Apr 192016
 

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

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

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

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

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

My Father’s Death

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

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

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

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

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

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

—David Wojahn

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

 

 

 

Apr 142016
 

 

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

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

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

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

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

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

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

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

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

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

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

—R. W. Gray

 

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Apr 132016
 

Sarajevo street corner June 2014

In the summer of 2014, I spent two weeks with friends in Bosnia-Herzegovina. At the time Sarajevo was marking the centennial of the assassination that sparked World War I, the national soccer team was making its first appearance in the World Cup, and the nation was reeling from massive citizen protests in the winter and devastating floods in the spring. My host and guide was the Bosnian writer Goran Simić. —Thomas Simpson

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I. Sarajevo, June 20, 2014

Like an existentialist’s bad joke, Goran Simic’s driveway sits on a dangerous curve. The circular, convex mirror posted across the street, where the sidewalk is, helps only so much. All it tells you is whether a car is bearing down on you, right now, from the left. Once you make your move, all bets are off. The best you can do is utter a prayer, or mutter a curse, before you lurch into the unknown.

Alone, on foot, I make it safely to the other side. My pulse races, but I still can’t shake the jetlag as I start the twenty-five minute walk south into the heart of Sarajevo, down the wide, busy streets called Patriotske Lige and Koševo. Thick, gray morning clouds shroud the city, and the weak daylight throws shell-shocked buildings and roadside litter into dismal relief. A little of the Bosnian I’ve been studying for months comes to mind: meni se spava, I feel tired. God, I feel tired. I barely slept on the overnight flight across the Atlantic, an hour maybe, two at the most. In my sightline, two rows ahead, a guy was watching The Wolf of Wall Street on his seatback screen. I dozed in and out of that three-hour marathon of excess: stockbrokers manhandling strippers, Jonah Hill masturbating openly at a lavish pool party, Leo DiCaprio snorting cocaine off an eager blonde’s heaving breasts.

So I am waking up slowly to Sarajevo, even though the visuals are jarring. I see the hulking, worn stadium from the 1984 Olympics, a glaring reminder of Yugoslavia’s depleted prosperity and promise. I clutch my black backpack’s single, diagonal strap, which stretches like a seat belt from my left shoulder to my right hip. The knuckles of my right hand bore under the strap into my sternum, as if to knead my constricting heart and lungs. I lift my chin and flex my shoulders, chest, and biceps a little. I’m feigning toughness, copying the confidence of younger, streetwise Bosnian men.

I’m steeling myself because there’s more to take in: three massive, historic urban cemeteries, Muslim, Catholic, and Serbian Orthodox. Locals say the bones of the assassin, Gavrilo Princip, are here in a little roadside Serb chapel. Soon Serb nationalists will adorn it with flowers, marking the assassination’s centennial by salting the wounds of neighbors who managed to survive the Siege. “Gavrilo,” a hit song by the Bosnian rock band Zoster, captures the mood. It’s got the looping, centripetal feel of an anthem and a hangover:

Gavrilo, Gavrilo, srce uzavrelo…
Gavrilo, Gavrilo, raging heart…

za jedne on je heroj, a drugima je zločinac
to some he’s a hero, to others a criminal…

na put bez povratka, on je krenuo…
he took off on a path of no return…

još i danas hodimo njime.
and we’re still walking it today.

I had anticipated some the graveyards’ lessons about World War I, World War II, and the Siege of Sarajevo. The headstones from this century are somehow more unsettling. An unwelcome thought intrudes: Sarajevo will go on dying. A few steps later, what feels like a corollary follows on its heels: None of this is going to work. Multi-ethnic Sarajevo and Bosnia-Herzegovina. The International Community. Democracy. Human Rights. None of it, despite the lessons of history, and despite the gala centennial events to come next week, when the eyes of the world will once again, however briefly, be on Sarajevo.

Sarajevo CemeteryCemetery in Sarajevo

I don’t know where I’m headed except a café somewhere to find coffee and my bearings after two years away. I pass a side street named after the poet Šantić and a bakery called Markale, where my mind involuntarily adds “massacre.” I’m getting closer to the action now. Off to my right, on the main thoroughfare that honors Tito, I see the stately national presidency building, a monument to the idiocy and greed of Bosnia’s corrupt, ethnonationalist ruling elites. Just last February, protesters torched it, taking their cues from Tuzla in trying to kickstart a “Bosnian Spring.”

A spacious café and bakery, brightly lit, mercifully intervenes. I go in, merge with the morning rush, and scan the large glass case of pastries. When it’s my turn, I fumble through my Bosnian. Dobro jutro – “Good morning” – I say. Želim kafu…espresso, i… – “I’d like an espresso and….” My Bosnian suddenly leaves me. I can’t remember the word for pastry, much less any kind of fruit. As I start to gesture clumsily toward a tray of turnovers, a woman behind me steps in and saves me. Višnja, she says – cherry – and laughs.

I thank her – hvala – placing my relaxed right hand softly over my heart. I take a window seat, a few feet above street level, and watch Sarajevans stream into the city in cars, on buses, and on foot. I write višnja in my notebook and practice the ice-breaker that I’ll use over and over again on this trip: Na bosanskom, govorim kao beba. In Bosnian, I talk like a baby.

When my espresso comes, I pour in the two thick packets of sugar that come standard. They render the bitterness palatable, the darkness soothing. As if on cue, the sun pierces the clouds. I end up staying for hours, reading Hemon’s The Book of My Lives, jotting down fragmented thoughts, and ordering a second espresso. Meni se spava, I tell the waitress with a wink. She laughs, understanding, and suddenly I remember what makes Sarajevo such an easy target. So much life, compressed and distilled, to destroy from above. I size up the huge pane of glass to my right, remembering how desperately Sarajevans avoided and barricaded their windows during the Siege. I imagine how easily the wall of glass could shatter, and I start to hope, stupidly, irrationally, that this café will always be here, safe, forever.

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A lunch date with the poet Goran Simić pulls me away. We’re headed up to a small log-cabin restaurant near the Skakavac waterfall, about a thousand meters above Sarajevo. In his aging two-door black Renault, we inch and wind up suspension-mangling dirt roads. When we’re finally in the clear, we step out, glance miles across the valley, and find a patio table in the sun. The restaurant’s owner, Dragan, likes to joke that the daily menu is whatever he’s got. You have to trust him, and here one’s faith is rewarded. He assembles a succulent assortment of fried dough, local cheeses, sliced fresh tomato, and smoked sausages. Goran and I drink a little local rakija and beer.

Goran is back in Sarajevo after more than fifteen years in Canada, where he resettled after the Siege. Goran’s acute sense of how much work needs to be done in Bosnia has brought him home. His labors of love are the Bosnian plenums – grassroots, democratic citizen assemblies fighting for political reform and social justice – and PEN Bosnia-Herzegovina, a local chapter of the international literary organization that celebrates the freedom of expression as a human right. This Bosnian branch of PEN emerged during the Siege, when Goran and some colleagues created a downtown haven for writers desperate for a meal and place to write. Now, as the multiethnic organization’s membership ages and carries out its work without support from the Bosnian government, the challenge is to keep the society alive and infused with fresh blood. It’s an ongoing experiment, a test of whether an inclusive humanism can triumph over death-dealing ethnonationalism. Yesterday brought a small victory: the induction of new members, including two brilliant young women, Adisa Bašić and Šejla Šehabović. Yet the meeting took place in the midst of a bitter internal struggle, a war of words between Goran and a dogged literary rival who keeps publicly calling Goran a Chetnik, a bloody Serb – not one of us, not a real Sarajevan. The conflict threatens to tear the Bosnian PEN apart.

Restaurant near Skakavac watefallRestaurant near Skakavac waterfall

After the meal, Goran finds a picnic bench where he can stretch and sack out in the shade. He says his battery’s exhausted, and Skakavac is his place to recharge. I can see why. The sun is strong, the mountain air clean. Grasshoppers chirp, sheep bleat, the bells of livestock tinkle, and a creek sings below. I walk a little farther up the hill, taking photographs of the panorama. I nap briefly in a small hikers’ shed. Rain clouds invade and threaten but move on. There is peace.

§

Eventually it’s time to get back to the city for an evening poetry reading. Sponsored by the Mak Dizdar Foundation, and held in a gorgeous upper-floor atelier with exposed brick and candlelight, the affair is intentionally international. It gathers award-winning writers from Bosnia-Herzegovina, Croatia, Serbia, and Montenegro. Goran’s friend and PEN colleague, the poet Ferida Duraković, is the M.C. Performing live alongside her is one of the finest lutenists in the world, Edin Karamazov. They are mesmerizing together.

To the audience’s left is a balcony with French doors. It offers a sunset view of the Presidency Building, highlighting the difference between the politics and the poetics of Bosnia. To our right is a bar with hors d’oeuvres, and members of the audience move back and forth freely throughout the evening. The atmosphere invites us to linger, and we do for more than an hour after the reading ends. I wander onto the balcony and gaze at the Sarajevo night sky.

A thunderstorm hits and brings heavy rain. I go back into the atelier and meet two adult grandsons of Mak Dizdar, the celebrated Yugoslavian poet. I tell them that tomorrow I’ll be off with Goran to Stolac, their grandfather’s birthplace, southwest of Sarajevo. The Dizdar brothers give me a sense of what I’m in for: a breathtaking landscape and an ancient city, with extraordinary Ottoman architecture that’s been utterly razed.

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II. Aladinići and Stolac, June 21-22, 2014

The next morning we drive southwest to the Herzegovinian village of Aladinići to celebrate the birthday of Adisa Bašić, one of the writers who has just been inducted into PEN Bosnia-Herzegovina. In her mid-thirties, blonde, and tall, she towers over many of the older, predominantly male colleagues who voted her in. On the way out of town we pick up Hana Stojić, a Sarajevan friend and contemporary of Adisa who works as a literary translator in Berlin.

The rural, hilltop Aladinići property feels worlds away from Sarajevo, where Adisa still has an apartment in a decaying high-rise. It’s in wine country, the climate Mediterranean. A grape arbor shields the front patio and driveway from the summer sun. Peaches, cherries, watermelons, apricots, grapes, pomegranates, figs, and mint grow nearby. Here, Adisa has found refuge and rejuvenation. One of her dreams, she says, is to gather generations of Bosnian women artists in a place like this for retreats, so they can tell and write their stories.

After hours of relaxed conversation and a dinner of grilled chicken and ćevapčići, we get down to business. Bosnia’s national soccer team, making its first appearance in the World Cup, has a match against Nigeria tonight in Brazil, and we’re all dying to watch. Adisa and her husband, Adnan, tack a big Bosnian flag to the front of the house, and some neighbors join Adnan in an attempt to rig a TV up on the patio. They take turns fiddling with the controls and climbing onto the one-story cottage’s flat, cement roof to get to the antenna. As the sun sets, Johnny Cash’s “Ring of Fire” pumps out of the stereo in Goran’s car, parked under the vine arbor with the doors open. The music’s unruly passion mingles with the village’s evening call to prayer.

Goran, Hana, and I plan to crash at a hostel in Stolac after watching the midnight match at Adisa’s. But as darkness comes the owners call to encourage us to come sooner rather than later. They tell us that the police are already patrolling Stolac’s main intersection in case there’s trouble with the crowds, and the last thing we’d want to do is stumble through town in the middle of the night. So we say good night – laku noć – to our friends and leave Aladinići.

On the way to Stolac, Goran and Hana ride in front and sing along with Johnny Cash. They’re nailing it, conjuring the voice of the man in black, the vocal cords torn but smooth:  I’m gonna break, I’m gonna break my, gonna break my rusty cage and run.

We find the hostel banked on a steep riverside hill. As we settle in, Goran and Hana step onto the balcony for a smoke (one of the reasons they’re so good at imitating Cash). I join them at the rail, stargazing. Below us, the dammed Bregava River rushes, soothing and strong.

Close to midnight, Goran and I get ready to go into town to watch the game. Hana, exhausted by a spate of recent travel for work, bows out and sleeps. As Goran and I drive across the Bregava and approach the main intersection from the north, we see disturbing signs: on our right, the lampposts sport Croatian flags, not Bosnian. On our left looms the religious equivalent of the flag: a Catholic church’s enormous bell tower, aspiring to dominate the surrounding landscape.

Sure enough, the cops are set up at the intersection, standing outside their parked, flashing cruiser. I start wondering what we might be getting ourselves into. But after we park and start to walk, excitement trumps the tension. Bosnian flags hang high across this southern stretch of road like fluttering Buddhist prayer flags, and the first bars we see with outdoor patios are jammed. We gravitate to one across the street that has a little more breathing room. We quickly figure out why. The bar’s television isn’t showing the game. The choice needs no translation. This is a Croat bar. Who gives a shit if Bosnia’s playing tonight?

We walk back across the street. A kid tosses a firecracker onto the pavement just a few feet away from us. BANG! I shudder and swear before laughing nervously and moving on. Goran and I spot a little table with two chairs at the edge of a sprawling patio, where we can see most of the huge outdoor video screen. A waitress comes over to greet us. She’s lean and radiant, with shoulder-length brown hair and a small tattoo on the right side of her neck. She’s wearing the royal blue jersey of Edin Džeko, the Bosnian striker who’s a bona fide superstar in the English Premier League. Džeko grew up in Sarajevo, survived the Siege, and has become the kind of once-in-a-generation player who is giving Bosnians faith that this team can make a deep tournament run.

After Goran and I order our drinks, I use a clumsy mix of Bosnian and English to ask the waitress for the wi-fi password. She smiles and switches to English on the fly: l-o-c-c-o, the name of the bar, all small letters. I connect, and right before the Bosnian national anthem I send my wife pictures of Aladinići, of pomegranate, oleander, and the grape arbor. I tell her there’s a chance that the adjacent property could be for sale, that Goran and I are starting to dream like Adisa. Something like a writer’s colony, a place for Goran and other Bosnian artists to get away for more than an occasional afternoon at Skakavac.

The game’s about to start. This is one that Bosnia desperately needs to win, or at least play to a draw, to advance beyond the opening round. In the first match of the tournament they had given mighty Argentina all it could handle, but a fluke own goal and some late wizardry by the Argentinian Lionel Messi – some say he is the best in the world – sealed the Bosnians’ fate, 2-1. It was an inspired, impressive performance by the Bosnians that left them with no points.

In tonight’s first half, the favored Bosnian team looks strong. They sustain pressure on the Nigerian defense. Before long, Džeko breaks free, and his shot finds the back of the net. We erupt, bolting to our feet and pumping our fists before the heartbreak: Džeko is called for being offside. The goal is nullified. Replays confirm that it was a terrible call. Just minutes later a Nigerian forward, fighting for space, pushes a Bosnian defender aside and scores. No foul is called. Just like that it’s one-nil, Nigeria.

At halftime we’re keeping hope alive. The waitress stands poised where the patio meets the bar, her chin raised a little as she surveys the crowd and grooves to the driving rock music. Goran and I find a table at the center of the action, in the thick of the crowd, with a better view of the screen.

When the second half starts, Džeko’s off his game, getting free and finding chances but not striking cleanly. Our spirits lift when Vedad Ibišević, who scored against Argentina, enters the match late, but the team still can’t find a way to break through. Tension mounts. Bosnia’s running out of time. Right behind us, a fan’s drumming, which has been keeping us upbeat all night, is now accompanied by somebody’s drunken vuvuzela. Hoarse, blaring, and erratic, it’s driving us insane. Two powerfully built guys in front of us finally snap, turning around and yelling at him in Bosnian to – I can only assume – shut the fuck up. As the clock mercilessly advances, one of them starts to sidestep us and move toward the vuvuzelist. I start looking for escape routes, trying to figure out if Goran and I can get back to the car and out of town if fists and bottles start to fly. I’m not sure we can. A reassuringly tall, formidable bartender steps in, however, and cooler heads prevail.

The clock hits 90:00. Only a few minutes of extended, injury time remain. Džeko suddenly finds a seam, an opening to the keeper’s right, but his shot is deflected and caroms off the left post. It’s crushing. Bosnia is finished. When the final whistle blows, a bottle shatters on the pavement behind us. I flinch, fearing a swell of rage, but it doesn’t come. We leave in peace. Goran quickly musters perspective. The team just had no energy tonight, he says. We find the waitress, settle the tab, and make our way to the car.

We get back to the hostel on the Bregava after 2 a.m. Hana stirs from a deep sleep and asks how the match came out. We give her the bad news. In the morning, forgetting, she asks again. We go into town for coffee, settling at a café next to Locco. Hana tells me to take my camera and walk over to the nearby mosque, undergoing major restoration, to see a rare neighboring of olive and oleander trees. I walk the neighborhood a little in broad daylight. I get my first good look at the Bregava and the surrounding hills that frame the architecture of nationalism: the rival sanctuaries, flags, bars, and monuments.

Before we leave town I walk past Locco. I see our waitress sitting outside on the empty patio. She looks pale and spent. We exchange polite, flat smiles. As the day wears on, Bosnians will rage about the officiating, citing the blown calls and a photograph – of the head referee, Peter O’Leary, smiling at the end of the match with his arm around a Nigerian player – that looks damning. Tens of thousands of Bosnians will sign fruitless online petitions demanding the suspension of O’Leary and even a revision of the score to make the final score 1-1. When we get home to Sarajevo, a newspaper features a photograph of a dejected Bosnian in Brazil. The headline reads, “TUGA NAKON EUFORIJE” – heartache after euphoria, the euphoria of feeling, at least for a little while, that anything is possible.

