when they leave the house.

“The old witch… Who needs her?” Francis the Sailor says.

This is the girl’s happiest moment. For the first time it takes more than an hour for her to be found. She knows it because she carefully listens to the TV soap opera someone is watching nearby. When she had found the perfect hideout, the soap opera hadn’t started. Now the neighbor’s TV is on the news show.

Tourist Nº 1 couldn’t help coming back to Morro da Providência as soon as the Tour Guide left the hotel.

Morro da Providência is a safe place, tourist-wise, so he had no problem reaching it. He gets disturbed when he arrives at the family’s place. The observation deck is closed, and it takes quite a while until he finds a safe spot where he can see what’s going on inside the house without being disturbed. He’s not sure what to do, actually. He wants to talk to the girl, yet he fears the possible outcomes of interacting with her.

The man is not in the house. The girl is sitting right beside the woman’s body. He can’t understand what the girl says. The real-time translation service is off. The few Portuguese words he knows are not enough. They should have developed a smartphone app for this, but they haven’t.

“Mrs. Kidder, have you seen him?” the girl says. “We need to tell him.”

“No, but I am afraid he will ever come back,” Mrs. Kidder says.

Mrs. Kidder feels very sad.

“You will need to be even stronger from now on,” Mrs. Kidder says.

The girl looks at Mrs. Kidder wondering how Mrs. Kidder knows the man won’t come back. But then she asks something else.

“Mrs. Kidder! What’s wrong with you?”

“The end is near,” Mrs. Kidder says.

“What do you mean?”

“Look, there’s something I want to give to you before leaving.”

“You can’t leave, Mrs. Kidder! You are my only real friend!”

The girl’s little arms reach Mrs. Kidder legs, and she dumps her face on Mrs. Kidder long, dark skirt and starts to cry. But suddenly Mrs. Kidder’s legs become softer than ice cream, and Mrs. Kidder slides away from the girl.

“This book belonged to me. Now I want you to have it, please. See, this is my name here.”

The girl holds the book, opens the first page and reads the name out loud: “Cynthia Harriet Russell Kidder. It’s the most beautiful name in the whole world.”

Tourist Nº 1 grabs his smartphone, opens one of its mobile browsers and types the name. The first web link triggers a shock wave that makes him babble and after babbling he feels suffocated and after suffocating he babbles again and after babbling again he cries. His trembling hands refuse to click further on the smartphone, and then his tongue sticks out and it’s the tongue itself that does the job his hands can’t do, and now his eyes shut, his tongue can’t do the job, he needs another part of his body to become his eyes’ burglar, and he fears his hand, if let loose, will break into his eyes and throw them away, what now?

   His head still seems to function like any head is supposed to function, so he bangs it against a tree several times until he gets his eyes open, and if the head is functioning his brain can order his mouth to bite his hands until they obey him, and that’s what he does, and now his eyes can finally read again the web address brought by the name search, findagrave.com, and his hands can tell his fingers to click on it:

Birth:

Nov., 1817
Salisbury
Litchfield County
Connecticut, USA

Death:

Apr. 16, 1840
Rio de Janeiro, Brazil

Cynthia Harriet (Russell) Kidder was the daughter of William P. and Eleanor (Dutcher) Russell. She was the 1st wife of Rev. Dr. Daniel Parish Kidder. They were married Wednesday evening, November 9, 1837, at Salisbury, Conn. by Rev. O. V. Ammerman. Rev Kidder was a minister in the Genesee Conference, New Jersey Conference, Newark Conference and Rock River Conference of the Methodist Episcopal Church.

Methodist Episcopal Church
Missionary Society
The Gospel In All Lands, Vol. 21, c1900, Page 87

Rev. Daniel Parish Kidder and Cynthia arrived in Brazil, South America, January 8, 1838. Mrs. Kidder died in Rio de Janeiro April 16, 1840. Mr. Kidder left for New York in April, where he arrived in June 1840. He died in Evanston, Illinois July 29, 1891.

Family links:

Parents:

William P Russell (1788 – 1865)
Eleanor RusselL (1789 – 1856)

Spouse:

Rev Dr Daniel Parish Kidder (1815 – 1891)

Inscription:

“Sacred to the Memory
of Mrs. Cynthia Harriet
wife of Rev. Daniel P. Kidder
American Missionary
Died April 16, 1840
Aged 22 years and 6 months”

Burial:

Gamboa British Cemetery
Rio de Janeiro, Brazil

He needs to pay attention to what’s going on with the girl, but now his hands look for other names on the web site, and there they are: Valeriy Frantzevich, dead on October 7th 1992, Francis Norman Bell, dead on November 22nd 1917, B Bradley, dead on June 23rd 1917. Where are they? Where is this Gamboa British Cemetery? He needs to click more and he needs to click fast. Right there, he finds out, now his whole body working in a terrified harmony, right behind Morro da Providência, Rio’s oldest cemetery.

The terrified harmony of his body makes him storm the house. He doesn’t know what else he can do.

Now the girl is crying, and there’s a book on the floor. The girl doesn’t notice him. He talks to her, but she doesn’t answer. She doesn’t even look at him.

He then carefully picks up the book. It’s a very old book, and there’s the full name of Mrs. Kidder on the title page, beautifully handwritten, and the title page says more: it’s a Bible by the American Bible Society, 1837 edition.

Tourist Nº 1 sees himself being buried in the Gamboa British Cemetery of Rio de Janeiro. And collapses to the floor.

—Toni Marques

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Toni Marques was born in 1964 in Rio de Janeiro. A journalist, he is a former NYC correspondent of O Globo newspaper and currently is a story editor with Globo TV’s “Fantástico,” a leading weekly news show. He has published three books and is the co-editor of The Book of Rio (Comma Press, UK, 2014). His short stories have been translated to Spanish, French and Arabic. This year HBO Brasil will air the series “Magnífica 70,” based on his original screenplay. He was the curator of the first two editions of FLUPP, the first and only international literary festival hosted by shanty towns in Brazil.