Goran Simic in AladiniciGoran Simić relaxing at Aladinići

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III. Mostar and Blagaj, June 25-27, 2014

Goran and I had been corresponding all spring about driving to the Adriatic Coast, which I’ve never seen. We finally have a plan. We’ll head southwest from Sarajevo. On the way we’ll spend the night in Mostar with friends of mine, Lejla and Sasha, and their children, Ena and Sandro. Lejla and I had engaged in the standard bilateral negotiations about food and lodging. I said that Goran and I didn’t want to impose, so we would take them out to dinner and spend the night in a hotel. Lejla wondered what the hell I was thinking. We’ll cook out, she said, and watch the Bosnia-Iran World Cup match. You’ll stay in Ena’s room. We’ve got room for Goran too.

When we arrive, we call Lejla from the riverside patio of the stylish, renovated Hotel Bristol, where I had stayed in 2004. We meet and embrace on the bridge over the Neretva.

Ena, who’s eleven now, has her room ready for me upstairs, with its view of conjoined apartment rooftops and the neighborhood minaret. In neat rows images of cartoon princesses and professional rock climbers plaster the walls. I remember watching Ena compete as a climber two years ago, and a framed certificate reveals that she is now a youth national champion. Two-year-old Sandro has turned into a powerhouse too. We tussle playfully, and when he kicks my leg with surprising force, I start thinking that Bosnia might have its next Džeko.

I find Sasha outside by the grill. We’re meeting for the first time. When I visited the family before with my guide – Lejla’s cousin and Sasha’s best man – Sasha was in Norway, installing air conditioners to help support the family. In his mid-thirties, he’s of medium height and wiry, like Ena, but weathered, with buzzed brown hair, piercing eyes, and an iron jaw. With him is a friend, Slađo, whom I’ve met before. Tall and thick, like the Yugoslavian forwards who occasionally appear in the NBA, he has an infectious laugh. As soon as I see him, I remind him of the night we drove up a steep hill on Mostar’s perimeter. When we got out of the car, Slađo sighed and surveyed the quiet basin. He seemed poised to impart wisdom. He said, “You know, Mostar is just a giant toilet bowl that needs to be flushed.” People in every former Yugoslavian republic might have heard us laugh that night.

As he minds the chicken on the grill, Sasha shares fragments of his story. As a high-school-aged kid, he lost his father in the war. After that, he had spent a little time in the US, first at an international youth camp, Camp Rising Sun in upstate New York. Then he stayed briefly with Frank Havlicek, an instructor in international affairs at American University who had visited Bosnia and knew Sasha’s mother. Sasha tells me that Havlicek offered to set him up with a mailroom job at The Washington Post, a basement apartment, and a car, but Sasha turned him down. He says he couldn’t ever get used to the States. The people were too cold. They didn’t know their neighbors. They would look strangely at you if you just tried to bum a cigarette. A couple of times he snapped and got into fights. He knew he had to come home.

The food’s ready, so we go in for dinner and the game. Bosnia decimates Iran, 3-1. Nigeria will advance with Argentina to the second round. We talk late into the night.

The next morning, I’m the first to rise with Ena and Sandro. I ask Ena if she can show me how to connect to the internet. It’s not self-evident because the family laptop is missing some keys. Ena points to the culprit, Sandro, and laughs. To buy ourselves some time on the computer, we bribe him with my pen and let him scribble with abandon in my notebook.

After a few minutes of sending quick messages home, I sign off and grab my Bosnian-English phrasebook. Ena, who has studied English in school, is game. We practice:

Yesterday was Wednesday.
Jučer je bila srijeda.

Today is Thursday.
Danas je četvrtak.

Tomorrow is Friday.
Sutra je petak.

Ti si moj učitelj, I say – You are my teacher. She smiles, ear to ear.

Goran, Lejla, and Sasha make their way down. As Lejla brews coffee, they talk freely in Bosnian at the table. I stay with Ena, continuing my language lessons. Suddenly the conversation grows animated. I ask what’s up, and Goran tells me that a local youth – briefly in jail for savagely beating a Mostar university economics professor, Slavo Kukić, with a wooden bat – has been released and apparently will not face trial. Kukić had made the nearly fatal mistake of questioning the judgment of some fellow Bosnian Croats who gave a hero’s welcome to a convicted war criminal, Dario Kordić. Kordić had recently been released from prison after serving only two-thirds of a twenty-five year sentence for crimes he committed during the ethnic cleansing of Ahmići in 1993. The news leaves Goran, Lejla, and Sasha stunned.

I thank Ena, freeing her for morning cartoons on TV. I go to the table. Knowing that Goran and I will have to leave soon, I ask Lejla what sort of future she sees for her family in Mostar, what sort of future for Ena and Sandro. She is blunt, needing none of her usual time to switch to English. “There is no future in a divided city,” she says.

Lejla sends me off with a gift for my family, a set of four ceramic mugs decorated with Mostar’s Old Bridge. Despite my best efforts to pack them carefully, two will shatter somewhere between here and home.

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We have one last stop on the way out of town: a second round of coffee back at the Hotel Bristol with Štefica Galić, a journalist and human rights activist based in Mostar. A Bosnian Croat, she’s been visiting Slavo Kukić in the hospital. She corroborates our pessimism. “There is no justice,” she says. “Nothing will happen. We know that for sure.”

The beating took a heavy toll; images of the professor with a bandaged skull, blood-soaked shirt, and battered back are circulating widely. “He will feel that pain his whole life,” Štefica tells us, “but that will not stop him.” She knows what she’s talking about. She has been physically assaulted by Croat nationalists before, after screening a documentary about her late husband, Neđo, who had risked his life during the war to save a thousand neighbors from ethnic cleansing. Some call him the Bosnian Schindler.

Now, in postwar Mostar, Štefica carries on with what she sees as a struggle against resurgent fascism. Even some of her relatives have begged her to be quiet, to quit stirring up trouble, but Štefica is fit for battle. A generation older than I am, she is in better physical shape. She has the lean physique and perfect posture of a yoga instructor. Her bright blue eyes shine past carefully penciled mascara; they are reservoirs of compassion and sorrow.

I tell her in Bosnian that I have a question, a serious one: do you want to stay or leave? She says she’ll stay, of course. So much of her life, so much of her family, is here. But sometimes, she says, “I want to disappear.”

Like Lejla, Štefica sends me off with souvenirs of the place she loves, the place she wants me to remember: a ceramic memento of the Old Bridge and a travel guide that convincingly portrays Herzegovina as “an inspiring piece of Heaven.” Even so, I can’t help feeling that Štefica – and Mostar – are in a hellish limbo between recent and imminent devastation. As Goran and I head south out of town, I see scrawled Bosnian graffiti that for once I have no trouble translating: nema boga, there is no God.

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Sorrow and fear have me dazed. Wisely, Goran has planned some time for us at the wellsprings. We’ll have lunch in Blagaj at the source of the Buna River, which emerges clear and abundant from beneath a high, sheer cliff.

At the base of the cliff, an old Sufi dervish house, neglected during the war but recently restored, offers a chance for quiet contemplation. Riverside, a framed passage from the Qur’an reads, “We made every living thing from water.” As Goran and I dip our hands in the river, he tells me that the Buna has somehow always had a way of maintaining its equanimity even during the recent floods.

Sufi Dervish House at BlagajSufi dervish house at Blagaj

We cross the small bridge to eat fresh trout and Vienna schnitzel. After taking a few photographs, we walk the narrow road, lined by souvenir stands, back to the car. Suddenly Goran is leaning through a passing van’s window. He’s nose to nose with the driver, and I have no idea what has set him off. Then I hear peals of laughter, and Goran lets me in on the joke. The driver is his old buddy Ermin Elezović, who’s here with his wife, Alma, on their day off from leading guided tours all over the country. We head back to one of the restaurants for coffee and dessert. Alma insists I try Ashura, a delicious Turkish pudding that blends apple, figs, and nuts. Lore links it to Noah’s Ark, to miraculous survival during a time of famine and flood.

Ermin is candid: we’re crazy to drive to the coast today. The traffic, he says, will hold us up for hours. Improvisation ensues, and before long it’s settled: forget the coast. We’ll spend the night here, in Blagaj, with Alma and Ermin.

We go to their serene property, which they’ve just bought after spending most of their lives in Mostar, including the war years. The backyard, bisected by a stone path, extends to the Buna. In her garden Alma grows assorted herbs and vegetables. In the rest of the yard she and Ermin tenaciously plant, water, and prune.

It turns out that Alma and Ermin have known Sasha’s family for decades. They tell me something Sasha hadn’t, that his father was killed by a sniper – no, a grenade. (“What’s the difference?” Goran wonders aloud.) At the time their own son, Jasmin, was just in elementary school. Inside the house Ermin shows me wartime black-and-white photographs of the family. Pointing to little Jasmin, who at the time had been stuck indoors for six months, Ermin says, “Look at his eyes. The light is missing.”

In one shot Ermin wears a T-shirt from War Child International, the UK charity he worked for during the war. Through their mobile bakery, Ermin tells me, they made and delivered 1.3 million loaves of bread to trapped, terrorized people in Mostar. War Child also organized a star-studded British benefit album featuring Paul McCartney, which raised more than a million pounds to establish Mostar’s interethnic Pavarotti Music Center.

We have dinner on the covered patio: potatoes with garlic and herbs, a tomato and cucumber salad, plums, pears, strawberries, and cheese. At dusk, by candlelight, we drink from teardrop flasks of rakija. Lightning flashes across the western sky. A jolt of thunder follows. Goran, laughing, says it’s war again.

Alma says she finds herself thinking more and more about writing her story. The memories have been too much to live with this long, too much to bear. “I think I will be stronger,” she says. Goran encourages her. “Each single life is a novel, yeah?” he offers tenderly.

Before bed we watch some of the World Cup. Ermin pours me a shot of industrial strength Montenegrin rakija, 50% alcohol by volume. When I finally muster the courage to bring it slowly to my lips, it burns my eyes. I take two hesitant sips and start to cough. Goran and Ermin are in hysterics. I finish, say good night, and go up to the loft. Fresh air flows freely. It’s the best night of sleep I’ll get in Bosnia. Ermin must have known that to relax, I needed to be knocked out cold.

In the morning Jasmin comes by just as Goran and I are getting ready to leave. He’s 26 now, and the light is back in his eyes. He’s funny as hell, just like his parents. Telling him my name gets us riffing on The Simpsons. Jasmin’s favorite moment is of Homer adrift: “I’m not normally a praying man, but if you’re up there, please save me, Superman!” We cackle.

On the way back to Sarajevo, Goran and I find that Ermin has cut a piece of glass from his workshop to replace our cracked passenger side mirror. A few hundred yards down the pockmarked road, it pops out. We laugh, stop in the middle of the road, and reinforce it with duct tape. It holds the rest of the way.

Near Mostar we see more of the architecture of aggression: a brand new Catholic church, right next to a destroyed abandoned house. It’s a scene I’ve witnessed far too often. Homes and factories lie in ruins, while new, expensive sanctuaries grow like weeds. It’s the engineering and manufacture of cultural domination. Štefica called it pure provocation, like animals marking their territory.

Nature offers another brief reprieve. We wind north through the Neretva valley, farther and farther from the river’s end in the Adriatic Sea. Compressed strata of steep, forested stone slant sharply to the river at forty-five degrees before they gradually recline to parallel. Johnny Cash sings, If I could start again, a million miles away….

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IV. Sarajevo, June 27-29, 2014

It’s the eve of the assassination’s centennial. Sarajevo’s commemorations have begun, and Goran and I go a little off the beaten path to one of our favorite spots, Sarajevo’s Museum of Literature and the Performing Arts. Two years ago, walking the city, I had wandered into the museum’s beautiful, landscaped courtyard of roses and stone pathways.

The museum’s director, Šejla Šehabović, like countless custodians of culture in Sarajevo, works for little or no pay, thanks to the wrangling of politicians who withhold appropriations from institutions that benefit all Bosnians, not just a single ethnic group. She puts on an incredibly brave face. In her thirties, with short brown hair dyed to a brilliant copper, she fights like mad to keep the museum alive. Last spring’s heavy rains brought fresh worries: a leaking roof threatens the papers of Ivo Andrić, perhaps Yugoslavia’s most famous writer, winner of the Nobel Prize in Literature in 1961. His historical novel The Bridge on the Drina all but foretold the horrors to come at century’s end.

Sejla Sehabovic and Goran Simic, Sarajevo 2014Šejla Šehabović and Goran Simić

The mood is festive tonight. We’re here for the release of graphic novelist Berin Tuzlić’s Sarajevo Assassination 2914. Images from the book, enlarged to poster size, line the gallery walls. Menacing and dystopian, they evoke the present. Rival religious and ideological factions posture and provoke. They brandish cartoonishly violent mentalities in a restricted palette of aggressive red, black, blue, purple, yellow, and orange.

In the courtyard after darkness falls, live music and large-screen projection bring the book and exhibition to life. An earnest baritone narrates the novel’s text while a keyboardist and Tuzlić himself, a rock-solid drummer, add a dark, driving musical overlay. One of the text’s refrains distills centuries of manipulation and disillusionment: Istorija je fikcija, history is fiction.

§

The next morning, the day of the centennial, Goran’s in the mood to get back to Skakavac. The Vienna Philharmonic’s concert tonight at Vijećnica, the restored city hall and national library, barely interests him. He can take only so much reminiscing. He remembers racing to rescue what he could from the flames of that dying treasure. Ninety-eight per cent of the historic collections are lost forever. My own memory leaps to Goran’s “Lament for Vijećnica”:

When the National Library burned for three
days in August, the town was choked with black
snow. Those days I could not find a single pencil
in the house, and when I finally found one it did
not have the heart to write. Even the erasers left
behind a black trace. Sadly, my homeland burned.

When we settle at Skakavac, under another spectacular summer sky, we speak of Goran’s fresh collection of poems. “I am trying to put on paper something I would like to forget,” he says.

That afternoon and evening, Goran reconnects with friends. I’ve decided to mark the anniversary by walking the city. Crowds and sun lighten the mood. A store called “Marx™: Clothes for the People” welcomes tourists to post-socialist Sarajevo, and T-shirts of passing teens borrow English slang to indulge in urban sarcasm and play: “Slam Dunk,” “Fuck the Future,” “Cute But Psycho,” “I’m Limited Edition.”

In the centuries-old Ottoman bazaar I stop at the expansive courtyard of Bey’s Mosque. I circle and photograph the tall, canopied fountain. Without thinking, I place my left hand, palm and fingers, on one of its aged wooden pillars, and I’m nearly brought to tears. The wood feels alive – I almost know it’s alive – cool to the touch, and strong, but without the rigidity of stone. I breathe in slowly and am at rest.

To the east is the restored Vijećnica. It’s cordoned off for the exclusive, black-tie affair inside, but I can take photographs and listen to the concert’s simulcast outside at sunset, just across the Miljacka River. When hunger sets in, I set my sights on one of my favorite burek shops, and I decide to practice my Bosnian. Everything goes smoothly except for the math. Focusing on the two types of pie I want – beef and spinach – I lose all sense of proportion. I accidentally order a kilo of each, and the shop owner wonders if I’m certifiably insane. When I finally figure out what’s happening, I sheepishly confess, Trebam vježbati moje… – “I need to practice…” Before I can say moje broje (“my numbers”), the shopowner finishes the sentence for me: “…your Bosnian?” I turn red and laugh, perfectly content to exchange my dignity and a few bucks for some of the best food in Sarajevo.

At nightfall, a heavy boom shakes the city. It unnerves me, and it takes me a few seconds to hear the sound for what it is: a celebration of the end of the day’s Ramadan fast. A swell in the market crowds follows. I linger at the outdoor cafés before walking home close to midnight. Sarajevo’s packs of stray dogs, normally friendly and docile, start getting edgy and unpredictable. Their shrill call-and-response echoes across the valley, slamming off the mountains. As I walk up Koševo, toward the darkened graveyards, toward Gavrilo, two of them trot behind me before sprinting ahead full tilt, like predators in the wild. One of them starts lunging recklessly at speeding cars, barking out of its mind. I can barely look. I whisper a plea: Don’t make me watch you die tonight.

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V. Tuzla, June 30-July 1, 2014

On the last leg of our trip, heavy rain falls on the winding, forested road north from Sarajevo to Tuzla. By now the disastrous spring rains should have run their course. The damage has already been done. In the Tuzla Canton alone, landslides and the brown, swollen Bosna River have destroyed hundreds of homes. Thousands of Bosnians are refugees once more. Goran squints through the windshield as excess water ripples and pools across the road. “Nature out of balance,” he says, a reminder that in Bosnia, things can always get worse. A roadside billboard with a skull and crossbones shouts “DANGER!” to warn of wartime landmines displaced and resurrected by the recent floods. A subsequent sign, apparently without irony, pitches a café called Vertigo. The Robert Plant and Jimmy Page album No Quarter powers through the car stereo: I couldn’t get no silver, I couldn’t get no gold. You know we’re too damn poor to keep you from the gallows pole. We pass up Vertigo and stop for lunch at the hillside restaurant Panorama, where clouds fog the view of the valley below. As soon as we sit, Goran asks the waiter for a good, stiff shot of rakija. “Better make it a double,” he says. “I’m driving.” We unleash a torrent of laughter.

As we approach Tuzla, a city of mining and industry, we survey the destruction. Debris from the floods lines roadside fences and clutters yards. A turbulent sky shifts and reconfigures its shades and layers of grey, permitting only slivers of sun and a thin, diluted streak of blue. A power plant’s enormous cooling towers, chain-smoking, superimpose their own brownish haze. Suddenly, traffic crawls. The floods have devoured a large section of our lane, forcing a long line of cars to snake off onto gravel and dirt.

When we get back on the road and come to the heart of the city, we see wreckage that’s man-made: the smashed windows and sooted, graffiti-tagged façade of the Sodaso chemical plant. It’s a gutted casualty not of wartime shelling but of an economically devastating postwar privatization; the plant was ground zero for the fiery citizen uprisings of last February’s “Bosnian Spring.” We enter a traffic roundabout, where a large banner encourages union solidarity – Sindikat Solidarnosti – and a young woman hustles by on foot, hunched, with no umbrella. Her shirt says “Sunny Beach Club” in English.

Near the town square, the site of the 1995 massacre that Tuzla is famous for, we park on the street in front of a Catholic school. Near the main entrance is an arresting scrap metal sculpture, eight to ten feet tall, of St. Francis. Gaunt, hollow-cheeked, with his eyes to the ground and his palms to the sky, he is the incarnation of hunger and despair. The artist has riveted, dented, crimped, and shredded the metal with reckless precision. Francis looks as though he’s been hit by shrapnel, or a shock wave, and he is literally unraveling, his thrice-knotted cords tearing away from his cloak of poverty. Wild birds – are they predators or prey? – besiege him, their wings stretched vertical and taut. No sentimental kinship binds these creatures to Francis; their only communion, their only solidarity, is in their intimacy with the abyss.

St Francis of TuzlaSt. Francis of Tuzla

We’ve come for a lecture at the local atelier across the street from this St. Francis of Tuzla. The event has been arranged by Nigel Osborne, a professor, composer, and activist visiting from the UK and working closely with a young local university professor and activist, Damir Arsenijević. When we meet, Nigel strikes a note of hope. In his sixties, he is tall, bearded, and broad-chested, with a booming voice and infectious energy. He tells us that this is a chance for exploited, suffering Bosnians to reimagine everything, to remember that they “can change things fundamentally.”

Osborne’s connections to Bosnia run deep, back to the war, when he collaborated with activists and artists, like Goran and Susan Sontag, to keep Bosnians and Bosnian culture alive. Now, working with local university professors and activists in Tuzla, he’s invited tonight’s speaker, the economist Fred Harrison, a London-based contemporary of Osborne and an architect of Yeltsin-era land reform in Russia. Osborne and Harrison are touting such reform as a revolutionary alternative to rapacious, neoliberal global capitalism, reform that once had put Russia on the path to real social and economic justice before oligarchs hijacked and derailed it.

In his lecture Harrison calls the current global economic system “a cruel one,” a form of “cannibalism” and “medieval bloodletting” that sacrifices workers and youth in order to save the financial sector. Merging fluidly with the corruption of local elites, that system has left ordinary Bosnians desperate and unemployed at rates surging toward fifty percent. A revolution is possible, Harrison contends, but we will have to “build our minds anew” by returning to moral, non-ideological “first principles” of authentic democracy and collective ownership of the land. Tuzla’s unions and plenums – the emerging, town-hall style citizen assemblies – will have to lead the way, he says, in dismantling an entrenched system of greed.

Afterward at a restaurant on the square, Osborne is buzzing. I ask him what he thinks about Professor Harrison’s suggestion that Bosnia should seek the political and financial support of Great Britain. He thinks it could work. During the war, he tells me, Great Britain, unlike so many other western powers, started to repent for its tragic misunderstanding of the Bosnian situation. Now with the likes of William Haig and Angelina Jolie paying such close attention to Bosnia, there could be enough international momentum for real change.

Soon Professor Harrison walks in with the director Carlo Gabriel Nero, who filmed the evening’s lecture for Al Jazeera. We all have a date at a nearby café and bar, Urban, to sing sevdah, the Bosnian blues, with local professionals. The music – full of tremulous vibrato, of vocal oscillations encouraged by an accordion and anchored by an acoustic guitar – is not for the faint of heart. Osborne is fluent. He grabs his guitar and sits in. When he sings, all the Bosnians in the bar join him. They know these songs of love and sorrow by heart. After a while, I move back from the inner circle of musicians to the edge of the bar, where two Bosnians give me their sense of what it’s all about. One says that this is a kind of sijelo, a gathering with comfort food and live music, usually sevdah, where everyone feels like old friends. Another says that it’s about the pursuit and experience of merak, translated loosely as a moment of true happiness, ease, and no worries at all.

I thank them. It’s almost midnight. We’ve been at it for hours, and the crowd is starting to thin and fade. Everyone has somewhere to be tomorrow, when morning will bring the hope and the anguish of starting from scratch.

—Thomas Simpson

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Thomas SimpsonPhoto by Melissa Cooperman

Born and raised in western New York, Tom Simpson teaches religion, ethics, and philosophy at Phillips Exeter Academy. He holds a Ph.D. in religious studies from the University of Virginia. From 2002-2004, he directed Emory University’s “Journeys of Reconciliation,” an international travel program exploring the intersections of religion, violence, and peacebuilding. That work brought him to Bosnia-Herzegovina for the first time. Subsequent visits have led to collaborations with Goran Simić on a collection of Simpson’s essays about postwar Bosnia, which they plan to publish in 2017. This fall, the University of North Carolina Press will publish his first academic book, American Universities and the Birth of Modern Mormonism, 1867-1940. He lives in Exeter, New Hampshire, with his wife, Alexis, and their two children, Blake and Will.

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Apr 122016
 

Pierre Joris

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Luxembourg Findel Airport

old Findel airport in LuxembourgOld Findel airport in Luxembourg.

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

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Remembrance Day In Patton-Town

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

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

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

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

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

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

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

*

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

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

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

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

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

Remembrance Day in EttelbruckRemembrance Day in Ettelbruck.

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

—Pierre Joris

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Pierre Joris

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

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

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

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Apr 112016
 

Mangalia Beach by Nicolae TonitzaMangalia Beach, 1930 by Nicolae Tonitza, via Wikiart.

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I realize, all of a sudden, that my title sounds like the name of a rehab facility in Arizona, a place where “happiness” is very rare indeed and where the “shores” are notional ones, at best. I am quite certain that Baudelaire was not thinking of such a place, as he conjured up a luminous vision of utopia in the first quatrain of his sonnet, “Exotic Perfume”:

When, with both my eyes closed, on a hot autumn night,
I inhale the fragrance of your warm breast
I see happy shores spread out before me,
On which shines a dazzling and monotonous sun.

He was envisioning a place far from the gray realities and dismal vexations of mid-nineteenth-century Paris, a place free from the constraints of the here and the now, somewhere strikingly distinct from the sites we inhabit in our daily life, a place of “order and beauty / Luxury, peace and pleasure,” as he puts it in his “Invitation to the Voyage.” That vision is inspired (and I use that word in its fullest sense) by a lover’s scent. But it is constructed in the poetic imagination, corresponding to a set of ideals clearly impossible in ordinary, quotidian existence. The site toward which Baudelaire points is a distant one and a different one, a place both foreign and unusual—in a word, an exotic place.

It is not uncommon to find evocations of such places in French literature before Baudelaire; yet he explored the idea of the exotic so insistently and programmatically that it became, under his pen, a recognizable, codified literary topos. So much so that it is difficult to speak about any sort of literary exoticism in France without bringing Baudelaire into the conversation—even when it is a question of literary gestures in our own time. For while controversies about what constitutes the “exotic” and what attitudes one ought to adopt with regard to it have undoubtedly evolved a great deal since Baudelaire’s time, the notion itself remains a highly charged one in contemporary French culture, and a sure trigger for polemics of various ilks.

Most recently and notoriously, the idea of the exotic may be seen to subtend debates about the relationship of “metropolitan” French literature (that is, writing produced in France) and “francophone” literature (texts written in French outside of Metropolitan France—in Africa, for instance, or in Quebec, or Haiti). A manifesto signed by forty-four writers which appeared in Le Monde in March of 2007, under the title “Toward a ‘World Literature’ in French,” calls for nothing less than the abolition of the distinction I have just mentioned, proclaiming “[t]he end, then, of ‘francophone’ literature, and the birth of a world literature in French” (56). The manifesto justifies its brief for “World Literature” with considerable vigor:

“World literature” because literatures in French around the world today are demonstrably multiple, diverse, forming a vast ensemble, the ramifications of which link together several continents. But “world literature” also because all around us these literatures depict the world that is emerging in front of us, and by doing so recover, after several decades, from what was “forbidden in fiction” what has always been the province of artists, novelists, creators: the task of giving a voice and a visage to the global unknown—and to the unknown in us (56).

A crucial dimension of the manifesto’s argument hinges precisely on the notion of the exotic, and on the marginalization that such a designation entails: “How many writers in the French language, themselves caught between two or more cultures, mulled this strange disparity that relegated them to the margins, themselves ‘francophones,’ an exotic hybrid barely tolerated?” (55). For that marginalization effect is clearly the other face of the notion: if the exotic evokes “Luxury, peace and pleasure,” it also, through that very otherness, points to something far outside a given speaker’s community of experience.

In that perspective, the exotic and terms closely related to it continue to animate discussions in France, discussions that range far beyond purely “literary” spheres, discussions that color much broader cultural and political discourse. I am writing, right now, a couple of months after the Islamic State attacks in Paris on November 13, 2015, and I can testify that a significant proportion of political debate since that event is grounded in the way that the French (and I mean “French” of many different stripes) conceive of the other, whether that other be person, or place, or both at once. In all of that extremely complex and at times very painful debate, one thing is abundantly clear: we are, all of us, very attached to that idea of the other, and very reluctant to abandon it—even when it proves to engender more problems than it serves to resolve. As Sander Gilman puts it in his study of alterity, Inscribing the Other, “Stereotypes arise when the integration of self is threatened. They are therefore part of our manner of dealing with the instabilities of our perception of the world. This is not to say that they are positive, only that they are necessary. We can and must make the distinction between pathological stereotyping and the stereotyping we all need to do to preserve our illusion of control over the self and the world” (13).

Baudelaire 1844 By Emile DeroyCharles Baudelaire 1844 by Emile Deroy, via Wikimedia Commons.

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Having noted the breadth of sway that the exotic enjoys in the French imagination, I would like now to turn to happier shores than those of massacre and the reaction that it provokes. I would like briefly to examine a few recent French novels that are situated in part or in their entirety in the United States. These are texts wherein the notion of “America” is deployed as a radical other with regard to metropolitan French culture, and which play with the idea of the exotic in a very interesting manner. The first example I shall adduce (one where the phenomenon that interests me is both most massive and obvious) is Tanguy Viel’s La Disparition de Jim Sullivan (2013). The second word in Viel’s title is usually rendered into English as “disappearance”; but in its euphemistic usage it can also mean “death,” and Viel plays productively on that semantic ambiguity throughout his novel. It is not the only ambiguity that he exploits. For his narrator, like Viel himself, is a French novelist—and he is moreover working on a book entitled La Disparition de Jim Sullivan. Over the last few years, he has become convinced that the only way to achieve truly international literary success is to write an “American” novel:

Americans have an unfair advantage over us: even when they situate the action in Kentucky, among chicken farms and cornfields, they manage to write an international novel.…They manage to write novels that people buy in Paris, as well as in New York. …The day that that became clear to me, I took a map of America and hung it on the wall of my study, and I told myself that the action of my next book, all of it, would be located over there, in the United States. (10-11, my translation, as elsewhere unless otherwise noted)

With considerable energy and admirable diligence, he sets out to write such a novel, exploiting all of the commonplaces that he has identified in the genre. In the first instance, he takes care to strew American proper names throughout his text very liberally indeed. It is a technique that is certain to pay dividends, particularly when one recalls Roland Barthes’s characterization of the proper name as “the prince of signifiers” (“Analyse” 34). Thus, characters’ names are quintessentially American ones: “Dwayne,” “Susan,” “Tim,” “Dorothy,” “Jim,” “Donald,” “Moll,” “Joyce,” “Lee,” “Alex,” “Milly,” “Becky,” “Ralph,” and so forth. That impression of authenticity is heightened by the fact that Viel causes his French novelist to use first names rather than last whenever possible—Americans are renowned for the casual ways they address others, after all. The toponyms are just as familiar as the anthroponyms, moreover: “Montana,” “Kentucky,” “Detroit,” “Michigan,” “New York,” “Los Angeles,” “Ann Arbor,” “Chicago,” “Rochester,” “Sterling Heights,” “Baltimore.” But it is undoubtedly in the names of automobiles where that technique gets its most mileage, for the automobile, as everyone knows, reigns supreme in American consumerist culture: “Cadillac,” “Pontiac,” “Ford,” “Dodge,” Buick,” “GMC,” “Chrysler,” “Mercury,” “Thunderbird.” It sounds like a poem, doesn’t it?—or a prayer.

The behavior of the novelist’s characters is just as convincingly American as their names. They are always driving their cars, for one thing, with “a bottle of whisky on the passenger seat” (16), cigarette butts overflowing the ashtray, a copy of Thoreau’s Walden and a hockey stick lurking in the trunk. Prominent among those characters is a university professor, because Viel’s novelist has noted that “in American novels, one of the characters is always a university professor” (19), a figure so innately beguiling as to captivate the attention of even the most jaded reader. Adultery is everywhere practiced here, fueled undoubtedly by all that whiskey, all those cigarettes, all that driving around. Violence abounds, too, as indeed it must, because Americans are famously inclined to explode into violence one after the other, like firecrackers at a Fourth of July celebration.

Despite all of his laudable efforts at verisimilitude, however, Viel’s novelist remains curiously removed from his “America.” He confesses that he has never actually had the opportunity to visit the United States, and that his information (though abundant) is secondhand, deriving in the main from two sources: American novels and the Internet. The former serve him well enough, I think; but the latter, granted its tendency to flatten and homogenize human experience, sometimes leads him into infelicity and outright error. Much of the action in his novel takes place in Detroit, but everything he knows about that city comes from the Internet, and most of what he has learned is anecdotal and trivial: “In Detroit, according to what I’ve read on the Internet, people can see up to 3200 windows in one glance” (11). He can be excused, perhaps, for spelling “mother fucker” as two words rather than one (34); but his allusion to “lion hunting in the Colorado mountains” (137) will inevitably raise eyebrows. He remains, of course, French; and the gaze that he casts upon America is necessarily a French one, filtered through French culture, ideology, and myth. Moreover, he is demonstrably writing for a French public. “For us here in France,” he remarks for instance, “it seems odd to include an ice hockey team in a novel” (49-50), clearly identifying his narratees as French, and wagering simultaneously on the familiarity of “Frenchness” and the alterity of “Americanness.”

The wager that Tanguy Viel himself stakes is, I believe, a bit different; and the game he is playing is patently a more sophisticated one. Where his novelist is utterly candid (and indeed naive) in his reading of America and its culture, Viel is far more sly, taking an ironic stance both with regard to his narrator and with regard to “America.” Let us remember that irony is always a question of distance, whether literal or figural, and allow me to remark that the notion of distance massively informs both the narrator’s novel and Viel’s own. Yet it is clear that those books are not one and the same, despite the fact that their titles are identical. To the contrary, the distance separating them looms ever larger as the novel—Viel’s novel, let’s be clear—progresses. If that consideration were not perfectly obvious, Viel takes care to underscore it in the closing pages of his novel, causing his narrator to remark:

I didn’t stress it too much in my novel, because I didn’t want to make it a political thriller, with complicated intrigues involving both fictional characters and real people, like American writers often do, it’s true. After all, even if I looked toward America throughout my work on this project, I nonetheless remain a French writer. And we French do not make a habit of mixing real people with fictional characters. That is why I didn’t mention the name of Barack Obama in my novel. (120)

That final pronouncement reads like a Zen kōan, or a paradox of Zeno, until one remembers that this (fictional) novelist is not Tanguy Viel; that the embedded novel is not the frame novel; that, in a word, no gesture of metalepsis has been accomplished here, in spite of any appearance to the contrary, and notwithstanding the pull of our own readerly desire.

With considerable resourcefulness and subtlety, Tanguy Viel exploits that readerly desire in order to keep us significantly (and agreeably) off balance. At some moments, he encourages us to plunge headfirst into the fictional world, abandoning our skepticism and our rationality. At other moments, he obliges us to step back from the fable and recognize things for what they are. Insofar as the representation of America is concerned, his game is likewise double. He puts the mythology of America to use in very canny ways, both frankly (through his very literalist narrator) and ironically (through the distance he constructs between his narrator and himself). Turn and turn about, he plays upon the familiar and the exotic—and, most crucially perhaps, on the familiarity of the exotic. One might say that it is always a question of “America” in this novel, rather than of America. And one might argue, too, that it is a book perfectly suited to “American” readers, whatever happy shores they might call their own.

Tanguy Viel Disparition de Jim Sullivan

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Shores, happy or otherwise, are often at issue in Maylis de Kerangal’s Naissance d’un pont (Birth of a bridge, 2010), which tells the story of the construction of an immense bridge spanning a river, just inland from the coast of California. Like Viel, Kerangal gives place of privilege to onomastics, entrusting proper names with an important dimension of her “American” strategy. People’s names here are about what one might expect: “Katherine,” and “John,” and “Ralph,” certainly, but also that most categorical of American names, “Duane” (here spelled with a u rather than a w). Recognizable figures from the real world flit in and out of the novel, in cameo appearances, among them Sarah Jessica Parker and Larry King. Brand names confirm that the action of the novel takes place in a fundamentally commercial world: KMart, Safeway, Trader Joe’s, Wallgreen [sic], McDonald’s. Chevrolets and Dodges duel on the highways, providing delicious moments of verisimilitude: “It’s a late-model Viper on 22-inch rims, 500 horsepower, a monster worth forty-five thousand dollars” (42). But Kerangal’s onomastic pièce de résistance is undoubtedly the name she chooses for the city where the bridge will be built, “Coca.” She glosses it helpfully for us shortly after enunciating it, mentioning that it shares its name with a famous brand of soda (29). For “Coca” is the French for “Coke,” as any five-year-old in France could testify; and what is more indisputably American than Coke? It represents in some sense the summit of American commercialism, a product known and savored worldwide. In a similar light—and I’m speaking here reductively, of course, relying on cultural commonplace—California represents for many people the apotheosis of American culture, the site where the various currents composing that culture flow in unabated spate.