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Apr 012015
 
john connell author

Photo by John Minihan

Born in County Longford, where his debut novel is set, John Connell like many Irish before him emigrated to Australia. The success of his short story The Little Black brought him to the attention of Picador Australia publisher of The Ghost Estate. Set during the Celtic Tiger, the novel explores the psychological and emotional “boom and bust” of those reckless times:

“Gerard McQuaid has been waiting for his start in life: his house, his girl, his land. And with rural Ireland being swept up by the Celtic Tiger and villages becoming towns, the electrician’s moment has finally arrived. With the chance to run a big job, McQuaid finds himself on Birchview Manor, a decrepit estate where the dreams of modern Ireland crash up against the weight of history. As McQuaid gets further into the restoration, he falls deeper into the story of the estate’s previous owner, Lord Henry Lefoyle, whose fate begins to loom ghost-like over McQuaid’s own.”

 

 

Gerard Beirne (GB): John, your debut novel, Ghost Estate, somewhat unusually for an Irish writer is being published in Australia (Picador). How did that come about? Are their plans for it to be published in Ireland or England?

John Connell (JC): Yes it is quite unusual. I was an Irish emigrant living and studying in Australia and wrote a short story which was included in two short story anthologies in the country and happily for me it received quite a bit of attention and a few different publishers approached me with book offers. I decided to go with Picador as they said I could write about whatever I wanted so that was a really great gift. I have just engaged an agent at the moment who is looking to see about publishing the book in UK/Irl and other regions. So hopefully 2015 will see the Ghost Estate get an Irish release.

GB: Tens of thousands of Irish have move to Australia in the last decade with many staying on to become permanent residents or citizens? Why did you move there and do you intend on staying?

JC: I went to Australia as an exchange student studying journalism, I was then offered to finish my degree there and did my final degree project on the aboriginal communities in remote Australia and produced an investigative radio documentary, That piece won a journalism award and secured me work with ABC the national broadcaster. I had only ever intended on being in Australia for 6 months which later turned into four and a half years before moving to Canada.

GB: Many of those who have emigrated have done so because of Australia’s “booming” economy – having written a novel about the boom and bust in Ireland, do you see any similarities there, any concerns, warning signs?

JC: Ah yes of course, Australia is in a boom and the refugees of the Tiger are driving that boom in so many sectors. In my few years in Australia I saw the price of living increase, the price of houses, the proliferation of money and its wasting, all the hallmarks of a country running away with itself. Australia unlike Ireland has mineral wealth that won’t run out any time soon, but it is dependent on its trade relationship with China, its number one trade partner. In my opinion, Australia won’t crash like Ireland, but it will slow down (and it has started to slow down- I have Irish friends who work on rigs and mines that have been let go with that same slow down). The greed is fairly pronounced there at the moment sadly.

GB: Where was the book written? If Australia, did this make a difference to the writing of the book? If Ireland, was it necessary to go back to Ireland to write it? If both, was this a necessary part of the process and why? 

JC: The book was wrote in Ireland in a portacabin in a field in Longford. It was necessary to write the book in Ireland (I even did the rewrites here). I needed to be in the atmosphere of the place and listening to the local people talk, and I also gained so many stories from local people that ultimately found their way in some form into the book. It would not be the same book if it had been written in Australia. I just actually can’t imagine what it would have been. Ireland was the canvas and the book was the paint if you’ll pardon that bad analogy.

GB: How does the literary world in Australia compare to that in Ireland? — The literary community, the publishing scene, the literature itself? Is there an Irish literary community there?

JC: The literary scene in Australia is quite small compared to Ireland. There are lots of publications and publishing houses but not the sheer volume of writers as we have in Ireland. However, there are wonderful Australian writers with a unique Australian voice. It was only in living in Australia and Canada that I realized the tremendous output of Ireland in world literature. Thomas Keneally author of Schindlers’ List is Irish-Australian and would be the one stop shop for Irish literary scene to my opinion though other writers such as David Malouf have wrote books on Ireland or Irish-Australian subject manner.  Ireland and Irishness is part of the history and story of Australia and many Australians have Irish heritage so I suppose we are part of the Australian story in many respects. I mean Ned Kelly was Irish after all. Peter Carey would not have got his Booker without us convicts!

GB: The novel is set in Longford where you grew up – how did the Celtic Tiger and its aftermath affect your home and community? Depression plays a central role in the novel. We know that suicide rates increased due to the recession particularly amongst those in the property business. What has been the psychological impact of the “bust”?

JC: The Celtic Tiger and its death had a huge impact on Longford and other rural communities. Longford was a very quiet place as a child, but it gradually became very busy during the boom years, and in the death of the tiger a ghost county as opposed to a Ghost Estate. Suicide was sadly all too common and still is. We have 10 suicides a week in Ireland. 8 of those are men. Many young men who had known nothing but success in the boom years suddenly found themselves in debt, unemployed and caught; and sadly far too many remained silent, suffered quietly and took their lives. It is a sad, sad truth but one that has yet to be fully talked about. For many, it was either emigrate to Australia and now Canada or face the quiet lonely Longford nights and the dole queue.

GB: You grew up on a farm — how has that played a role in your life? How has farming been impacted by the Celtic Tiger years and how have the changes affected rural communities?

JC: I enjoy the countryside and I’m proud of my rural roots but that’s about it. The Celtic Tiger changed everything in Ireland even farming; farmers were builders and developers too.  Thankfully that has calmed down now and people are returning to the land in a more healing and respectful manner.

GB: On a final note, you mentioned that you know Yanis Varoufakis the current Greek Finance Minister. What is your connection to him and does it have any relevance to the book?

JC: Yanis and I talked a number of times after I heard a lecture he gave on the GFC. I was on the rewrite of my book at the time and Yanis’s ideas combined with those of Tony Judt whom I met before he passed away, really cemented some of my economic thinking on why things got as bad as they did. Yanis had offered for me to study with him in Texas, but I had a wedding to plan and he a country to run. Maybe in time we might get to reconnect on that one!

—John Connell & Gerard Beirne

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Listen to John Connell read an excerpt.

 

cover

Excerpt: Kane – a short chapter about the developer

John Kane balanced the car keys and mug of tea in his hands as he opened the sleek black door of his new Landrover. It was a bright if somewhat cold morning. He let the engine warm before he turned the ignition. One, two, three. He sipped from his mug quietly, as the window slowly defrosted.

He was used to this morning routine now. The Landrover moved smoothly along the country roads. He could hear the scrape of briars and overgrown branches against the vehicle as the lanes narrowed towards the cottage.

How many times had he come up this lane? It was beyond measure now. The house was still the same, had been since Noel had lived there. Old Noel, his distant cousin, the bachelor, the man who had left him everything in his will.

But wasn’t that what he had wanted, he reminded himself, all those visits, the shopping trips to Longford, the dinner in the Landmark. Had it all been for the hunger, the want of land, those twenty acres and the plot of turf in Kelleher bog? Yes, he admitted, and no. He and Noel had shared a friendship, and while it was not a surprise that one day the man asked to be brought to the solicitors in town, some part of him felt that he was entitled to it. It was in a way a gift. Though Noel’s niece had never seen it in that light. Not at the funeral when he had taken the front pew reserved for immediate family, nor at the reading of the will when she had received nothing, despite nursing him in those last few months.

Friendship had a price and that was not his fault.

He rolled to the door and beeped the horn. The vehicle hummed quietly as he waited on the cracked concrete. The house was old. Sheds dotted here and there around the yard were filled with turf and old creamery cans. The turf was never burned any more. The house ran on oil.

The Poles emerged with their shaved heads and plastic bags full of sandwiches. Odd they never seemed to have a lunchbox, not one between them, Kane thought to himself.

They had lived here for over two years. He’d done little with the house: put in some bunk beds, a lick of paint and that cheap oil burner instead of the range. The walls were still damp on cold winter mornings. They had probably brought on Noel’s bad chest and would, in time, would make the Poles sick too. But they were young and hardy.

‘Good morning lads,’ Kane said as Jans and the others began slowly to climb into the vehicle.

‘Morning boss,’ said Jans quietly.

‘We’re all well I hope?’ asked Kane, looking in the rear-view mirror towards the others.

‘We well, yes,’ they agreed sullenly.

Each morning was the same. A talk, a half-hearted chat that petered out. There existed in the car two different worlds with many incomprehensions.

‘I drop you at the manor today, okay?’ he said.

The group nodded.

‘Jans, can you come with me to the office? I need you to give me a hand.’

The Polish had arrived with the boom, come like a wind indeed. The country had woken up to find new names and faces that spoke of towns and villages no one had ever heard of. They were good workers and in so many ways were what the Irish had once been, Kane thought. Strong-backed, fond of a drink and, yes, ignorant. They were in search of a better life in another land and yet dreamed only of returning home.

Jans, who spoke the best English, had been a teacher of sorts, but there was more money to be made lifting blocks than teaching children. He, like all the others, had made that Ryanair migration across Europe and somehow, somehow, ended up in Longford.

It still puzzled Kane, Longford being multicultural, and was there not enough trouble between the two native groups that lived here already, not to mention the travellers? How were they ever to come to terms with foreigners when they had yet to come to terms with themselves?

But there was work to be done, and these men, these Poles, were ready to do it.

They never complained, they never questioned, they simply shrugged and worked. They had become serfs in a way; a man’s success could be measured by how many Poles he had working for him.

Kane drove toward the estate. Big Jack would be waiting for them. It was the same routine each morning. And they would be set to work on some menial task around the sites, something a contractor would refuse to do. They were the workhorses of this boom and when it ended, whenever that might be, they would be sent away like all old nags.

On Fridays after work he would bring them to town to wire their wages back to Poland, back to their families. It was perhaps paternalistic but he knew the minds of young men well. If they had the money, they would spend it, and an arsehole pub in the middle of Ireland was no place to waste a week’s work. He would give them their pay slips and drive them to the Western Union branch and the rest was their own choice.

It was not really a life, Kane often thought, to work and save and never be able to fully communicate your thoughts and fears for the lack of words. It was little wonder the men took to the cheap bottles of vodka at the weekend.

They were not so different, not so very different at all, Kane thought. A picture of Poland instead of Ireland on the cheap bedroom walls and a set of rosary beads under each man’s pillow. Poverty had a way of repeating its motifs.

‘Come on, Jans,’ he said as Lech and the others packed out of the Landrover. ‘The gutters in the office need a good clean. They’re full of fucking weeds.’

‘Yes, boss,’ Jans said simply, and returned to silence.

Was it better than teaching, Kane thought. It must be. It must be.

—John Connell

 

John Connell was born in 1986. He grew up in County Longford, Ireland. An award-winning investigative journalist, playwright and producer, The Ghost Estate (Picador Australia) is his first novel.

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Mar 312015
 

Jen Bervin

 

J

EN BERVIN IS AN ARTIST and maker of poems without boundary or limit. Her poetry is a poetry of connections, threads, weaving, words born of sound and image, of history, text from textile, textile from text. Her poetry emerges in art venues, artists’ books, public performance, silk film, and it is fabricated with typewriters, sequins, thread, ink and, soon, nanotechnology.

I will not forget the first time I saw her Dickinson Fascicles, large-scale, wall-size embroideries of the punctuation and markings found in the hand-stitched booklets that Emily Dickinson made for her poems. I leaned in close to the fabric on the wall, my eyes riding the twitching rhythm of the marks across the batting, but also the minuscule rising and diving within each mark, stitch by stitch. I raised my hand instinctively, perhaps as a conductor would before a score, and paused, imagining the texture of the text on the tips of my fingers. Then I traced in the air those gaps and spans where there was nothing at all.

Jen Bervin

But there’s always something. Even white space, Bervin has said, citing John Cage, is musically scored. In Nets, her book of erasures of Shakespeare’s sonnets, she wrote, “When we write poems, the history of poetry is with us, pre-inscribed in the white of the page; when we read or write poems, we do it with or against this palimpsest.” Her work—at the intersection of writing and weaving, text and textile, song and silence—makes luminous that which we hadn’t noticed or, until she showed us, been able to see.

Her current—and most ambitious—project, the Silk Poems, is an experimental book (if “book” is defined loosely) that takes silk, in Bervin’s words, “as its subject and form, exploring the cultural, scientific, and linguistic complexities of silk, mending, and the body through text and images nanoimprinted on transparent silk film.” If you were to hold up a piece of this translucent material, what would it look like? What might you see? Very little at all—until you shine fiber-optic light through it. Then the words and pictures would jump up, projected into bloom. Here too, embedded within the high technology, history pulses: 5000 years of culture, art, and writing, of poets, traders, emperors, laborers. The history and the silk itself almost invisible, until illuminated.

While most of us think of silk as something we might wear, scientists regard it as much more than that. They’ve recently begun unlocking its remarkable properties, some of which could eventually have widespread high-tech and biomedical uses. Bervin believes that poetry has work to do in the world. With silk film, that work travels beyond the library or classroom, beyond books and academia, and into laboratories—even, potentially, into our own bodies. Bervin’s work shows us that every trace, every thread matters, every mark, every last letter, everything we hide and everything we reveal, that art and poetry are made of our intentions, and that we are too.