Yet that is only one of the connotational fields onto which the name “Coca” opens. The other is a shade darker in tone, and the word “cocaine” hovers in its center. The fact that Kerangal has that in mind is confirmed by several references in the text, more subtle but no less sure than the ones pointing to Coca-Cola. Early on, for instance, Kerangal mentions the public buses serving Coca, suggesting that they are dangerous means of transport, “operated by bug-eyed bus drivers: lack of sleep, coke” (29). On several other occasions, she suggests that deep corruption lurks behind Coca’s shiny new facade: “Coca! Coca! Coca! The Brand New City! A danger zone where febrile businessmen rub shoulders with dealers of all kinds, cunning teens, opioid-addicted dandies, loan sharks both male and female, night-blind girls, and bewigged assassins” (169). Contrary to what its Babbitts would have us believe, Coca is “a rotten hole” (72), a place “arising ex nihilo from the New World” (185).

Yet it is perhaps inaccurate to imagine that Coca surges up out of nowhere, perhaps more useful to think of it as emanating from a deep reserve of mythology, one devolving upon “the measureless breadth of the landscape, an unmanageable immensity” (46) and “an enormous desire” (67), a golden place in the Golden State. For desire is at the heart of Coca. Workers flock there from all over, “among whom are people from Detroit, chased out of that city by the closing of the automobile factories” (97) Kerangal notes, reminding us that the American economy has suffered in recent years. Those workers, she argues, are simple folk, “people averse to conversation, serious and dedicated laborers for whom distractions like bowling, beer, and sex would not suffice for long” (101). More than anything else, they are impelled by mythology: “poor people looking to better themselves, dreamers lost in the clutches of the myth of the West, the obstinate myth that consumes them” (189).

The vision of America that Kerangal proposes is thus significantly vexed. On the one hand, it is a place where community milestones are celebrated by “ceremonial releases of doves, cheerleaders, jugglers, traditional Indian dances, police parades, and distribution of free t-shirts” (329). On the other hand, it is a place where local prostitutes “swallow speedballs: coke + bicarbonate of soda” (134). Let us forgive the inaccuracy of the recipe furnished, and focus instead on the brutality of the image, and the way it contrasts with that of the municipal festivities. And let us remember that the very notion of contrast itself is an essential component of the mythology in which “America” is wrapped:

It is the land of making-do and the smalltime job, of accommodations and fiddles, of all the little strategies of survival that sharpen one’s wits, the land of little vegetable gardens, fertile and overgrown, the land of hammocks swung up in damp cabins, of plasma TVs right off the shelf and fridges filled with beer, of mobile homes where depressed Indians with penetrating gazes try to sleep, of prefabricated, slapped-up houses that won’t make it through the winter, their floors warping and their wiring melting as soon as the portable heating units are plugged in, their pipes freezing right under the siding. It’s the place on the other side of the water, the edge of the city and the verge of the forest, it’s the place right on the margin. (191-192)

In short, Maylis de Kerangal’s “America” is a liminal place, one that is neither fully “inside” nor “outside,” but which insistently questions both of those sites in an oppositional manner, and through a discourse of alterity. It’s no utopia, that’s for certain. But I think nonetheless that Baudelaire would have no trouble recognizing it as somewhere demonstrably animated by the spirit of the other, a place very efficiently conceived to make the reader of this novel reflect usefully upon that other—and perhaps more crucially still, upon the place that he or she calls “home.”

Maylis de Kerangal Naissance d'un pont

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Representations of America are not lacking in Christine Montalbetti’s writings. Her novel Western (2005) takes place in a rough-and-ready frontier town called “Transition City,” and it plays upon a venerable set of traditions inherited from Bret Harte and Zane Grey, John Ford and Sergio Leone. Journée américaine (American day, 2009) returns to the American West, but in present time, following a man as he makes his way across the plains of Oklahoma to the mountains of Colorado. In Plus rien que les vagues et le vent (Nothing but the waves and the wind, 2014), Montalbetti goes still further west, to the Oregon Coast. There, everyone has a story to tell: “Colter,” “Harry Dean,” “McCain,” “Shannon,” “Wendy,” “Moses B. Reed,” “Mary,” “Perry,” “Rick,” “Tim Doyle,” each of them has a past with a different tale. Yet those differences may be largely anecdotal, because every one of these individuals is scarred by the past, and the tales they tell testify to that damage in fundamentally similar ways.  They have all somehow washed up in Cannon Beach, “the furthest edge of America” (271), like driftwood. Harry Dean works there as a farmer; Wendy is a waitress; Moses owns a bar called “Ulysses’ Return”; Tim runs a souvenir shop; Mary works in the grocery store; and so forth. Their lives intersect frequently in this small town, often in the bar in the evening, and that is mostly where we hear their stories, thanks to the narrator. He is a curious bird, the only anonymous character in the novel. He is exceptional in other ways, too, for we know very little about his past, merely that he is French—”the fucking Frenchy,” as he calls himself on one occasion (228), adopting the epithet that has been used by some of the more xenophobic citizens of Cannon Beach to identify him—and that he has come up the coast from Long Beach, through Portland. “It begins like a road story, when you think about it” (15), he remarks.

I got here on a rainy day, in a rented Ford (a white Crown Victoria, with rear-wheel drive).

The car, with its automatic transmission, ate up the road, almost without any effort on my part. I gazed at the rain beading up on the windshield, then being wiped off, then once again beading up like on the very first day, then again being massacred under the rubber blades of the windshield wipers, pressing against the glass. (16)

Road stories are of course typically American narrative forms. America did not invent the road story, to be sure, no more than Baudelaire invented the idea of the exotic. But America indisputably appropriated the form, injected it with a massive dose of specifically American mythology, exploited it to a rare degree, and exported it so successfully that it can now can be said to bear an American stamp—at least in its most recognizable shape, where the mode of transportation is always four-wheeled, the road is always broad, and the direction is always westerly.

The narrator’s road story is not the only one in this novel, moreover, because all of the characters have been involved in their own road stories, before each of those stories crested and broke upon Cannon Beach. Still other narratives circulate liberally in this fictional world. The narrator reads and rereads Lewis and Clark’s Journals, for instance, in a two-volume edition belonging to Perry. He does not seem to recognize that he is holding in his hands one of America’s foundational road stories, but that fact is surely not lost on the reader of Montalbetti’s novel. One night in the bar, the talk turns to the Odyssey—yet another road story, but this time far more venerable—and Harry Dean knows enough of it to assure the others that it is a tale that ends in blood. That is just one effect among many others suggesting that this story will likewise end in blood. Catastrophe looms from the beginning of the novel. Pressure builds and will seek release, in an eruption as inevitable as that of Mount St. Helens, which the folks in Cannon Beach remember all too well. Reflecting on the events of the recent past in his motel room, gazing out at the sea day after day, the narrator comes to understand that he himself is involved in a story, though the question of what role he may play therein—witness or actor, victim or hero—is well beyond his ken. He tells his tale in an engaging, complaisant, dilatory manner, one that seems unconcerned until we realize that he is deferring an event which is far more painful to tell, a very violent event through which he is significantly transformed.

One might suggest that, more than anything else, the narrator’s transformation is a question of naturalization—one that involves, in the first instance, his body:

Since I have been holed up and idle in this motel room on the edge of America, existing on local fare (pizza and hamburgers that I have delivered), my body has become American.

That was what I was seeking, undoubtedly, that metamorphosis.

I have to say, too, that with all of this space surrounding a person, space that is not merely an idea, but which is also an idea, with the thought of thousands and thousands of square kilometers under immense skies, one can understand, in so vast a dominion, that there should be so many people who wish to be fat. In order to occupy a bit more space. Seeking a more acceptable ratio with the territory.

To adapt their body to the dimensions of the landscape. (278)

Curiously, the metamorphosis that the narrator undergoes has the effect of erasing his former story in favor of a story to come, or a story yet to be written:

The man that I am now, this fat man, doesn’t have a story yet.

His beginning can be traced back to the day that he rented the white Ford and left Long Beach, California, where he was just passing through, having spent a moment, you’ll remember, watching the pelicans feeding so voraciously. The day that he got on the road and started driving, obliviously, toward his shape to come. When he got into the car, when he stopped at the Blueberry Inn, when he went into the Waves Motel for the first time, he didn’t look like he does now; but that appearance was already in gestation. (280)

It is a matter of catastrophe, after all, one that is far more local and personal than the eruption of Mount St. Helens—but perhaps no less telluric. Importantly, it can be described as a certified “American” catastrophe, one whose principal agency can be located in the way that “Americans” tend to identify themselves in distinction to a variety of others. Though it should be noted that the narrator refuses to recognize such agency. “To my way of thinking,” he remarks, all of that is the ocean’s fault” (86). And in a sense, maybe he’s right, because the ocean (like narrative itself) involves forces that are irresistible, in which even the strongest of swimmers may founder; and once you submerge yourself in it (again like narrative), you are necessarily a part of it, wherever else you may wish to be.

Christine Montalbetti Plus Rien que les vagues et le vent

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Paul Fournel locates most of the action of Jason Murphy (2013) in France; but his characters direct their gaze across the Atlantic, indeed clear across the continent, once again to the very edge of America. To San Francisco more specifically, and to a cultural moment when the poets of the Beat Generation were just beginning to put right-thinking American mores so dramatically into question. One of those poets interests those characters particularly, a certain “Jason Murphy,” who may have written a novel on a long, continuous scroll well before Jack Kerouac used that technique to write On the Road. The scroll seems to occupy much more space in the characters’ imaginations than the man who wrote it, and who may or may not have survived the glory years of the 1950s and 1960s. People invest their desire in that artifact for different reasons: a publisher because of the sales windfall it would ensure; a graduate student because of what it would represent for her dissertation; a professor of literature mindful of his scholarly reputation; and so forth. As all of them strain toward that object of desire, a kind of Grail Quest emerges; but it is one fraught with ironies of various sorts, and one that is very unlikely to provide salvation for anyone—least of all for Jason Murphy.

Once again, proper names color the text of this novel, and orient the reader’s horizon of expectation in certain ways. Fournel borrows many of those names from contemporary American literature: Gregory Corso, Lawrence Ferlinghetti, William Carlos Williams, Sylvia Plath, Carson McCullers, Willa Cather, Ernest Hemingway, Raymond Carver, Patricia Highsmith, Harry Mathews, Kenneth Patchen, Tom Wolfe. Other familiar cultural figures, from Johnny Cash to Joe DiMaggio and Marilyn Monroe to Jerry Garcia, are name-checked here. On the toponym side of things, Fournel points us toward San Francisco (where he directed the Alliance Française between 1996 and 2000, and which he consequently knows well). Each of the sites that he evokes—Golden Gate Park, Haight Street, the Panhandle, Polk Street, North Beach, the Tenderloin, Berkeley, the Castro, the Mission, Union Square, for example—is recognizable to anyone reasonably familiar with San Francisco. Even someone French (for it must be recalled that he is writing in French, for French readers), because the city of San Francisco occupies a great deal of space in the French cultural imagination, and French tourists abound there. It is perched, after all, smack on the western edge of the American continent, the place where Manifest Destiny sends us, the place where the American Dream (as a European conceives it) reaches its ultimate expression.

It is legitimate to wonder, in view of references to so many real people and places, why Fournel chose to organize his novel around an imaginary author like “Jason Murphy.” Clearly, he has anticipated that question, for when her advisor asks the graduate student why she has chosen to write on Murphy, rather than on Kerouac or Ginsberg, she replies, “Everyone studies those two, they’ve been worked over again and again. People know a lot about them. Murphy is more secret, less well known, a bit on the margins” (39). There is certainly no arguing with that. Yet another reason may be bound up in the fact that people don’t quite know what to make of Murphy’s writing, not even knowing for sure if he’s a “good” writer or a “bad” writer. That is a question the graduate student must grapple with, as she reads and rereads Murphy, while at the same time reading the work of the few critics who have turned their attention to him, including “Donald Allen in New American Poetry 45.60 and The Life and Lives of Jason Murphy by Warren Motte, which she knew by heart” (71).

We can forgive her if from time to time she daydreams about other, more manageable research projects. “Her thoughts turned to Hemingway. A Moveable Feast. Montparnasse is three Metro stations from here. That could have been a great dissertation topic. ‘Paris in the American Imagination: Ernest Hemingway, the Model of the Rich Poor Man.’ 200 pages tossed together in three months, with all of the backdrops right next door” (53). The project that she envisions stands in a pleasingly ironic relation to Fournel’s novel, of course, and it comments upon the latter with some pungency. Because one of the things that Fournel puts on offer in this book is an image of San Francisco as the French imagination constructs it. And by extension, insofar as San Francisco exemplifies certain important features of a broader American ideal, he invites his reader to ponder a defining moment in American cultural history, when “America” began to come to terms with the American Dream as a dream. Hunter S. Thompson points straight at that moment in his Fear and Loathing in Las Vegas:

San Francisco in the middle sixties was a very special time and place to be a part of.…There was madness in any direction, at any hour.…You could strike sparks anywhere. There was a fantastic universal sense that whatever we were doing was right, that we were winning.…We had all the momentum; we were riding the crest of a high and beautiful wave.…So now, less than five years later, you can go up on a steep hill in Las Vegas and look West, and with the right kind of eyes you can almost see the high-water mark—that place where the wave finally broke and rolled back. (66-68)

Paul Fournel suggests that Jason Murphy’s role in that dynamic was a crucial one, despite the fact that relatively few things are known for certain about him. He drove a Hudson and drank Four Roses Kentucky bourbon, often simultaneously. He visited Paris in 1953, staying first near the Place des Vosges, then in Saint-Germain-des-Prés. He had a shack on Half Moon Bay. Lawrence Ferlinghetti knew him well, and indeed had published him, which provides Paul Fournel with an opportunity to sketch Ferlinghetti in broad outline, for the benefit of his reader: “An ageless poet, with a pretty good head for money, which had allowed him to found a small, prosperous publishing house and a very wonderful bookstore, ‘City Lights,’ in San Francisco. He published and sold the whole Beat Generation. And he also translated Prévert into English, a very welcome gesture” (48). But Ferlinghetti and Murphy had a falling-out, long ago, and the former has no idea what has become of the latter in the many years since that event.

It is useful to remember that it is not the man who is of central importance here, but instead the work he produced. On the Road and Howl both circulate freely in this novel, serving as stable points of intertextual reference and sure guarantors of authenticity. Yet Fournel draws our attention more closely still to Jason Murphy’s poetry, which he quotes extensively, in the original English, complaisantly furnishing a French translation for those readers whose English might not be utterly fluent. If one steps back from the fictional world for a moment, still another reason for choosing a fictional author quickly becomes clear: it allows Fournel to invent an American poet, one who may not be the most distinguished poet of his generation, but who is nonetheless eminently worthy of our attention. One whose greatest achievement, moreover, may be yet undiscovered, just waiting for the right combination of diligence, obsession, and circumstance to reveal it. As if diligence, obsession, and circumstance had anything to do with writing—or with literary scholarship, for that matter.

Paul Fournel Jason Murphy

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Jean Rolin composes Savannah (2015) in a decidedly minor key, and the image of America that he provides therein is painted in muted, even melancholy, colors. The text follows a narrator closely resembling Rolin himself (so closely in fact that I shall call him “Rolin” in my account of the book), who performs what Freud called the “work of mourning,” retracing a visit to Georgia he had undertaken seven years previously with a close companion, “Kate,” who has since died. In Savannah, Jean Rolin exploits a mythology of America a bit different from the kinds we have noted thus far, one that wagers upon the belatedness of the American South, and upon the exoticism of that region, when seen in long focus by a European eye. Rolin is known for the way he puts exotic landscapes to work in his writing, whether it be that of the Congo in L’Explosion de la durite (The Explosion of the Radiator Hose, 2007), or that of the Australian Outback in Un chien mort après lui (A dead dog after him, 2009), or that of the Strait of Hormuz in Ormuz (2013). Here, however, many of the terms upon which Rolin relies in order to construct place and mood have been conveniently codified well before he puts them to use, by the writers of the Southern Gothic.

Among those latter figures, Flannery O’Connor is paramount, for it is she who interests Kate most particularly. Kate and Rolin had traveled to Milledgeville, “in deepest Georgia” as Rolin puts it (11), seven years prior to the narrative present of Savannah, in order better to understand O’Connor, with Kate filming more or less constantly along the way and in the town itself. Now, Rolin returns there in search of something that he never makes explicit. One might note however that such a return, in itself, is a familiar gesture in our cultural lexicon. People in mourning often do revisit places where they had been happy, even if (and perhaps especially if) they had not fully recognized their happiness at the time. What they seek may vary, but certain features are common to most of those quests: the topos of grief and the very process of grieving; the idea that one’s past happiness becomes ever more distant as one’s memory of that moment erodes; the paralyzing impression that whatever may happen now will necessarily be marked by the shadow of the past. Yet something else is going on in Savannah too, I think, something beyond a remembrance of things past. For Jean Rolin could just as easily have situated his book in France, after all, in a landscape far more familiar to him and to his French readers. That he should choose the American South suggests that there is something about that place that he finds particularly intriguing, something closely suited to the expressive needs that animate his project. I wonder if it might be possible to trace that “something” through the cultural commonplaces that Rolin puts on display in his book.