In Souls of the Labadie Tract, Susan Howe describes how, two hundred and fifty years ago, the theologian, pastor, and writer Jonathan Edwards traveled between parishes in Western Massachusetts by horseback, writing as he rode and pinning those notes— scraps of paper fashioned from silk or other some other salvaged fabric—to his clothing, “fixing in his mind an association between the location of the paper and a particular insight.” He would arrive at his destination dressed in words. Today words needn’t only clothe us; they may quite literally enter and become a part of us. With the right light, poetry rises through and from the page, rises to the walls, and signals and shines beneath our skin.

* * * *

Although her Silk Poems research has her traveling widely and often, Jen Bervin and I were able to talk at length on the phone in early January 2015, which is where the bulk of the interview below has its origins. We continued editing, revising, and refining over a series of follow-up emails. I have known her for about four years now, and no matter the medium—online, on the phone, or in person—Jen is unfailingly generous, kind, engaging, and gracious. She laughed often throughout our conversation and conveyed an infectious enthusiasm about her work and writing/making art in general.

Jen Bervin (JB): Earlier you asked me about where I was and whether I was writing poems for the Silk Poems project already.

Darren Higgins (DH): Yes.

JB: Right now I am thinking more about content and forms—really the overall structure. But one of the things that I have been doing as I research is trying to realize when components of the research get too big and should be diverted into their own thing. That has amounted to some very exciting thinking.

I knew that the research would lead me in some wild directions, but one of the treasures that I came across in Suzhou, China, was a woven replica of a poem composed in the fourth century B.C.E. by a Chinese woman poet, Su Hui. It is written in a reversible form she invented—a 29 x 29 character grid that can be read in any direction, yielding thousands of possible poems. Moreover, she wrote it in five colors and embroidered the poem in silk.

Jen Bervin Su Hui Suzhou
There is very little written about the poem in English. David Hinton translated one quadrant of it under the title “Star Gauge” and has a useful essay on it, “Welling Out of Silence.” The best work on this poem I’ve been able to find is by the French poet, Michèle Métail, who wrote a whole book on it: Le vol des oies sauvages. So I was trying to read about the poem in French, which is pretty slow going.

Jen Bervin
When I was in Italy on the Bogliasco Fellowship this past fall, I started hashing out a rough translation of it with substantial help from the dancer in residence, Mei-yin Ng. I was spending a lot of time looking up definitions of words but, seriously, you come across single characters that have up to 70 meanings.

DH: How many?

JB: Seventy, seven-zero.

DH: My god.

JB: You can imagine, as a non-native speaker of Chinese, the translation problems it starts to pose. To add to the mess, the poem was written in complex Chinese characters and now it’s typically presented in simplified Chinese characters, which are slightly different, so that’s when I lost it in Italy. I thought, “Oh my God, I’m translating it from the simplified Chinese. I’m not even translating from the right alphabet yet.”

DH: Must have been incredibly frustrating…

JB: I’d been at it for quite a while. Not to mention the fact that a Chinese character can act as any part of speech, depending on context, and the meaning of the character changes according to the character next to it. If you’re coming to that character from all different directions, the meanings are very much in flux. It’s an infinite poem, essentially. I felt both so thrilled and daunted by it and also somewhat appalled that there was just so little written about it. That there was this treasure written by a woman so early on, the complexity of which we really haven’t matched today, and it’s not a well-known thing!? That was shocking to me.

DH: Hard to believe.

JB: Like with any big, delicious problem I started to think about what could be done. And like with any big, delicious problem in art I took a lot of wrong tacks looking for something that works, but what it has come down to now is really beyond thrilling—some real progress. I think that Jody Gladding is going to translate the Michèle Métail book, so that whole book could, in some form, be available in English to English-speaking audiences. The book goes into not only the complexity of the reading patterns and how you might structurally read it but also the celestial maps that influence the structure of the poem, and it talks about a lot of poems that came out of Su Hui’s work and were influenced by it.

Now we’re just figuring out where it might go publication-wise. Hopefully we can lure David Hinton back into trying to translate the rest of the poem. You can imagine that it’s quite a task—a task that could be done thousands of times over with different results!

DH: Unending possibilities.

JB: Right. But the thing that seemed most exciting to me was to have the experience of time in that poem, and to keep the textile aspect of it in the foreground. I can’t read Chinese, so I thought, well, for me to embroider it would be a craft, not a reading experience. This is when something very special that I encountered on my research trip, in the same city where I encountered the facsimile of that poem for the first time, came back to me—the Suzhou Embroidery Research Institute.

[vimeo]https://www.vimeo.com/119814865[/vimeo]

This is a place where highly, highly trained embroiderers make these double-sided works that can be viewed from either side, so it’s essentially a reversible image. These embroideries take a couple of years to make and I thought that it would be really exciting for me to commission embroideries of this poem, after first building a relationship with a few embroiderers at the institute who have an interest in reading poetry. And then, through conversations, writing, and film, we would track the experience of the embroiderers—of their relationship to the poem—and let that be its translation too.

DH: Adding another layer of translation (and meaning). In this case, a translation of experience as well.

JB: Yes. The important part of that work is the experience of the embroiderers’ journey with that poem. That’s what is exciting to me.

DH: You’ve been working on this Silk Poems project for a while now. When did this new plan start to come together?

JB: Well, none of it would have happened without the Creative Capital Grant in 2013—I’ll never cease being thankful for that one. We visited China around the beginning of November 2013, and I’ve been talking about that Su Hui poem non-stop ever since. The whole solution came slowly, first with begging Jody to translate the Métail book. I was just trying to read the book in French for awhile. I soon realized that it was becoming a question of what I need for my research vs. what I would hope would be available to a lot of other people.

DH: That seems like a crucial distinction. Can you talk more about that last point?

JB: I think that’s where a lot of these decisions were coming from—I could spend a lot of time in this Su Hui poem trying to translate it, but I don’t feel confident (given that I’m not a Chinese translator and this is one of the most difficult translation projects imaginable) that I could bring that experience to other people in a way that’s as meaningful as the idea to collaborate with an embroider at the research institute. I could point to that collaboration as a kind of solution to get other people interested in working on it again.

I’m a big fan of the joyful solution and that really feels like one…so that happened within the last month or two.

DH: This poem has an interesting back story: Su Hui’s husband, a government official, took a concubine, which infuriated Su Hui. He soon after left for a distant post with this mistress. Su Hui refused to go, but it’s said that she grew to miss him and composed the poem to win him back and call him home. According to the story, it worked. He dismissed the concubine and rejoined Su Hui.

JB: The story is quite compelling, and it is mostly what gets discussed—the story of the poem. That she sent this poem as a letter obviously has a lot of resonance for me with the Dickinson envelope poems. Su Hui’s intended audience for the poem, and her intended purpose as well, is quite singular and yet the poem everything but—it’s infinite. It’s easy to fall into the trap of speculating about a writer’s life instead of focusing on her work, and this is too often the case with women artists and writers. When a lot of translations of the poem exist and Su Hui’s work is getting tons of attention, I won’t need to have this redirecting bent. I look forward to that.

DH: There is so much here. It’s the kind of project you could play with for the rest of your life, essentially.

JB: Yes. But I think that for the sake of the Silk Poems, the nano-imprinted silk film, to simply reproduce the Su Hui poem is enough. You lose the five colors because it’s not a color format. But simply to have it present and to allow its structure of reading to help me think about how other things appear or inform how they are read—that idea of reversibility, which was already in the silk poem, coming out of the DNA structures and writing forms related to the structures—has already done its work.

DH: Hearing you talk about reversibility makes me think of how you’ve always paid attention not merely to the front of a piece, the part we might most readily see, but the flipside as well, as in The Desert. That play between the seen and unseen, the possible and the revealed… it comes up again and again, now that I think about it. In Nets, your words float to the surface in pools of Shakespeare’s sonnets. In the Dickinson Fascicles, you highlight markings, symbols, twitches. In the Gorgeous Nothings, you and Marta Werner bring scraps and torn envelopes and variations to the fore. Do you see this interest playing out in the Silk Poems? Perhaps in how you want to record the experience of the embroiderer as another form of translation?

Jen Bervin Desert_1open

JB: Absolutely. Just as you said.

DH: So, what has all this new thinking done to your original concept for the project?

JB: If anything it’s just a huge relief. I feel like in our practice one of the most difficult things is coming to the right framing of something that’s really exciting to everyone, and once that’s in place, the work becomes very easy and fluid. It’s when you’re stuck in that purgatory I was in with that poem that things are complicated.

I think of myself as a giant digesting machine for all of this, and I’m just so relieved when something becomes that clear.

DH: You don’t seem to panic, or at least not outwardly, when you are having doubts or collecting endless amounts of information without a sense of where it’ll lead.

JB: The thing is I panic but I’m talking with everyone about that panic. One of the things that I really wanted with the Silk Poems in particular was exactly that aspect, that I couldn’t figure out almost any of it alone, and that it was something that I was going to have to keep talking about with lots and lots and lots and lots and lots of people to get anywhere interesting, both in the research and in the development of the project.

I really love that idea that you can’t make a work alone. I question the idea of single authorship in general, but especially in a work that has and draws from such a complex history and such a complex presence in a sense.

With all the scientific development in this work, the historic wealth of information about silk, and art and literature that draw from silk, the too-muchness of it was a known problem to begin with.

DH: So it was built in from the start that you’d interact and collaborate with people from different disciplines, different industries even, across the world?

JB: Yes. I think also I wanted to get much more comfortable feeling out of my element in every way.

DH: How so?

JB: If you walk into a bioengineering lab where they are developing new uses for silk, you pretty much don’t know anything. You just have to enjoy the place of asking a ton of questions about it and continuing to ask those, and not being embarrassed about having to race up to speed every time you enter.

DH: What’s appealing or exciting about that to you?

JB: I’ve always felt like it’s a trap in the arts to get comfortable in your work. I think naturally we revert to ways of thinking pretty readily. I’m guilty of that, but I think if you choose things that make doing that pretty impossible, then it puts you in some good spaces to learn and explore. I am excited about making something that doesn’t look like anything else I have made and has a process that doesn’t resemble any other process I have worked with before.

DH: When did you first realize that this is the way that you enjoyed working?

JB: I didn’t say I enjoyed it! I said that I wanted to work that way. I think by nature I am very shy and I’m also very curious, so that’s something I have to live with in the world. It’s not necessarily comfortable to go about things this way, but it certainly is interesting. Does that make sense to you?

DH: It does. I know, from being an inherently shy person myself, that there’s a certain jolt in saying yes to an idea or proposal that makes me uncomfortable. It’s frightening but thrilling. There’s productive energy in that discomfort.

JB: I would say I’ve been super-lucky in that Charlotte Lagarde, my partner, was willing to work and travel with me and to photograph and film places we went for research—not with the aim to make a film about the Silk Poems but to give me a way to keep growing from the research after the fact, because you can’t re-do a lab visit on the other side of the world. You might only get that access once, so to have a record of what people are saying and how they are saying it and what they are showing you in real time is indispensable. That was a huge shift. I had never thought about working on a poem that way. I’ve never needed photo and video, for years throughout a process, to research something. It’s been humbling to try to communicate what you need to someone else when you’re generally very private about it.

Jen Bervin Soochow UniversityHuang Haisu and Dr. Tieling Xing with Jen Bervin at Soochow University

DH: How do you keep yourself from being overwhelmed by all the information and everything you’re taking in?

JB: I think I try not to have too many expectations about what I’m going to experience or understand. I guess I could compare it to going to a library in search for a particular book and then finding one in that same row that you needed far more and wouldn’t have found on your own. It’s often that thing to the side of the thing that I’m actually looking for that turns out to be meaningful. Getting too fixated on coming away with a particular thing or looking for a particular thing doesn’t help me be aware of what the potentials are in the moment.

It’s important to be able to admit defeat and keep looking around, do you know what I mean?

DH: That’s true of writing itself, isn’t it? Seems like whenever I start a poem or essay with an idea of what I think I mean or want to say, I wind up, by the time I’m done, in a completely unexpected place, with completely unexpected words on the page. I love that. Discovery and surprise. What a rush—it’s almost magical. The poem finds and determines itself.

Part of it must be opening yourself up, exposing yourself. You let go of intention, which leads to things you wouldn’t have figured out had you held strictly to your plan…and leads to these discoveries that couldn’t have happened otherwise.

JB: Absolutely. I think your essays read that way.