First and most obviously, Rolin insists upon images that invoke death and commemoration. Kate had wished to visit the Colonial Park Cemetery in Savannah, in order to include it in the film she was making. Rolin returns there, now of course in a very different frame of mind, attuned to that site in ways that he had not anticipated, noting details that had largely escaped him during his first visit. Among other cemeteries, Laurel Grove, also in Savannah, had also interested Kate, with its “lawns, scattered headstones, trees from which hung long beards of moss” (108-109); and Rolin returns there, too, visiting Hillcrest Cemetery, Catholic Cemetery, and Bonaventure Cemetery for good measure. That itinerary, and more particularly the account of that itinerary, serves to remind us that Savannah itself is a memorial of sorts. It is what the French call a tombeau, a tomb, a literary form serving to memorialize an individual who has died. The most famous of those tombeaux is perhaps Mallarmé’s sonnet, “The Tomb of Edgar Poe,” but there are many other examples of the genre; and it is a tradition that Rolin exploits massively.

Another set of images that Rolin puts into play involves low-end Americana. Motels figure heavily in that semiotic—as indeed they have done since Nabokov. Rolin alludes to a modest motel in Savannah “situated on the corner of River Street and Martin Luther King Jr. Avenue” (18) where he and Kate had stayed. But when Rolin tries to locate it in an Internet search in order to stay there again, he finds that “it had disappeared between then and now, leaving no trace other than the markedly negative comments of its last guests, some years previously” (23). Sic transit gloria mundi. Thankfully, other motels have sprung up to take its place, notably “the Best Western motel, situated at the intersection of Bay Street and Martin Luther King Jr. Avenue” (23). Even Milledgeville, as far-removed as it may seem, possesses its motel, about which Rolin notes, with considerable understatement, “one is not greeted in a Best Value Inn in Milledgeville like one is greeted in a Four Seasons in Washington” (89). Clearly enough, however, it is not the Four Seasons that interests him, but rather the Best Western, the Best Value Inn, and places of similar ilk.

Other unpresuming “American” places retain Rolin’s attention. The bus station in Savannah, for instance. He notes that neither he nor Kate knew how to drive a car, and that they were thus obliged to travel by bus and by taxi during their visit. Taxi drivers figure in this narrative too, of course; and they are stock types in American cultural imagery, too. Rolin is moreover fascinated by a bar called “Malones,” which touts itself alluringly as a place “Where the girls dance on the bar” (43), and by a storefront operation called “Cash Loans Until Payday” (97), and by “a landscape of desolation, that of a vastly sprawling, metastatic mall” (88), all of which seem to him to represent sites where the American Dream has gone to die. Because it is not only Kate who has died: it is a whole world that has died along with her. And in just that perspective, one of the advantages of the myth of the American South becomes apparent, because that myth is founded squarely upon the notion of dying worlds.

That helps, I think, to explain Rolin’s interest in unclaimed urban spaces and wastelands of various sorts, an interest that is long-standing and that in fact inflected his relationship with his friend. “Sometimes I reproached myself for imposing upon Kate my own taste for vacant lots and disaffected port areas,” he remarks (35), a scruple that did not prevent him from taking her along to places of that sort, again and again. On several occasions in Savannah, he speaks about a power plant in the city that he admires, waxing positively lyrical when describing the sickly orange sodium light that glows within it. “Kate had become familiar with that lighting,” he remarks, “because of all the time we spent together in ports, in Saint-Nazaire, Dunkerque, or Le Havre” (43). Rolin takes pleasure in walking along the Savannah River, watching “the tugboat Florida” or “the auto freighter Tugela from the Wallenius-Wilhelmsen fleet” (41) make its leisurely way through the city. The key feature of ports, of course, is that the people and things one encounters there are always in transit—and that is a state that Rolin cultivates very deliberately indeed. “The surest way of giving oneself the impression of being left behind, of being less than nothing,” he says, “is to walk alone on the unpaved roadside of a major highway, if possible in the United States, and preferably when night is beginning to fall” (99). For in a place like that, one can tell oneself that one has come to the heart of the matter, right where the dying dream of American progress meets the waking nightmare of grief.

Jean Rolin Savannah

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The America that each of these novels invokes is not so much a place as an idea, one that is significantly mutable and (importantly) adaptable. It matters little, I think, if the elements that compose it are immediately recognizable to an American eye, if they pass some putative test of “authenticity.” For that is not what fiction is about—most of the time, at least. For fiction has its own rules, and it exercises its own sort of tyranny in its appropriation of the real. As soon as it is integrated into a fictional world, America becomes “America”—and to the degree that the fictional world is a compelling one, that process of “Americanization” becomes more pronounced. Such an argument will strike many people as heresy, I have no doubt; yet I am persuaded that the way fiction transforms reality and adapts it to its own purposes is one of the reasons we readers keep returning to fiction. Not to escape from the phenomenal world, but rather to see it in another light, one that illuminates features of that world that we might not have recognized otherwise. Sometimes those features are so deeply imbricated in the pattern of everyday life that they become largely invisible to us; sometimes we fail to register them because they do not fit easily into the interpretational grids we habitually impose upon experience; sometimes the hierarchies we construct in order to distinguish the significant from the insignificant are not supple enough to accommodate outliers and limit cases. Sometimes as well, it’s true, we have to travel to shores far removed in space or in time from our own, in order better to understand the here and the now. From France to America, for instance, or from America to France. And back again.

—Warren Motte

Works Cited

Barthes, Roland.  “Analyse textuelle d’un conte d’Edgar Poe.”  In Claude Chabrol, ed.  Sémiotique narrative et textuelle.  Paris: Larousse, 1973.  29-54.

Baudelaire, Charles.  “Exotic Perfume.”  Trans. William Aggeler.  http://fleursdumal.org/poem/120.

—.  “Invitation to the Voyage.”  Trans. William Aggeler.  http://fleursdumal.org/poem/148.

Collective.  “Toward a ‘World Literature’ in French.”  Trans. Daniel Simon.  World Literature Today 83.2 (2009): 54-56.

Fournel, Paul.  Jason Murphy.  Paris: P.O.L, 2013.

Gilman, Sander.  Inscribing the Other.  Lincoln: University of Nebraska Press, 1991.

Kerangal, Maylis de.  Naissance d’un pont.  Paris: Gallimard, 2010.

Montalbetti, Christine.  Journée américaine.  Paris: P.O.L, 2009.

—.  Plus rien que les vagues et le vent.  Paris: P.O.L, 2014.

—.  Western.  Paris: P.O.L, 2005.

—.  Western.  Trans. Betsy Wing.  Champaign: Dalkey Archive Press, 2009.

Rolin, Jean.  L’Explosion de la durite.  Paris: P.O.L, 2007.

—.  The Explosion of the Radiator Hose.  Trans. Louise Rogers Lalaurie.  Champaign: Dalkey Archive Press, 2011.

—.  Savannah.  Paris: P.O.L, 2015.

Thompson, Hunter S.  Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream.  New York: Random House, 1971.

Viel, Tanguy.  La Disparition de Jim Sullivan.  Paris: Minuit, 2013.

xWarren Motte 2016

Warren Motte is Professor of French and Comparative Literature at the University of Colorado. He specializes in contemporary writing, with particular focus upon experimentalist works that put accepted notions of literary form into question. His most recent books include Fables of the Novel: French Fiction since 1990 (2003), Fiction Now: The French Novel in the Twenty-First Century (2008), and Mirror Gazing (2014). He lives in Boulder with a wife, two sons, and a couple of dogs, in a house full of books.

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Apr 102016
 

creation

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

laocoonMichelangelo’s Laocoon

—Julie Larios

.May 2011 - Jackson Fishing at Lake Commonwealth

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

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Apr 092016
 

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

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Fielding Dawson Portrait of Cy Twombly

your chair looks kinda wobbly
cy twombly

I think you’re an anomaly

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

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

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

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

a black button
on a worn blue jacket

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

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

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

the wood floor is what you were
born for

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

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

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

remaining unnoticed you were happy

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

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

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

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

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

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

eyes closed or just looking down

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

your shoes shaped and colored violins

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

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

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

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

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

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

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

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

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

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

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

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

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

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

—Ruth Lepson

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Ruth_Web

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

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Apr 092016
 

dirt
The thing I remember most about arriving in Spokane, Washington, at the end of August in 1991, to begin my MFA in Creative Writing, was the heat and the dust. I remember walking from the apartment in Browne’s Addition (where I was staying until the university residence opened, being put up by a kind soul who did not know me from Adam – like the dust, I drifted into his apartment on the hot currents of air, settled on his couch, and he generously let me stay – thank you Jeff Blaustone) to The Elk for a breakfast burrito the morning after I arrived. The heat and dust weighed down on me. I could feel it in the air, I could smell it deep within my nostrils, I could taste it on my tongue, and I like to believe I could hear it too.

Now all these years later, three good friends from back then are featured here in Numéro Cinq writing not about dust but dirt from the anthology, Dirt: A Love Story – Barbara Richardson (editor), John Keeble and Jeanne Rogers. Barb and Jeanne had already completed their first year in the program by the time I arrived, and John was a professor in the department. My fondest memories of all three of them are related to landscape (well, there was that one night in Jeanne’s caboose out at Loon Lake, but it’s probably best not to go there) and the journeys involved in reaching new landscapes.

On one occasion, Jeanne who had planned some quiet time alone in Cannon Beach on the Oregon coast in a small cabin she had rented by the ocean graciously offered me and my wife a ride there and back. We stayed closer to the town in the Oddball apartment, a last minute rental. During the day we walked the beach, enjoyed the views of the ocean, the mountains and rugged coastal outcroppings, the famous Haystack Rock or hiked the headlands with their panoramic views. Barb drove us to the Thoreau Conference in Missoula, Montana, where we attended workshops with Rick Bass and Simon Ortiz, heard an electrifying reading (his first in 13 years) by the late great Jim Harrison. More readings and panel discussions with environmentally concerned writers such as Richard Nelson, Marilynne Robinson, Terry Tempest Williams, William Kittredge, and Sandra Ciscernos amongst others. And John eventually led us to Alaska. His seminal non-fiction account of the Exxon Valdez oil spill encouraging me to persuade my wife (easily done) to go backpacking there for three months before returning to Ireland.

I owe a deep debt of gratitude to John. The two years I worked with him as my instructor and thesis advisor shaped me more as a writer and as a person than anyone else I can think of (and it needs to be said, he is one of the finest writers North America has produced, his superbly intricate fiction and non-fiction always socially and environmentally prescient.) I also owe so much to Barb and Jeanne too for their kindness and friendship. It was an extraordinary time for me, and those were extraordinary journeys we took. As for the Spokane dust, I can hear it still.

—Gerard Beirne

barb

 

Introduction — The God of Dirt

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F

or thousands of years, humans have looked to the heavens for inspiration and divinity. Looking to the heavens may be the greatest mistake we, as humans, have ever made. We project what we want onto the open skies, the blank distant blue. Whereas looking to the earth sends clear messages—intricacy, impermanence, solidity, interrelation, humility. You can’t fool dirt. Nor can you escape it. You can’t manipulate meaning as you can from the mirror of an empty sky. Dirt anchors us all in reality. And so we need to remember and relearn the ongoing, resonating divinity of dirt. As John Keats wrote, “The poetry of the earth is never dead.”

That poetry is everywhere. It comes in through all our senses. Green, gold, scaled, seeded, sour, shining, sneaky, squeaky, voluminous . . . Mary Oliver writes, “The god of dirt / came up to me many times and said / so many wise and delectable things, I lay / on the grass listening.” The essays in Loving Dirt are that listening. Remember the joyful freedom of splashing in a mud puddle? The thrill of climbing an eroded cliff? The artists, scientists and authors in Loving Dirt drag you outdoors, scuff your knuckles and muddy your feet. They make dirt live and breathe again.

“The first set of essays, “Land Centered,” returns dirt to its rightful place—as the crux of life in the experiences of people who are flagrant dirt fanatics. These writers revel in the fact that dirt is “magnificently humble.” Long may they reign. Then, armed with new appreciation, take a muddy fall into “Kid Stuff,” the second set of essays, which explores our early contact with dirt. Go ahead, these writers say, “major in mud pies.” Because the humbling, hallowed fact is that dirt is our mother. And she doesn’t call us inside at night in order to ignore her gifts.

“Dirt Worship,” the next set of essays, shows just how to get “that motherly feeling” on in adulthood. How to place your feet on the ground and your hands in the soil and claim your ancestry, your grand, mysterious inheritance. This centering in the land leads to curiosity about the good stuff under our feet. And so the fourth set of essays, “Dirt Facts,” offers insights into the masterful and largely ignored scientific processes within dirt, the “interesting secrets” that children and dogs, who may not understand, enjoy with all their hearts.

Lastly, the essays in “Native Soil” embrace the challenge of adoring seemingly unlovable ground—third-growth woods, weedy urban lots, overgrazed prairies—”the sort of land that desperately needs to be loved and protected, and rarely is.” These essays salute and defend our native soils as if they were life itself, which they assuredly are. “Humble” comes from humus, ground, and humilis, lowly. Humble outdistances pride. Humble whispers connective language, and waits when we don’t listen. By book’s end, you will recall the generous, wordless, irresistible divinity of dirt.

“That divinity says get filthy. Grab a shovel. Hike a ravine. Breathe a dust storm. Reek like old goat and sleep like Venus after a dirty long day. Relish dirt’s unbiased receptivity. Worship, if you will, the endless fecundity of soil. Or better yet, fall in love. Dirt makes a resilient astounding lover. Tireless. Generous. Unstoppable. And most often unthanked. Start thanking. Put your belly on the ground and say thank you. Wherever you are. Winter, spring, any season will do. Lie there saying thank you until all of your internal chatter and sophisticated notions and cogitative claptrap stop.

“While you’re down there, imagine every plant that has ever lived. Every seed that has dropped, every band of people, every fish in every stream, every hedgehog, every grasshopper, all the grasses of all the prairies on earth are still here. The trees. The elephants. Every single ant and albatross. You needn’t try to imagine it, it is so. Under your belly. The earth should be groaning under piles of its own dead life forms, but what a spacious, cleanly earth it is. Right beneath you lies a creative silence so vast it makes time stop.

“Walt Whitman, long gone from us, said, “Look for me under your boot-soles.” He meant it literally. This astonishing vanishing act to which we belong deserves consideration. And deep respect. Respect for the arbiter of this vast balanced nuanced productivity. Let God in heaven take care of the stars. We, along with the scientists, artists, and poets, are forever called to loving dirt.

— Barbara Richardson

 

john keeble

Imago Ignota

.

M

y earliest memories of dirt come from when I was a young boy of four. We lived on a hill and during springtime I would combine the dirt with small stones and sticks and construct experimental earthworks to guide the water of the snowmelt into little lakes and dams. Sometimes a small stick would double as a boat, enter a rivulet, and careen downwards. I suppose it was mud I played with, dirt mixed with water. There were the mud puddles, too, the bane of mothers and a great source of pleasure for young people in galoshes who were fortunate enough to have dirt around them. I first lived in a small town in Saskatchewan and we had plenty of dirt in those days, all right.

There was the dirt I remember when I was not much older, a patch of it near the steps at the back of our house. I sat on the steps in the sunlight with a stick in my hands and drew in the dirt. I was brought to consider infinity, as I had lately been struck by the meaning of “The End,” and then by the question of what comes next after “The End.” This simple, rudimentary contradiction was a childish insight into the nature of things, and while my phrasing of the question has grown much more ornate, I can’t say that my understanding of its meaning has improved in the least. What strikes me as fascinating is that I was drawing a figure with my stick in the dirt while trying my hardest to unravel this matter. The question seemed to emanate from the dirt, radiating through the squared off head and querulous expression of the figure I had drawn. It said something about what I might see now as the classic fundament of elements . . . earth, water, air, and fire . . . but which then was merely the grounding sense of touch with a solid thing, holding the stick in my two small hands, touching one end of the stick to the dirt, and moving it to outline the rudimentary head while my mind went off toward the empyreal, sparking the imagination. It was an obscurity felt as inchoateness, an “imago ignota,” and it is important to consider the order in which those two things came: first, the grounding, and second, the sparking.

When I was eight, my family moved to Berkeley, California, where my father attended the Pacific School of Religion. There on the lavishly planted and somewhat unkempt grounds of the campus I found myself transfixed by a slope overgrown with dense bushes, surrounding a single, huge fir tree, which I watched during storms from our apartment window. The tree tilted, bent, and whipped in the wind. One spring day, I made my way to the tree by crawling beneath the bushes. Upon reaching it I found a tremendous gnarled root system clutching at the dirt. The brown needles that fell from the tree made a thick duff, eventually to be transformed into more dirt, and there were spider webs that held entrapped flies and a colony of sow bugs, which curled up into balls when touched. Those things were the grounding there. It was a potential, frangible detritus, found in a dark place, and, I thought at the time, safer than any other place I knew of, solitary and secret. I had to creep out the way I came, emerging covered with dirt and with cuts from the thorns and brambles.

My family moved to Southern California where I had a transfigurative experience with dirt. We traveled to Death Valley to camp for several Thanksgivings, a time of year when the desert was cool. We went with friends of my parents, the Sayles, for whom I recall having great affection, though now I know little about them, except that they were artifact collectors, and old enough to be my grandparents. They had no children. We camped in a place with a hot springs, which was near what seemed a vast plain stretching as far as the eye could see, but with very few plants growing on it. Instead, it was littered in places with small stones of agate, jasper, flint, opal, and obsidian which had been chipped by human hands. It was a stone flaking ground and we would walk along, traversing the flat with our heads down as we searched for artifacts, and I remember one I saw . . . a pink-colored piece of opalized agate. I bent to dig it from the dirt. It seemed presentational, an ensconced arrow point, and I can envision it still, the dirt framing the luminous stone. I lifted it to show it to Mr. Sayles, who touched his finger to the fine flaking on the point’s gently curved hafting and pronounced it to be a 2000 year old ceremonial or mortuary point.