DH: I certainly experience them that way. I find out a lot of what I actually think by going through the process of writing.

JB: I think that’s why it’s so enjoyable to read them.

DH: That’s kind of you to say…

JB: I also love that this work is leading to collaboration with people that I deeply, deeply admire. This matters to me—and has for a long time. It’s just becoming more and more overt.

DH: Did Charlotte’s recording of your travels, your research, play at all into your idea of documenting the embroiderers’ experience with the poem?

JB: Yeah, absolutely, because I have been looking at the videos she made at the embroidery institute in Suzhou for two years now. It’s just so exciting to watch the technique—and the environment in which people are embroidering is quite special. The workshop itself is beautiful and full of light. I love how layered the work sites are. You have a skull-and-crossbones cloth where someone might put their elbow and a cell phone a little farther down and then particular ways each embroiderer organizes their thread color palette and their work area, you have tea on the window sill. It’s a joy to be in that space. I was taken through it on a tour during which I was rushed along and still I have that sense of the richness of slow time there.

DH: That’s beautiful: “the richness of slow time.” Has that sense always been with you? Maybe you can talk about how you came to work with textiles in the first place, and how that intersects with your poetry.

JB: I grew up in a family of women who sew. My mother sewed clothes for us, my grandmother sewed clothes for her family, and I learned pretty early on. My mom was great about teaching me how to do a lot of different things, how to do some basic sewing and how to work with pattern and that kind of thing. Before I even really got underway in the visual arts I was already involved in sewing and the culinary arts for sure. Those things developed in step with reading. I don’t think I really would have considered myself a writer until I was pretty far along in my 20s even, late 20s to early 30s.

I came to writing from the visual arts. I was feeling uncertain about what art could do and how it could do it in the art world, along with a desire to really learn how to articulate complex thoughts in the medium of language, which is what I think poetry does best. I didn’t know how to do that yet. As I was finishing up my degree at the School of the Art Institute of Chicago it became really important to me to slow down and make work that I wanted to live with.

It’s a lot like this translation tangle I got myself into. A lot of great things in the arts come out of a sense of discontent or disgust or failure or inadequacy, so it’s a such useful feeling in the arts, if you let it be useful.

DH: That could take some practice though, letting it be useful.
JB: Yeah. I think that I was really lucky to have a family that left me alone. It gives you privacy about your failures. Because you have time to just be comfortable with them.

DH: There’s a bumper sticker: “More parents should just leave their kids alone…”!

JB: Yeah, that’s not a popular parenting recommendation…

DH: No.

JB: And I’m in no position to recommend, but I really appreciated that.

DH: To have your own space to work through what you needed to work through?

JB: Yeah, and just to…I don’t know. I think it fostered a confidence in myself that early on made me comfortable in discomfort. Maybe too comfortable in discomfort, I don’t know.

DH: I guess that’s a danger. I hadn’t thought of that…

JB: The jury is still out. I’m just so pleased that I’ve become more of a social animal as I’ve aged. I didn’t see that coming. I was a little worried I’d be more of an Agnes Martin loner type, so that’s been a nice surprise.

DH: What do you think is responsible for this evolution?

JB: I guess I had had enough time alone. When I was at that juncture between art and writing, I worked as a fire lookout and that’s pretty isolated work. I think for some people it sounds really awful but to me it was just heaven. I was learning Latin, reading, embroidering, writing, hiking, etc.—with a view to die for and some wonderfully amusing chatter on the Forest Service radio to monitor. As a lookout, you spend all day reading landscape—and I love that landscape: the Sonoran Desert. I kept a keen eye out for fires or “smokes,” as they call them, and had plenty to report, but the work of the lookout is mostly map-based—conveying very precise map work accurately.

I moved to the desert with a real intention to slow down and figure things out, and that willingness to be alone and to be lonely and to be uncertain for a long time gave me a grounding that never left. I just waited. I waited and I read and I wrote and I tried to figure things out.

Then when I came back to graduate school for writing and was combining the two, art and writing, it was with a very different sense.

DH: I said earlier that you never seemed to panic but I realize now that it’s more about what you just mentioned: your patience, your willingness to wait (to be on the lookout, so to speak), and yet with an underlying confidence that the answer will arrive, that you’ll find it, however long it takes.

JB: One thing I encounter a lot in conversations about interdisciplinary work, especially with writers, is the inter-genre question. I guess I’m grateful that for me it was never a hang-up. I never felt that I had to explain to anyone what I was doing. I just had to show them what I meant. I feel like anyone who encounters my work can understand what I’m doing if the work is good—and it’s not always good, but I try. If you give people the opportunity and you show them what you mean by that intersection, anyone can meet you there, but to put the genre ahead of the work often makes that seem more impossible than it actually is.

DH: And what drew you to silk? Why silk?

JB: A friend, Amanda Schaffer, wrote a really wonderful piece for Slate magazine. She was researching many different aspects of this new silk boom that resulted from David Kaplan’s discovery in 2009 of how to liquefy the silk cocoon. Once Amanda finished writing the article she was still so engaged with the ideas that she got in touch to ask if I might want to collaborate on something visual and verbal. She sought me out because she knew I was already working with text and textile and the intersection of the two. Even though the research didn’t look like other things I did, it was the same area of interest.

So it really started in the spirit of collaboration. Amanda got very busy with other projects, including a pregnancy (her second child), and as much as I tried to lure her back into the project, she’s really held her ground. But she is generous with conversations from time to time—asking the right questions, or telling me what to ask, and explaining intensely complex things to me.

I think going into the Silk Lab at Tufts with her to meet Fio Omenetto and David Kaplan in the very beginning was a real gift. Because if you walk into one lab, you get this idea that you can walk into another, so visiting the Stanford Nanofabrication Facility just feels like something I might be able to do after all, or at least like something to propose. I’m a big fan of just letting people say no, but always asking, always asking.

Jen Bervin at Stanford NanolabStanford Nanolab

DH: I’m interested in the relationship of silk to the body. What role does that play in the project?

JB: That aspect of it is really important. Silk is universally biocompatible. Every single body on earth will accept it in any context, which is why the liquefaction discovery was such a big deal. It opens up a huge range of new possibilities. The bioactive silk sensor—the thing I’m working with as an imagined context—is still in the research phase.

I just want to stop the clock for a minute to say, Wow! That’s an amazing context—silk inscribed nanoscale inside the body as a visual sensor, something that would act as a harbinger, something that will alert someone, in a medical way, to a change that has occurred in the body. Obviously, it’s not a neutral thing to have an inscribed piece of silk inside of you that is showing you something potentially very bad or hopefully normal about what is most likely a really precarious health situation. So I have been interested all along in imagining how this sensor affects someone’s conception of their own health—how it affects their imagination, how what is inscribed there is affecting on other levels, deeper levels in the psyche and spirit.

That seemed like a territory that a poem could handle—and has handled—in meaningful ways. I think that in many times and kinds of difficulty we turn to poetry, and yet most of the time we act like it’s superfluous. I really believe that poems have jobs to do. Not set job descriptions, but I think we need them more than we let on.

DH: In what sense do we not admit to that, do you think, or do we fail to see the work of poetry?

JB: I’m not so focused on pointing to failures. I’m more interested in pointing to poetry and saying it’s a wellspring, because I believe that.

The poem (and by “poem” I mean visual and images I’m thinking through right now) probably isn’t going to be inside of a body. It’s going to be a silk film outside the body. Something that you can project and read with fiber-optic light as a projection on a wall. It’s content comes from the assumed context as a bioactive sensor, one that may become real and may not, but I guess the viability, so to speak, of the thing that I make (that is, whether it becomes part of a real sensor inside someone) is really not up to me.

I’ll definitely offer anything I do back to the researchers who inspired it and hope it will open up new possibilities for collaboration. What I can do is offer up a context in which a poem can be an important component of a medical development.

DH: So where do you envision the Silk Poems living, ultimately? Will they be “published” in a traditional sense?

JB: The object was always the easiest part because that’s already a given—to nanoimprint silk film—that’s been fairly straightforward, and to know in advance that it’s something one would read as a projection with light. That’s a lot of knowns for a work of art. I don’t usually start knowing what the thing I’ll make in the end is. I don’t know how many need to exist. Maybe just one. And I’ve been calling it “Poems,” which suggests a book, but I’ve imagined something more like microfiche there. I’m guessing that a reading situation for this is probably a room, not a folio. It will show me, I guess. Or other people will suggest things and show me. That’s most likely what will happen. Or the materials will suggest things.

DH: I was curious about that, how much the material or context determines the content—how much the textile determines the text.

JB: The silk film has to be nanopatterned to work as a sensor, so the scale of the writing, the surface material, the way in which it can be read, and the imagined context were all already there when I started.

DH: Right, but does silk demand a particular kind of poetry? Are there things that shouldn’t be said on the silk or things that should be said?

JB: I think there are things that I feel responsible to in a structural way, like the development of the card loom, for example. The first binary system, the first computer, so to speak. The structure of the silk itself. And the process and the forms that are involved in sericulture. All that seems very fundamental to get in the poem. I feel like there’s a danger of falling into the traps that historical novels can fall into. You can get so overwhelmed by the factual material you want to convey that the book itself suffers. I guess that’s where that sitting and waiting and standing back and seeing what things are indispensable to the work comes in.

In traveling the world to research silk—China, Japan, France, Italy, Turkey, Georgia (and more to come: India, Spain, Egypt, etc.)—what becomes increasingly difficult is how to address that kind of multilingual context well in the finished work. I mean, you can’t just bring it all into English—it’s wrongheaded. I’ve imagined translating at the very least the project description into every language that affects the project. I also hope to return to sites where I researched to share the finished work.

DH: I love that the poem will be read with light.

JB: I’m really happy with that because the way silk reflects light is one of its remarkable properties. I was just reading about how the smoothness of the fiber made it a superior embroidery material and how it really brought the craft of embroidery to Egypt and replaced wool permanently. That the material itself can change the course of what is made in a given culture, it’s quite astounding to me.

DH: We have this ancient fiber, used in so many cultures for thousands of years, and yet even today we’re still discovering its properties and finding new ways to use it. It’s remarkable.

JB: It really is.

—Jen Bervin & Darren Higgins

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Based in Brooklyn, poet and visual artist Jen Bervin brings together text and textile in a practice that encompasses poetry, archival research, artist books and visual art. Her works involve strong conceptual elements with a minimalist’s eye for the poetic and essential. Recent books include Draft Notations (Granary Books 2014) and Emily Dickinson: The Gorgeous Nothings (Christine Burgin/New Directions) co-edited with Marta Werner, a finalist for The Poetry Foundation’s 2014 Pegasus Award for Criticism, and a Best Book of the Year from Times Literary Supplement, Hyperallergic, and The New Yorker. Her works have been shown at the Walker Art Center, The Eli and Edythe Broad Art Museum and elsewhere, and are held in more than thirty collections including the J. Paul Getty Museum. Bervin’s honors include a Creative Capital Grant, a NYFA Fellowship, and residencies from The Josef and Anni Albers Foundation, MacDowell Colony, The Camargo Foundation, The Bogliasco Foundation, and the Rauschenberg Foundation. She has taught at Poets House, University of Denver, New York University, Pratt Institute, Vermont College of Fine Arts, Harvard University, Yale University, and will be a Fitt Artist in Residence at Brown University in 2015.

Darren Higgins

Darren Higgins is a writer, editor, and artist living in Waterbury Center, Vermont, with his wife, two sons, and a cat who never comes when she’s called. A graduate of the Vermont College of Fine Arts, he has written poems and stories for a variety of publications, essays for a couple of local newspapers, and commentaries for Vermont Public Radio.  

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Mar 122015
 

[vimeo width=”500″ height=”375″]https://vimeo.com/96516643[/vimeo]

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In the short animated film “The Approximate Present,” Filippo Baraccani juxtaposes journeys across impressionistic landscapes with an etch-a-sketch rendering of chaos and its patterns. The impressionistic landscapes appear in a repeated visual narrative where we pass over them on a sunny day and then with stormy weather, illustrating how weather alters our emotional and psychological experience. This intense personal experience of landscapes stands in stark contrast to the measured, diagrammatic, and decidedly non-impressionistic illustration of the patterns of chaos as it unfolds in black and white. As the lines progress, it is as if NASA with all its scientific authority has mapped the trajectory of our emotions. Despite this authority and clarity, the graph ultimately cannot triumph over the beauty of the landscapes. Like the man who dies from beauty at the beginning of Paulo Sorrentino’s The Grand Beauty, Baraccani positions the short film’s spectator to swoon at the limits of the self, troubled between the self and beauteous landscapes, gripped by something akin to awe or wonder.