Whether he was right or wrong, I have no idea. I do not possess the arrow point and I think now it was possibly ceremonial because of the ornateness of the hefting, but unlikely that it was 2000 years old. At the time, I knew nothing of the value of artifacts, and certainly I did not consider that the original makers, feasibly Panamint Shoshone, might wish to lay claim to them, and thus that what I was engaged in was a form of plunder. Though at age ten or eleven, I was at a time when my consciousness was dividing into what some hold as the signal stage of growing out of childhood, the nagual (familiarity with the non-ordinary) giving ground to the tonal (a fixation on the ordinary, the everyday), the possibility that what we were collecting came from a burial ground did not register, perhaps simply because it was not a part of the conversation among the people there . . . the Sayles, my parents, and myself. It would take Barry Lopez years later to articulate that for me. In his essay, “The Stone Horse,” he describes his encounter with a horse made of an outline of stones, a four hundred year old intaglio laid into sunburnt and sandblasted desert varnish, which is a patina of iron and magnesium oxides. He says, “. . . the few who crowbar rock art off the desert’s walls, who dig up graves, who punish the ground that holds intaglios, are people who devour history. Their self-centered scorn, their disrespect for ideas and images beyond their ken, create the awful atmosphere of loose ends in which totalitarianism thrives, in which the past is merely curious or wrong. . . . [But] I remembered that history, a history like this one, which ran deeper than Mexico, deeper than the Spanish, was a kind of medicine.”

From the experience of finding the arrow point in the dirt, misunderstood as it was, I developed one, sometimes useful habit, that of searching the ground when I walked, of being alert to what the dirt offered up, to the sparking that helped me make my way as an adult. This is how it is in Eastern Washington on the farm where my wife and I have raised our children and lived for forty years: deer carcasses, cow carcasses, a heifer practically disemboweled by her breech-born calf, all manner of carcasses going into the ground, raccoons, porcupines, mice, and gophers, flies and maggots eating the dissolving flesh, dust from taking the care to disk in the residual organic matter left after baling hay. It’s garden dirt made into soil, I suppose, chicken shit and dirt, cow patties and dirt, deer manure, convoluted moose droppings and dirt, snow and dirt, rain and dirt, dirt from dirt roads, dirt in the nostrils, in the cracks of skin, imbedded under fingernails, dirt storms, veritable clouds of dirt, great plumes of dirt blowing across the Pacific from the Far East, for nothing is strictly local. There was the stratospheric column of volcanic ash from Mount Saint Helens that covered our place in 1980 and floated around the world, this and more on ground covered by one of the largest floods known to the history of the world more than twelve thousand years ago. The ice dams broke apart at the end of the last glacial age and the resulting floods inundated hundreds of square miles from Missoula, Montana to the Pacific Ocean, covering portions of Idaho, Oregon, and much of Washington. Where we live there are fields where the once massive eddies slammed into the hills and turned, dropping their loads of dirt. Within sight of such fields there is basalt on the surface, known as scab rock, where the water raged, washing the dirt away.

It is interesting how the word, dirt, has undergone a nearly hundred eighty degree turn in meaning in our culture. The word is thought to emerge originally from Old Norse . . . drit . . . meaning excrement. The Oxford English Dictionary lists this first, “1. Excrement,” but there are other meanings, too, “2. Unclean matter, such as soils and any object adhering to it; filth, especially the wet mud and mire of the ground, consisting of earth and waste matter mixed with water. 3. Mud, soil; earth; mould; brick-earth,” and it adds the more metaphorical meaning, “4. The quality of being dirty or foul; dirtiness; foulness; uncleanness in diction or speech.” I have a copy of Webster’s Dictionary, dated 1911, which defines dirt as: “1. Any foul or filthy substance; excrement; earth; mud; mire; dust; whatever, adhering to anything, renders it foul or unclean.”

The change seems to have happened sometime in the last century. In 1927, Hermann Hesse published his novel, Steppenwolf, in its German edition and near the beginning of the book he has his willfully shabby and unkempt protagonist, Harry Haller, pass by a place “so shiningly clean, so dusted and polished and scoured so inviolably clean that it positively glitters. . . . Don’t you smell it, too, a fragrance given off by the odor of floor polished and a faint whiff of turpentine together with the mahogany and the washed leaves of the plants—the very essence of bourgeois cleanliness, of neatness and meticulousness, of duty and devotion shown in little things? I don’t know who lives here but behind that glazed door there must be a paradise of cleanliness and spotless mediocrity, of ordered ways, a touching and anxious devotion to life’s little habits and tasks.” Haller goes on to claim . . . undoubtedly ironically . . . that he is not being ironic.

The tension Harry Haller foresaw is out in the open now, for the world’s population, and its inventions, have increased exponentially while the earth’s dirt in its frenzied and fecund form has proportionately diminished. We’ve also come to understand very well the new dimension added to dirt. No longer is dirt always a thing that needs to be washed out like Lady MacBeth’s “spot,” made hygienic and sanitized. One does not think solely of one of a number of secretive, contagious killers, cholera, say, looping around a village in the mud and water, or E. coli poisoning from animal waste stirred into fields of salad greens. On the contrary, we’ve come lately to think we’ve grown excessively clean, that our immune systems require more contact with the minerals and myriad of microorganisms, which, if one were to dig one’s hands in the dirt one would come up hefting a load of the visible and invisible . . . earthworms, larvae, tiny insects, tiny snails, nematodes, and bacteria, frangible fossil matter, frangible sticks and leaves, carbon, and radioactive isotopes, some of which might contain the germs of yet unrealized cures. My wife and I have a dog that eats dirt every springtime, and a grandchild who adventures in it just as I once did, searching out his inchoateness and the seemingly random sparking. If only we could cease our plundering habits, the products of human invention which strain to drive the earth into utter exhaustion. We’re playing a fool’s game with our dirt, blindly transforming it “behind that glazed door . . . [into] a paradise of cleanliness and spotless mediocrity” through genetically modified crops and monoculture, herbicides, fertilizers, coal mining, petroleum extraction, and fracking, that dire, unthought out, and “awful atmosphere of loose ends in which totalitarianism thrives.”

—John Keeble

.
jeanne

Sinking Down Into Heaven

I

am a Midwest farmer’s daughter and as such, no stranger to dirt—four hundred and fifty acres of it to be exact. In addition to growing sweet corn, field corn, alfalfa, oats and wheat, we raised dairy cows, beef cattle, pigs and sheep. The dairy barn took up the western section of land next to the woods. The steer barn, corncrib and hayloft claimed the eastern border near the creek. The sheep grazed on the northern edge close to the swimming hole and the pigs wallowed in the mud to the south. My bike and I were constant travelers on the gravel roads that connected the respective barns and outbuildings, and I’d be lying if I said that navigating those loose gravel roads on my black Schwinn with skinny tires was not a tricky endeavor that required Bandaids and Mercurochrome on a regular basis. I rode my bike from one end of the farm to the other, and when my legs grew tired, I high-tailed it over to the swimming hole. I ask you: what could be better than a hot dusty bike ride followed by a cool swim and a lazy sunbath? Often, as I lay atop my dry clothes, I imagined the earth spinning faster and faster, imagined myself clinging to the warm grasses for dear life so that the centrifugal force would not spin me off into the ethers. Other than my grandma’s house, there was no place I would have rather spent a summer afternoon.

When the sun neared the grove of trees in the west, I headed home to our well-worn, two-story white farmhouse, its wide front porch and spacious yard shaded by oak trees. Our family garden plot, sixty-feet by thirty-feet of fecund soil, ran alongside the fence that separated our side yard from the cow pasture and in it we grew everything imaginable: raspberries, strawberries, cantaloupe, tomatoes, cucumber, yellow squash, zucchini, acorn squash, green beans, sweet peas, lettuce, spinach, broccoli, rhubarb, green onions, white onions, carrots, potatoes, peppers and the best sweet corn known to man. Many afternoons found me on the front porch staring off toward the neighbor’s property on the far side of the creek while I snipped beans, shelled peas and daydreamed about the swimming hole, a permissible destination only after chores were completed. Much like the sunrise, chores began and ended each day.

My duties consisted of tending our garden—weeding, hoeing, thinning, picking and preparing the fruits and vegetables for farm-style, midday meals and evening meals we called supper. As farmers, we didn’t use the word dinner for the evening meal. To us, dinner meant Sunday dinner at noon. I never heard the word used in the context of an evening meal until I went to school, learned to read and discovered that Dick and Jane ate dinner in the evening. That’s also when I discovered that town people were not exactly like us country folk. But I digress. Preparing one noon meal and one supper each day for six hungry people didn’t begin to put a dent in all of the produce, so we spent numerous hot summer days canning, freezing and pickling the abundance.

Hundreds of cucumbers transformed into dill and sweet pickles. We put up row-after-row of canned tomatoes and peaches, the later bought from a peach farmer who lived down the county line road apiece. In the cool, dank cellar on shelves that lined the canning room, we placed clear Mason jars filled with round, peeled red tomatoes and peeled yellow peach halves, their crimson insides prime candidates for a Cezanne still life. We froze green beans, squash, raspberries, strawberries and tender sweet corn kernels that we carefully and laboriously removed from the cob using a metal and wooden device that looked like a medieval torture rack. We froze whole strawberry-rhubarb pies and put up jar after jar of my personal favorites: raspberry and strawberry preserves.

loved every part of the dirt, manure and water that went into creating our prolific garden. I also loved the dirt, manure and water that caked on the soles of my bare feet, which were often so dirty that they looked as if I were wearing short brown boots. I was nine years old the summer those dirty feet helped me rise from picking the low-to-the ground strawberries, stretch my back from having been bent over for so long, place my hands on my hips and wonder: How can town people be happy without loving a piece of land?

That evening at the supper table I posed that question to my father, a man who had more than once shared his regret about not completing college as had his two older brothers, who now wore suits and worked in cities. From time-to-time he had also wondered aloud if he had made the right decision in remaining a farmer instead of finding a more sophisticated occupation. As he pondered my question, his normally steel blue eyes turned a bright blue and his jaw popped as he chewed—sure signs that he was getting riled up.

“You know,” he said, “I was a kid during the Great Depression. Town people lost their jobs. No money. No food. Nothing. Those scrawny town boys pulled up to our farm hungry. And guess what?” He stopped talking. A slow grin spread across his face. “We gave ‘em food. For once they needed something from us. That’s what having land means.”

In the autumn of my sixth grade school year when I was ten years old, my grandma died, and because I adored her more than life itself, everything changed for me that year, including, and especially, my relationship with dirt and the land. True to those times and that place where she lived in southern Illinois, in a small town cradled between the Mississippi River to the west and the Wabash River to the east, there near the Kaskaskin River in Grandma’s small town, my father and his siblings placed her open casket in the parlor beside the piano for a wake that lasted three nights and three days. It was my people’s time-honored manner in which to pay respects and say farewell. It gave us a few days to become accustomed to the idea of her no longer being with us. It gave us time to be with her body a little longer, time to say goodbye. For three days running, every time I passed by the parlor I glimpsed Grandma lying there in her dark blue church dress. A few times I could have sworn I heard her playing the piano and singing one of her favorite hymns. One time I even thought I heard her familiar chuckle followed by her dentures clacking as she said, Oh Jeanne—you do beat all.

On the fourth day they moved Grandma’s casket to the church, but it wasn’t until after the memorial service when the pallbearers closed the casket that the realization hit me: I would never see her again. We followed the hearse to the cemetery and as we stood beside the open grave, the thought of Grandma being trapped underneath six feet of dirt made me feel crazy with rage. I became hysterical. I screamed, cried, kicked and carried-on something fierce, all to no avail. Nothing could change the ordering of that day. Despite my protests, Grandma’s coffin was lowered down into the earth and covered with shovelfuls of dirt, which to my ten-year-old way of thinking, had completely and utterly betrayed me. I crossed my arms over my chest and declared my relationship with dirt and the land finished, forever.

*

Fifteen years later as I watched my two preschoolers play in the back yard, John Prine’s newly released “Please Don’t Bury Me” came on the radio. The lyrics made me feel as though he shared my aversion to the practice of burial. On that afternoon, I adopted Prine’s contagious melody and goofball lyrics as my theme song regarding the thought of being six feet under for eternity.

For Mother’s Day my daughters’ preschool teacher sent home a yellow rose plant and when its blossoms began to fall onto the kitchen countertop, I planted it haphazardly in a sunny spot in the front yard. To my surprise it flourished. By summer’s end, after several enthusiastic days of planting other young rose starts, we had a burgeoning rose garden—reds, apricots, yellows, pinks and whites. For the first time in many years I felt great pleasure as I pushed the shovel down into the earth and inhaled the smell of moist, lush soil.

I took off my gloves, rested one knee on the ground and lingered, my bare hands carefully arranging the soil around the base of each plant, tending to their needs much like I cared for my young children.

The years passed, my daughters left for college, and as I moved from one state to another and from one house to the next, I became obsessed with annuals and perennials. Without consciously planning to do so, in the yards of the new houses, I recreated my grandmother’s flower garden: pink climbing roses, purple butterfly bushes, catmint, lime green hydrangeas, lavender, yellow day lilies, red carpet roses, white snap dragons and multicolored hollyhocks. Ushered in by the beauty of the roses, my passion for dirt and its works had returned. However, Prine’s catchy tune remained my theme song regarding burial; I doubted that would ever change.

Coming face-to-face with death as an adult gave me the unexpected gift of freedom. Life handed me a three-year crash course during which I lost two close family members and discovered a cancerous lump in my breast. Surgery, followed by seven weeks of radiation that turned my breast an angry, painful red, gave me ample time to ponder my mortality and last wishes. Oddly enough, after living in close proximity with death for three years, I no longer feared it. Death and I had taken time to get to know one another. I felt at peace knowing that I, like my two family members, would one day return, in some capacity, to the earth. My loved ones chose cremation. My uncle’s ashes were sprinkled from the deck of a boat into the San Francisco Bay. My favorite cousin’s ashes were sprinkled in a meadow off a California back road near Lake Tahoe. For my own going-away party, I decided I wanted “Please Don’t Bury Me” played, and even though I’ve always imagined my ashes being sprinkled into the Pacific Ocean from a beach on the Oregon Coast, a different possibility came to me not long ago.

On a hike near my home a vast field of blue camas lilies stretched out before me. Have you ever seen their blue tips swaying in a morning breeze? The sea of periwinkle was divided only by a narrow dirt path. It wasn’t a tall mountain that I traveled to. No need for hiking boots or rappelling ropes. The blue field did not appear on a postcard you would mail home from your hotel saying, This is where we visited today. No one sold jewelry, photos, hot dogs or candy—not even—as you will probably be surprised to hear, expensive bottled water. I did not need a guide, so safe was my passing there. From the main road traveled by cars, I simply walked down the narrow dirt path through the blue lilies, every now and again feeling the moisture of the marshland rise up around my feet. How I loved that oozing up and over the sides of my shoes. How I loved that feeling of sinking down—not dangerously down, mind you—but sinking down just far enough to know that I too was planted, or could be, if I stayed long enough, in that patch of marshland dirt. How I loved that sinking down on the flat dirt path into blue heaven.

—Jeanne Rogers

You can listen to a radio interview here with Barbara Richardson and Jeanne Rogers after a reading with John Keeble in Ashland, Oregon.

 

Barbara Richardson‘s two novels, Guest House and Tributary, reflect her ardor for life in the West. Tributary won the Utah Arts 15 Bytes Award and the 2013 Utah Book Award in fiction. Her 2015 anthologies, I Am with You: Love Letters to Cancer Patients and Dirt: A Love Story
rely on the power of collaborative storytelling to open hearts and minds. She has worked as a landscape designer in Oregon, Utah and Colorado. She now writes and edits in Kamas, Utah.

John Keeble is the author of five novels, including Yellowfish and Broken Ground, and 2013 saw the publication of The Shadows of Owls. He is also the author of a collection of stories, Nocturnal America, and of a work of nonfiction, Out of the Channel: The Exxon Valdez Oil Spill in Prince William Sound. He is a professor emeritus of Creative Writing and English at Eastern Washington University. keeblefiction.com

Jeanne Rogers’ memoir, Changing Course, chronicles her leap from land to sea while working as a steward assistant on an oil tanker. Her 2013 poetry collection, Through the Cattails, celebrates the fragile interconnectedness of human lives. Her short story, “Instructions for a Bed Sheet Parachute,” was awarded best of collection in the 2013 anthology Detour. Her work has also appeared in Willow Springs, The Bellingham Review, Calapooya Collage, The Raven Chronicles and Poets West, among others.

Apr 082016
 

Masande

With The Reactive, Ntshanga seems less interested in writing a novel with a straight, linear plot than he is in writing one about overarching themes of family, denial, and disparity. — Benjamin Woodard

Reactive

The Reactive
Masande Ntshanga
Two Dollar Radio
174 pages ($15.99)
ISBN 978-1-937512-43-9

 

Topping 6 million infections, South Africa is home to the largest number of HIV cases in the world, and it’s an understatement to say that the country’s government has paved a rocky road in its reluctant battle against the lentivirus. Though educational programs flourish today, as does a substantial antiretroviral (ARV) drug treatment program, ramifications from past decades linger. Without proper identification and care, infection numbers rose throughout the 1980s and 1990s, and the early 2000s saw high-ranking officials, particularly then president Thabo Mbeki, actively engaged in AIDS denialism, claiming tenuous links between HIV and AIDS and chastising aggressive medicinal assistance. During this time, ARVs were scarce, despite offers from international manufacturers to supply patients with inexpensive medication, and those who received such treatments were few and far between.

Masande Ntshanga’s engrossing debut novel, The Reactive, unfolds during the Mbeki presidency. It’s 2003, and Lindanathi, a young HIV infected man in Cape Town, spends his days huffing industrial glue with his friends Cecelia and Ruan. When they’re not slumming in an apartment, the trio work together to illegally sell Lindanathi’s extra ARV supply—Cecelia and Ruan are not infected, and Lindanathi is a lucky ARV recipient—to local reactives for quick cash. In lieu of chapters, the novel is broken into five parts, and the first dedicates itself to establishing the relationship between Lindanathi, or Nathi, and his friends, who casually float in and out of day jobs, HI Virus group meetings, parties, and cloudy conversations. Nathi tells his story in first-person POV, and the reader is swiftly immersed into the daily ennui of the gang. Two Dollar Radio, the novel’s American publisher, sells Ntshanga’s narrative on its website as “James Baldwin + Transpotting + Harmony Korine,” and the comparison is apt. More than once, I was reminded of the closing line of “Sonny’s Blues”—“For me, then, as they began to play again, it glowed and shook above my brother’s head like the very cup of trembling”—while reading. Like the Biblical cup of suffering tenuously hovering over Baldwin’s character, waiting to be acknowledged or shunned, in many ways, Nathi’s life is one of limbo, of both life and death, and death’s inevitability frequently crops up, whether Nathi claims, “It’s still a long stretch of time before I die,” or plays games like Last Life, which “is the name we’ve come up with for what happens to me during my last year on the planet.”

The novel’s main antagonist arrives early in part two, when word arrives that a potential new client desires to purchase Nathi’s entire drug stash. The mystery man floods the group’s bank account with a life-changing amount of money and, to show his power and seriousness, he emails information to the three that proves he knows their identities. Though the idea of selling to only one client appeals to the trio, an underlying sense of menace from the man—and the possibility that he’s police—leaves the dealers on edge. With Nathi, Cecelia, and Ruan metaphorically pinned under the client’s thumb, it would be easy at this point for Ntshanga’s novel to devolve into a generic narrative of cat-and-mouse, yet such objectives never surface in The Reactive. Instead, this new assignment subverts expectations, leading to an unexpected, subdued climax, and it allows Nathi to reflect on his own past and come to terms with the death of his brother, Luthando, who expired at the hands of initiation school workers years earlier. As Nathi begins his engagement with his new client, he receives text messages from an estranged uncle, Bhut’ Vuyo, that urge him to return home. These notes, combined with the futility of his current lifestyle, open Nathi to ruminations on those he left behind. A short prologue reveals that Nathi blames himself for Luthando’s death: as teens, the two had planned on stowing away together at an initiation school (a multi-week excursion where each would be circumcised and achieved manhood), but Nathi stayed behind at the last minute, leaving his brother to go it alone. Luthando’s cutting, like many others, was botched, and his death inspired Nathi’s relocation to Cape Town, where he eventually shut his family from his life.

With The Reactive, Ntshanga seems less interested in writing a novel with a straight, linear plot than he is in writing one about overarching themes of family, denial, and disparity. By setting his narrative in the early 2000s, before the widespread availability of ARVs, Ntshanga entrenches his characters in a realm of political denial, which in turn results in physical denial, yet much of Nathi’s own narrative finds root in emotional renouncement: he refuses to consider a return to his family, shuns his uncle’s messages, and despite his own decent upbringing, he sabotages himself in order to reject a potential life of happiness. Early, Nathi admits that he, Cecelia, and Ruan are not stereotypical stoners, but that “each wrote matric in the country’s first batch of Model C” private schools. Ruan is a computer programmer; Cecelia works at a daycare center. Nathi went to university, worked in a lab testing strands of HIV, and was infected while on the job. The life he leads after becoming HIV-positive is chosen precisely because it allows him to deny himself happiness and upward progress. His guilty conscience prevents him from wanting success and promotes his limbo state. Without revealing too much, this same kind of denial eventually surfaces in The Reactive’s mysterious drug client subplot, as well.

Beyond thematic bonds, Ntshanga’s novel succeeds thanks to the author’s gift for language. Characters come to life via precise descriptions. For example, here’s how we meet  Bhut’ Vuyo:

“Pushed forward by the locomotive of a lucrative Toyota scholarship, he’d gone to the city of Kyoto at the age of twenty-four, before coming back and accepting too many drinks on the house in a tavern called Silver’s.”

The economy on display here is enviable, for the reader is able to fully engage and understand Bhut’ Vuyo with only one sentence. And the sentence itself flows with a lyrical quality that continues throughout the novel. As Nathi tries to come down from a glue high, he notes, “The atmosphere feels warm and slippery on my skin, and my mind instructs me to glide, so I push my arms out and try to do that.” When speaking to prostitutes, Nathi mentions “how shattered their faces looked, as if they were the survivors of a protracted battle,” and as the group firsts encounters their severely burned and scarred mystery client, Ntshanga speaks volumes of the man’s physical appearance with Nathi’s unpretentious line, “If he’s smiling, then none of us can tell.”

It’s worth mentioning that this client also occasionally wears a tin mask to hide his true visage, and this literal idea of a man having two faces echoes metaphorically in Nathi’s life. Beyond the fact that he feels as if he’s missing part of himself without his brother, and beyond the multiple lives he has led, the protagonist is named after a girl, and the moniker, the reader is told, means “wait with us.” This definition inserts plurality directly into Lindanathi from birth, and as he struggles with the decision to return to visit his family, his multiple faces emerge.

Writing this review as a thirty-seven year old white male in the United States, I wonder why Nathi’s story strikes so close to my own emotions. And then I realize that, as a child of the 1980s, I grew up under the cowering fear of HIV, convinced in my youth that the infection was inevitable. That any shot or finger prick could spell disaster. I remember Ryan White and Ronald Reagan’s own denial. I was shaken when Freddie Mercury died, dumbfounded by Magic Johnson’s abrupt retirement announcement in 1991 and, come 1994, I rocked my No Alternative CD at top volume. In essence, I, like so many of my generation, have matured to the threatening rattle of HIV and AIDS, have seen the way it has been confused and unfairly stigmatized over four decades, and so, despite never having stepped foot on South African soil, there is an immediate recognition of, if not kinship, then memory that comes from engaging a novel like Masande Ntshanga’s The Reactive. This is a powerful, compassionate story that refuses to rest or shuffle off into the murk of the mind. It exists so that we never forget.

— Benjamin Woodard

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Woodard

Benjamin Woodard lives in Connecticut. His recent fiction has appeared in, or is forthcoming from, StorychordCorium Magazine, and Maudlin House. In addition to Numéro Cinq, his nonfiction has been featured in, or is forthcoming from The Kenyon Review OnlineGeorgia Review, 5×5, and other fine publications. He also helps run Atlas and Alice Literary Magazine. You can find him at benjaminjwoodard.com and on Twitter.

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Apr 082016
 

Reactive

The following excerpt comes from The Reactive‘s brief prologue. In it, Ntshanga introduces the reader to the voice of Nathi, the novel’s protagonist, and sets into motion the background pieces that thrum throughout the novel: the death of Luthando, the commitment to Bhut’ Vuyo, and Nathi’s unforgiving conscious. Overall, it’s a gripping opening to a powerful book. — Benjamin Woodard

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Ten years ago, I helped a handful of men take my little brother’s life. I wasn’t there when it happened, but I told Luthando where to find them. Earlier that year, my brother and I had made a pact to combine our initiation ceremonies.

This was back in 1993.

LT was only seventeen then. He was broad of shoulder, but known as a wimp at Ngangelizwe High. My brother was good-looking in a funny way that never helped him any, and, like me, he was often called ibhari, or useless, by the older guys in the neighborhood. LT was bad with girls, too; most of them had decided against us pretty early. I don’t know; maybe it’s strange that I remember that about him most of all. I suppose my brother was handed the lousy luck of every guy in our family except our dad, who’d thrown us into different wombs one year after the other. We had cousins like that, too, all of them dealt a similar hand. In the end, it was winter when Luthando went to the hills to set things straight for himself. He went up thinking I would follow behind him.

It was raining when the bakkie took him on its back and drove him up the dirt trail. Inside the camp, they put him in line with a set of boys he shared a classroom with. Then they took out their blades. Afterwards, they nursed him for a week, and he kicked and swore at them for another two. They called him The Screamer, they told us later, when we gathered to put him inside the earth. Maybe it was meant with tenderness, I thought, the kind of tenderness men could keep between themselves in the hills.

One morning, they said, my brother had failed to make the sounds they’d come to know him for. Luthando wasn’t due out for another two days. The sky had been an empty blue expanse, easy on their duties around eziko, and they’d missed his peculiar fussiness. When they walked into his hut, one after the other, they found a memory instead of the man they were out to make. That was my little brother, LT, dead at seventeen, and I’ve never forgotten it was me who put him there.

I never went back home after we buried him. This isn’t a story about me and my brother from the Transkei, about the Mda boys from eMthatha or the village of Qokolweni, where my grandmother’s bones lie polished and buried next to her Ma’s. Instead, I want to tell you about what happened to me in Cape Town after Luthando had taken his death. It’s where I went to school and tried to make something of myself. It’s also where I began to reconsider what my hands had made, and my telling of how it broke won’t take us very long.

I went to college two times in my life. I might as well begin with how things went for me there. I first attended the university in Rondebosch, just up the road from the main strip, and when I’d dropped out of my journalism degree I enrolled at the technikon in town, where I got my science diploma and my sickness. I had an equity scholarship—there had been plenty of those to go around for whoever looked the way I did, back then. I got through on mostly average grades, too, like most of the guys in my class. When the year came to an end, there was a bunch of us who’d file into the Fees Office again to fill out all the forms required of boys who shared my skin tone. It didn’t take much to go to school for free, in those days, or rather to trade on the pigment we were given to carry. I think I did alright, if you consider everything else, and I graduated with an upper-second-class pass in the end. I still have that diploma sitting somewhere in my at in Observatory.

Now what else? In between university and Tech, I spent close to half a year at Bhut’ Vuyo’s place. Two weeks after dropping out of the university, I tried to go home, but I couldn’t set foot inside my mother’s house. The home I’d known since I was a child was barred to me. There could’ve been a tapestry of fire that owed over each of our walls that day. In fact, thinking about it now, even that feels like an understatement.

My mother felt disgraced by my decision to leave the university and my bachelor’s degree behind me in Rondebosch. It was too soon, she complained, first over the phone and then again in person. For a few moments, she even refused to turn her face up towards me. Instead, Ma arranged for me to enter the home of a relative.

Bhut’ Vuyo was known as a great mechanic, a recovering alcoholic, and someone who’d been a doting stepfather to the little brother I’d helped to kill. He’d met my aunt, Sis’ Funeka, when Luthando was only ten years old, and before then, sticking his hands into rusting bonnets had taken Bhut’ Vuyo to Okinawa as a man of barely twenty. Pushed forward by the locomotive of a lucrative Toyota scholarship, he’d gone to the city of Kyoto at the age of twenty-four, before coming back and accepting too many drinks on the house in a tavern called Silver’s. That was in Bisho, during the decline of the homeland years, and they’d served him on a cloth-covered tray every morning after he’d taken his table. It was no more than a month, people said, before my uncle was undone. There were decades that would nearly fell him after that: Bhut’ Vuyo barely standing on his two feet around the neighborhood, and Bhut’ Vuyo tottering on street corners next to the highway in Mdantsane. He was often seen with his toes busting out through the smiles on his black-and-blue gumboots, his head lolling as wispy as an old hornet’s nest over his shoulders.

Now, my mother told me, having wrung himself dry, and maybe for good this time, Bhut’ Vuyo lived with his second wife in Du Noon. They had two small children and her older son from a previous marriage, all of them born with bright eyes and strong teeth and each glowing with the promise of long-lasting health. For her part, my aunt had passed away shortly after we’d buried her son. Sis’ Funeka had had a cancer eating away at her throat, and I suppose it had grown too impatient with the rigorous hold of her grief.

In the end, it had been a punishment for me to be sent to Du Noon, I had known that even then, but thinking of my little brother, of Luthando, I’d made myself accept the idea. And so I went to Du Noon like my mother wanted me to and ended up staying there for six months. I suppose some things happened when I was out there, too, and I drew close to those folks who’d taken me in. The subject of Luthando came up, as I thought it would, and in my gratitude to them, I made a promise to Bhut’ Vuyo and his household.

Now, close to eight years later, I receive a text message from my uncle that reminds me of the words we shared back then, and of the promise I made, on a night so long ago I can hardly put it together from memory.

— Masande Ntshanga

Excerpted with permission of Two Dollar Radio. (c) 2016 by Masande Ntshanga

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Masande

Masande Ntshanga is the winner of the 2013 PEN International New Voices Award, as well as a Finalist for the 2015 Caine Prize for African Writing. He was born in East London in 1986 and graduated with a degree in Film and Media and an Honours degree in English Studies from UCT, where he became a creative writing fellow, completing his Masters in Creative Writing under the Mellon Mays Foundation. He received a Fulbright Award and an NRF Freestanding Masters scholarship. His stories have appeared in Laugh It OffitchImago and Habitat. He has also written for Rolling Stone magazine.

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Apr 072016
 

IMG-20160223-WA0005Photo by Sonia Quiñones

I first came across Óscar Oliva’s work a couple of years ago when Keith Payne came to visit me at my house in Cholula. He spoke of Óscar’s poetry with such enthusiasm that, as soon as he and his partner (the wonderful singer, Su Garrido Pombo—listen to her perform one of the poems below) left, I pulled out the massive anthology of Mexican 20th century poetry that sat guiltily on my shelf and went directly to the entry on Oliva. The first two poems intrigued me—El artista (The Artist) and El sufrimiento armado  (The Armed Suffering). El artista takes its cue from the famous Velazquez painting Las meninas, in which the artist chooses to place himself within the painting. The speaker of the poem states that his intention is similar to that of the Spanish painter, to become one with his art: ‘How to make myself and this book indivisible?/How to make this poem break free from the yoke of paper?’ In El sufrimiento armado Oliva visits the tomb of Marco Antonio Yon Sosa, a Guatemalan guerrillero killed by Mexican armed forces near the border with Chiapas. In the second half of the poem the speaker returns to his home in Mexico City to read about the event in the local papers. He notes how the minister for defense claims that the Guatemalan guerrilleros had fired first and that: ‘In these conditions…our soldiers will not reply with flowers and embraces.’ Oliva would reply with poetry, with music. From these two initial encounters it was clear to me this was a poet who gave equal importance to social matters as he did to ars poetica, singing for the sake of music. It was also clear that I would read more.

Chiapas, one of the poorest states in Mexico and also one of the states with the highest portion of indigenous groups, is an important element of Oliva’s poetry, his love for his native land is palpable. In Keith’s excellent article for the Irish Times (Rebel Hearts Beat with the ‘Poetry of Vitality’) he charts the circumstances that brought Oliva back to Chiapas in the mid nineties: “In 1994 The Zapatista Army of National Liberation had asked Oliva and (Juan) Bañuelos to join its delegation for peace talks with the Mexican government …Hearing the declaration, Oliva returned to his native Chiapas.” But Chiapas, with its stunning natural beauty, armed struggles and social injustices, though a recurring presence, is not the sole location of Oliva’s work. As likely to reference Q’uq’umatz as Juvenal, his wide range of references weave a vast and varied tapestry. Oliva is a troubadour who travels far and wide, crossing spatial and temporal boundaries with ease, though always carrying with him the stones and soil of Chiapas. These four poems are testament to the variety, vitality and integrity of his work. Long may he continue.
— Dylan Brennan
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Óscar Oliva comments on “Behind the wheel of an automobile on the Pan-American Highway from Tuxtla to the City of Mexico”

Writing poetry always constitutes a journey that starts upon the arrival of the first line, which contains within itself the impulse to keep going. Sometimes we travel down these roads in the dark, like St. John of the Cross, and sometimes at great speed like Rimbaud, all in order to remember or imagine we are remembering, different aspects of situations. We were taught all this by the classic Chinese and Japanese poets. Also by Fernando Pessoa and the Provençal troubadours. I have never stopped making that journey, a journey into knowledge, an initiatory journey, one that is never the same—the landscapes change, the towns and cities also change. I and everyone else continue along this wheel that also changes.