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For this short, Baraccani chooses a simple, retro animation. As he notes, “I knew from the outset that I wanted it to be stylized, minimal and solid (for lack of a better term), somewhat reminiscent of early flight simulators. At the same time, I strived to convey a certain sense of place and emotion, drawing inspiration from my own experiences of various weather phenomena.” This might seem counter-intuitive, choosing low resolution graphics resembling something as utilitarian as a flight simulator to render landscapes, let alone to present them as an experiment in the kind of emotional landscapes Baraccani seeks. Yet here the blocky animation renders emotional what would have, in a calendar-like photo realism, been beautiful but perhaps not moving.

He himself compares the light and emotional effects he goes for here to the paintings of J. M. W. Turner, the 19th century English landscape painter.

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In his article “The Paintings of Turner and the Dynamic Sublime,” George P. Landow points to how “in place of the static composition, rational and controlled, that implies a conception of the scene-as-object, Turner created a dynamic composition that involved the spectator in a subjective relation to the storm.”

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Thus, one of the things that distinguishes Turner’s work as sublime is this sense of dynamic composition. In similar fashion, “The Approximate Present” uses a perpetually moving camera and constantly changing perspectives to maintain a dynamism between the viewer and the images. The film instructs us through this movement and these perspective jumps that our perspective is limited: if we are moving past the landscape, if we have many perspectives and are always moving to the next one, our time with these landscapes is fleeting.

Fleeting, yet recurring, as the film in coda like fashion repeats and we revisit the landscapes and the perspectives; the second time, however, they are altered by weather systems: repetition, but with a difference. We can return but our return is bittersweet, as the landscapes we return to are altered.

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Landow’s analysis is part of a long tradition of artists and art critics seeking to account for this dynamism in landscape art: a tradition of the sublime. As Christine Riding and Nigel Llewellyn define it, in their article “British Art and the Sublime,”

‘the sublime’ is many things: a judgement, a feeling, a state of mind and a kind of response to art or nature. The origins of the word in English are curious. It derives from a conjunction of two Latin terms, the preposition sub, meaning below or up to and the noun limen, meaning limit, boundary or threshold. Limen is also the word for ‘lintel’, the heavy wooden or stone beam that holds the weight of a wall up above a doorway or a window. This sense of striving or pushing upwards against an overbearing force is an important connotation for the word sublime . . . By the seventeenth century, the word in English was in use both as an adjective and as a noun (the sublime) with many shades of meaning but invariably referring to things that are raised aloft, set high up and exalted, whether they be buildings, ideas, people, language, style or other aspects of or responses to art and nature.

Up to the limit, or, in other words, at the border, at the threshold of experience. Yet there is also this sense of a force they describe, here a beauty that exceeds words or even realist photography, sending hipsters everywhere scrambling to add instagram filters to approximate aesthetically what photorealism fumbles and drops at its feet. To be human is to take luckluster photographs of wondrous sunsets and glorious fireworks, these photographic failures each reminders that we can’t take it with us — the moment — that perhaps the most beautiful and experiential moments cannot be carried into the future with us, that, truly, you had to be there.

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The sublime is vista, is landscape, but rendered in a way that is meant to challenge or engage the self and its aching, pleasurable sense of its own limits, but the sublime representation must also maintain the tension of that limit. To understand this, we need only look at a grotesque and excessive example of the sublime limit transgressed: the viral and eternally mocked and quoted “double rainbow.” You could argue that part of its viral force was due to its relatability, how words fail us when we are faced with the sublime. That the man gushes over the double rainbow does not maintain the tense limit of appreciation throws the sublime moment into the comic grotesque. The obviously high man on the brink of a possible triple rainbow makes a fool of him and what could have been a sublime moment.

This sublime tension, not to be exceeded, is wrought from two forces: a sense of melancholy failure, and the opposing and enduring hope of holding onto beauty and the experience of beauty. So it falls to artists to imagine how this might be possible. As Riding and Llewellyn point out, “It was at this point in the history of the word sublime [during the Enlightenment] that visual artists became deeply intrigued by the challenge of representing it, asking how can an artist paint the sensation that we experience when words fail or when we find ourselves beyond the limits of reason.”

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In “The Approximate Present,” the absence of words means that the film can avoid the traps of pathetic fallacy, or worse, the trap of double rainbow blather, as it resists locating the vistas in one troubled or amorous psychology. No one tells us why we are looking at these landscapes, why we are traveling by plane, train, and car, or who we are in all this. There is no character referent, no avatar in the film standing in, interpreting or defining meaning for us. In addition, the repetition of the landscape with and without the weather locates contrasting emotional states, of wonder and more melancholy awe. These are inescapably our landscapes and there can be no singular awe.

Baraccani’s film, unlike the sublime Turner paintings he says inspired his lighting techniques, leaves human images out of the landscapes. The airplane appears as a condensation trail or the edge of a window that frames the view of the clouds, similarly the train appears as a line in the distance, and the shots from the train and the car are also framed by window edges, traces of the real world that barely edge the impressionistic landscape. Cars, buildings, and other human effects when they do appear are more impressionistic in “The Approximate Present,” where in Turner’s paintings the emotional landscapes are almost grounded by more realistic images like the ship in the painting above.

As a result, “The Approximate Present” is a consistently impressionistic and emotional landscape, and the absence of realist markers means we can’t look back at ourselves, can’t locate ourselves in any way that is not emotional. We are at sea, at sky, at landscape, inescapably.

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The only break away from this impressionism are the animations of chaos’s patterns. These patterns play out an oddly narrative frame for the weather: The lines drawing themselves, weaving around previous lines, even doubling back, define trajectories and demonstrate the past, where previous lines of weather have gone. As lines of chaos go, these seem oddly soothing and consolatory, signifying a logic or magnificent design, some sort of meaning behind the chaos. This, too, layers the weather and the landscape with significance, makes us see chaos as part of a larger pattern. For this reason, perhaps we are reassured, we are not wrong to feel these landscapes. They are significant, though we don’t know how.

Baraccani’s  retro-animated shapes, constant camera movements, perspective shifts, and images of chaos cartography, combine to create a sublime landscape that avoids the had-to-be-there trap of landscape photography, creating animation that shares more with painting than film. “Approximate Present” creates a weather and chaos simulator that ultimately engages us in a game with our own emotions via vistas of our own experience of beauty in a virtual and always almost present.

—R. W. Gray