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Behind the wheel of an automobile on the Pan-American Highway from Tuxtla to the City of Mexico

for Enrique González Rojo

From Tuxtla to the city of Mexico
is more than a thousand kilometres
more than a million metres
more than a hundred million centimetres

and so many more stones,
so many more trees that

I can neither measure nor count
what I’ve done so many times,
at so many kilometres an hour,
with the hot breath of wind blowing down the Isthmus,
torrential rains barrelling down the Veracruz stretch
that threaten to jack the car and drop it in a ditch,
I’ve picked up the names of all the bridges,
of all the throttled villages
buried in the curves and straights of the road
that I’ve driven down all the days and all the months of the year,
first light, late at night, and at that moment
when the evening is a cicada turning back
into its primitive shell, spinning back to larva,
the exhaustion hooks the mouth,
twists the shoulder and down
into the back of the foot,
and burrows with a spoon
deep into the head;
I still feel when I’m on the go
from one place to another
in this dread between life and death,
when language and anger pushes you on,
and I’m making my way with a pick and a trowel
or when I’m sat in a chair
or laid between the legs of the one I love,
this gearshift, the pulse of the engine
pulling up the mountain, heading up into
the knotty heart of it all
the gentle giddiness on the way back down
and the speed that makes us swallow the landscape
and our words;
the first time I came to Mexico city
I didn’t know which way to turn
which corner to round,
it was like beginning to write,
sat to the white sheet elbows on the table
alone, shoulders hunched forward
waiting for the pistol and the engine rev,
the race to be won
but you’re the only driver,
the page that burned in my hands
like the rubbish tips that burned in Santa Cruz Meyehualco,
and the trucks and trams that burned in the risings,
that screamed hunger,
I came down from the attic to campus,
books under my arm
rolling up spit balls and firing them
out of the bus window
polluting the city with Kant and Antonio Caso,
I dumped my books on the bus and jumped
into one of the greasy spoons on Academía St.
………….or a pub
then dancing all night in La Perla,
later on I’d feel the heat of the woman
who had brought me home,
a moisture spreading like an expanding universe
in a few square metres,
in a few cubic metres of air;
and I wrote across the city roofs,
I spread my reach, my turf
I wandered the hideous streets
where the people crawled
out of work with nothing to eat
gougers or thieves
who raised their eyes to my shirt
and it was like stepping back into the movies
back into Buñuel’s The Forgotten,
and on those ulcerated streets I saw for the first time
carfulls of police, mounted police
pick-ups of riot police
who closed the streets;
the power of the State
who charged full tilt
swinging batons
booting the rubbish bins,
shaking up the neighbourhood
shooting point blank
a blitzkrieg down on our heads,
then the silence of Chaplin’s Easy Street
and I wake up on the path
my eye cut, babbling
like a groggy boxer and they’ve stopped the fight in the third on a technical
and the howls of the crowd not there,
I gathered what was left of my books
without a cent in my pockets,
and back to my room
whistling the tune from The Graduate,
to write the poem I lost
like so many things you lose;
I.D. and women
strikes and chewing gum
faith and socks;
It gets cold in the mountains around Puebla
you have to roll the windows up,
turn on the heat and slow right down
to a regular speed, and later on the sunlight
through my bedroom window,
she’s coming in to wake me
taking off her school uniform
lying down on top of me sliding over me
kissing each other like something out of the movies,
caresses straight out the The tower of lust
Gone with the Wind’s big house,
it’s late, it’s late the sunlight tells us,
they’ve turned up the lights in the cinema,
It was time for a sup and head out across the Zócalo,
kiss her goodbye at the door
then up Guatemala St.,
two blocks take a right,
back into the new poem
back into the dream jaunt,
grab some stuff for the street again
to listen to the jangle and bounce of the trucks
…………loading and unloading,
the travelling salesmen’s banter,
the binmen,
the schoolkids,
hop up on a bus
in with the workers
the driver has the radio full blast,
it’s hard to get to the door, I ring the bell,
a red light flashes on the dash,
I take a wander up by San Lazaro station,
watch a train pass
as it pulls itself across the face of the earth
a letter on each of the six cars
that form the word STRIKE,
I measure these things in my pocket
against what’s on the street,
at the stand I grab an orange juice, the passing
railwaymen lift a finger in salute,
I salute them too, it’s as if we’re saying
reality is in those fingers
this train,
the orange juice lights up my whole body,
I arrive
and the five poets are sat around a table
someone reads a poem, I watch them:
they’re the same age I was when I first met them,
………….I think;
they haven’t moved, still as a photograph
hands in mid air,
pen in the hand,
a glass at their elbows,
they’re as old as our children are now,
it has all passed so fast
just like coming down out of the mountains in Oaxaca,
where it seems that the road breeds another road
where the slightest slip could send me over the edge,
where the brakes don’t seem to work,
where I’ve lost control of the car,
I come back to the photograph and hang it
…………on one of the walls at home,
I arrive for the first time in Mexico City,
I am just one more shoulder in the crowd marching through,
teargas fumes me,
derailed trains burnt out at the terminal
ripped up tracks and the attack
of the police, of the army, of the riot squad
all in battle formation,
the Zócalo is a rifle butt in the face,
there’ll be more battles
José Revueltas tells us,
the railway workers pass by and lift their fists
…………in salute
they walk out of one cell straight into another,
back down to the underworld, into their nooks,
take note, write all this down,
I’m nothing more than a chronicler
who has seen his friends fall,
who has buried his dead,
who has washed in the wind,
full of ghosts and contradictions,
demands and manifestos,
who has patched his back so many times
falling in love again and again, watching the future
so it’s hard to keep an eye on the telescope lens,
denying the future, hating it again,
starting over again, in the end
starting the journey, setting out from the same place,
going the same way,
coming down the highway, braking,
tooting the horn, the lights change,
gearshift, watch the tyres,
flick on the wipers,
and keep an eye on the gas,
barrelling down again till finally I pull in
and here I am writing this
at the end of the journey,
hopeful,
hitting the brakes
so I don’t run over everything I’ve written
or myself.
So I can keep on rising and falling.

Translation by Keith Payne/Audio reading by Ophelia Ellen McCabe

 

Al volante de un automóvil por la carretera panamericana de Tuxtla a la ciudad de México

A Enrique González Rojo

De Tuxtla a la ciudad de México
hay más de mil kilómetros de distancia
más de un millón de metros
más de cien millones de centímetros

mas las piedras,
mas los árboles,

que no se pueden medir, ni contar,
que he recorrido tantas veces,
a tantos kilómetros por hora,
con mucho calor y viento por el Istmo,
con lluvias torrenciales por el tramo de Veracruz
que tratan de detener el carro, derribarlo en un barranco,
que he aprendido los nombres de los puentes,
de los pueblos asfixiados, hundidos
en las curvas y rectas de la carretera;
que he recorrido por distintos días y meses del año,
en la madrugada, en la noche, en el momento
en que la tarde es una cigarra volviendo a su funda
primitiva, saltando al revés, a su condición de ninfa,
sintiendo ese cansancio que nos prende de la boca
………con un anzuelo,
que continúa en un hombro,
baja hasta el calcañar de los pies,
y escarba con una cuchara
el cráneo;
todavía siento, cuando voy caminando
de un lugar a otro, en esa trepidación de vida y muerte
a la que nos empuja la gramática o la cólera,
de regreso a casa, abriéndome paso
con un pico y una pala, o cuando
estoy sentado en una silla
o cuando acostado entre las piernas de la que amo,
ese cambio de velocidades, el esfuerzo del automóvil
al subir una montaña, entrar a ese nudo de raíces,
el leve mareo al descender
y la velocidad que nos hace tragar el paisaje
o nuestras palabras;
la primera vez que llegué a la ciudad de México
no sabía a dónde dirigirme,
qué esquina cruzar,
era como comenzar un escrito,
estar acodado en una mesa frente a un hoja en blanco,
solo, con los hombros colgados hacia adelante
esperando el disparo que inicia el arranque,
la carrera que hay que ganar
y donde se es el único competidor,
una hoja que ardía en mis manos
como a veces arden los tiraderos de basura de Santa Cruz
………Meyehualco,
o como los camiones y tranvías en tiempos de rebelión,
que aullaba, que tenía hambre,
iba de un cuarto de azotea a la ciudad universitaria,
con libros bajo el brazo,
haciéndolos pedacitos y tirándolos

por la ventanilla del camión,
contaminando más la ciudad con Kant y Antonio Caso,
y ya sin ellos me bajaba a la mitad del camino,
entraba en una cocina económica de las calles de Academia,
o a una cervecería
y en la noche a bailar a La Perla,
más tarde sentía la humedad de la muchacha
que se había acostado conmigo,
una humedad que iba creciendo
como un universo en expansión
en unos cuantos metros cuadrados,
en unos cuantos metros cúbicos de aire;

y yo escribía en las bardas de la ciudad,
ampliaba mi territorio, mi radio de acción,
entraba a calles espantosas
donde la gente se arrastraba,
desempleados que no tenías para comer,
rateros, tal vez criminales
que alargaban sus ojos hasta mi camisa,
y era como entrar de nuevo al cine
a ver Los Olvidados de Luis Buñuel,
y en esas calles ulcerosas vi por primera vez
carros llenos de policías, y también policías a caballo,
granaderos en camiones
que cerraban esas calles,
parte del poder del Estado,
que entraban empujando,
golpeando,
entraban a paso de carga
y arremetían contra todos,
tirando los botes de basura,
despertando al vecindario,
disparando a quemarropa,
acometiendo como en un juego de futbol americano
y después era el silencio de La Calle de la Paz de Chaplin
y yo despertaba tirado en la banqueta,
macaneado, con las cejas cortadas,
como un boxeador groggy que le han parado la pelea
por knock out técnico en el tercer asalto,
con la rechifla de un público que no existe,
levantaba los pedazos de libros que me habían quedado,
sin un quinto en los bolsillos,
y regresaba a mi cuarto
silbando el mambo de El Estudiante
a escribir el poema
que se perdió
como se pierden tantas cosas,
credenciales y mujeres,
huelgas y chicles,
buena fe y calcetines;
con mucho frío por la sierra de Puebla,
hay que subir los cristales de las ventanillas,
poner la calefacción, descender a una velocidad regular,
y luego la claridad entrando por la ventada de mi cuarto,
entrando ella a despertarme,
quitándose su uniforme de colegiala,
echándoseme encima, moviéndose,
besándonos como se besan el actor y la actriz en los filmes,
acariciándonos en La Torre de Nesle,
en la mansión de Lo que el Viento se llevó,
ya es tarde, ya es tarde, nos decía la claridad,
se hacía la luz en la sala de cine,
había que ir a cenar y atravesar de nuevo el zócalo,
despedir a la amiga en la puerta de su casa,
después subir a la calle de Guatemala,
a dos cuadras dar vuelta a la derecha,
llegar de nuevo al poema recién comenzando,
entrar de nuevo a la expedición del sueño,
ir recogiendo muestras de distintos materiales,
para bajar de nuevo a la calle
al escuchar el ruido de los camiones
de carga y descarga, las voces de los vendedores ambulantes,
de los recogedores de basura,
de los niños que van a la escuela,
subir a un camión de pasajeros
junto a obreros y obreras,
el chofer lleva el radio encendido a todo volumen,
es difícil llegar hasta la puerta de bajada del camión,
se toca el timbre, se prende un foco rojo al lado del volante,
caminar sin rumbo fijo por la estación San Lázaro,
ver pasar un tren
que a la tierra arrancara su estructura
en seis de sus vagones una letra
que conforman la palabra H U E L G A
esos materiales que llevo en el bolsillo
los comparo con los que voy viendo en la calle,
llego hasta un puesto de jugos y pido uno de naranja,
los ferrocarrileros al pasar levantan el puño y saludan,
yo los saludo,
parecen decirnos
la realidad son estos puños,
este tren,
el jugo de naranja ilumina todo mi cuerpo,
llego al sitio de reunión,
los cinco poetas están sentados alrededor de una mesa
alguien lee un poema, yo los observo:
“tienen la edad que yo tenía cuando los conocí”, pienso;
se han quedado inmóviles fijos como en una fotografía
en actitud de golpear la mesa,
con el lápiz en las manos,
con una copa al lado de cada uno,
tienen la edad de nuestros hijos,
edad que ha pasado vertiginosamente,
tal como el descenso por las montañas de Oaxaca,
donde parece que la carretera engendra otra carretera,
donde el menor descuido puede llevarme al precipicio,
donde parece que los frenos no responden,
se ha perdido el control del auto,
llego hasta la fotografía y la cuelgo en una de las paredes
………de mi casa,
llego por primera vez a la ciudad de México,
soy un hombro más de la multitud al dar un paso,
gases lacrimógenos me hacen rabiar,
trenes descarrilados o incendiados en las terminales,
las vías levantadas, y el ataque
del ejército, policías y granaderos
en formación a paso de batalla,
el zócalo reducido a un culatazo en la frente,
vendrán otras batallas, nos decía José Revueltas,
los ferrocarrileros pasan frente a mí levantan el puño y saludan,
salen de una cárcel para entrar en otra,
pasan a la ilegalidad, a sus escondrijos,
tomo nota, apunto todo esto,
no soy más que un cronista
que ha visto caer a sus amigos,
que ha enterrado a sus muertos,
que se ha bañado de viento,
lleno de contradicciones y fantasmas,
de asperezas y afirmaciones,
con la espalda remendada tantas veces,
de nuevo amando, avizorando el futuro
que es tan difícil retener en el lente del telescopio,
negando ese futuro, de nuevo odiando,
de nuevo comenzando, en fin
iniciando el viaje, partiendo del mismo lugar,
dirigiéndome al mismo lugar,
descendiendo por la carretera, frenando
tocando el claxon, haciendo cambio de luces,
cambiando de velocidades, atento
al deslizamiento de las llantas, poniendo
en acción los limpiadores del parabrisas,
vigilando la aguja que marca el contenido del tanque de gasolina,
bajando a gran velocidad, en fin
hasta llegar al lugar donde estoy sentado escribiendo,
al final de todo,
esperanzado,
frenando bruscamente
para no atropellar todo lo que llevo escrito
y a mí mismo.

Para continuar ascendiendo y descendiendo.

 

.
Su Garrido Pombo Sings the Poem

Capture

Su Garrido Pombo via sugarridopombo.com

.

§

Óscar Oliva comments on “For Pope John Paul II on his arrival in Tuxtla Gutiérrez”   

It is a poem of circumstance, one in which I once again proclaim my love for Tuxtla, my hometown. I like to walk around Tuxtla because for walls it has mountains that have hardly moved since I was born. It is also a poem in which I speak of the evil machinations of the State and the Church, how they transform religious faith, with the 30 golden coins from the spotlights of mercenary publicity.

.

For Pope John Paul II on his arrival in Tuxtla Gutiérrez

In the water’s flow lies its fall
voices, faces beloved for having
survived rivers upon rivers:
………………………………..Tuxtla
is like amber under pooled waters;
so now, you’ll make it to my hometown,
Pontifex Maximus, and I would have
liked to have seen you with my 1947 eyes.

You will see that sky of almost solid light that there begins,
that continues in Guatemala like a wild boar’s head,
…………………………………carried on a shoulder,
that can be weighed by hands in all of Central America,
so battered by North American imperialism
………………………………..(that’s what we called it),
and on resting your workman’s hands upon my hometown,
you’ll hear the fluttering thoughts of Q’uq’umatz.

I don’t really know what your visit will bring,
under a sky with no eyelids; it will be astonishing,
tongues will mingle, you will stumble,
heads will bash against each other,
and your word will disseminate, your soul torn to shreds,
thousands will photograph you, shoot you in video and film,
and I will watch you so far away so close on the telly.

I would have liked to have been there in my doorway
……………………………….to have seen you pass by,
but, since many years ago,
a child that came running from the backyard,
not yet having received the Eucharist,
upon opening the door to the street, fell down in a faint.
My grandparents, parents, siblings, and I myself, all dead,
buried; all together, all shouting
……………………..Goodbye Holy Father! God Bless You!

Now then, I am writing these words down before
……………………..you arrive in Mexico, from where
news of your visit breaks
……………………………………………from the TV stations,
which we watch between adverts, which dirty
…………your robes upon which they play dice,
between political slogans from George Bush to the world
………………………………from the White House;
before you leave Rome, Sir John, Sir Paul,
before you open one of the gates of the Vatican Palace;
before I can establish that Rome really exists, the Vatican
Palace, Tuxtla,
because you know very well that all that I’m saying
………………………………………………………………..is possible,
especially between two poets who will not see each other, not now, not ever.

Upon arrival, you will see the trees, that cannot grow
………………………………………………………………..any longer.
You will not see the idols—nobody has seen them—that the Indians
…………hide behind the Catholic images.
You will see, just beside the arroyo, Brother Bartolomé de las Casas,
and you will kneel before him; the bishop of Chiapas
……………………………….will not know who you are.

I beg you not to lift the stone that trips you up
………………………………..on your way to Tuxtla,
………………………………..I do not want the wound to open.
In the place from which you’ll speak,
you will be able to see the Cañon del Sumidero
and the Río Grijalva which carries another river in its depths,
and you will feel there are more leaves under the breeze,
more amber under the light.

What word will be gathered by those poor
who will listen to you, who have survived so many stonings
…………………………………………and prisons?

I don’t know. What I do know is that Christ has not died with them,
that he’ll listen to their words, and when you are through,
He will return with them to where they live, and upon opening
……………………………….the door of one of those houses, will fall down in a faint.

……………………………………………………Safe journey home.

—Translation by Dylan Brennan

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Al Papa Juan Pablo II para cuando llegue a Tuxtla Gutiérrez

En el manar del agua está la caída,
algunas voces, rostros amados porque
han sobrevivido ríos sobre ríos:
…………………………………………………..Tuxtla
es como el ámbar bajo el agua empozada;
en fin, llegará usted a mi pueblo,
Sumo Pontífice, y me hubiera
gustado verlo con mis ojos de 1947.

Verá el cielo de luz casi sólida que ahí comienza,
que continúa en Guatemala como una cabeza de jabalí
………………………………….colgada al hombro,
que es una sola pisada de tapir en El Salvador,
que puede sopesarse con las manos en toda Centroamérica
ahora tan golpeada por el imperialismo norteamericano
………………………………….(así se decía antes),
y al posar sus manos de obrero en mi pueblo,
escuchará el aleteo y el pensamiento de Gucumatz.

No sé bien cómo será su visita,
bajo el sol sin párpados; será impresionante,
las lenguas se confundirán, se trastabillará,
las cabezas chocarán unas con otras,
y su voz será propagada, y su espíritu hecho girones.
Miles lo fotografiarán, le tomarán videos y películas.
Yo lo veré tan lejos, tan cerca, desde la TV.

Me hubiera gustado estar en la puerta de mi casa
………………………………..para verlo pasar,
pero desde muchos años atrás,
un niño que llega corriendo desde el traspatio,
que no ha recibido la eucaristía,
y al abrir la puerta de la calle, cae desmayado.
Mis abuelos, padres y hermanos, yo mismo, todos muertos,
enterrados; todos juntos, gritando:
…………………………“¡adiós, Santo Padre!” “¡Dios lo bendiga!”

Ahora bien, estas palabras las estoy escribiendo antes
………………..de que llegue usted a México, de que se desate
………………………………………….por los canales de televisión
………………..información sobre su visita,
de que lo veamos entre anuncios comerciales, de que ensucien
………su túnica y de que jueguen sobre ella a los dados,
entre consignas políticas de George Bush al mundo
……………….desde la Casa Blanca;
antes de que parta de Roma, don Juan, don Pablo,
de que abra una de las puertas del Palacio del Vaticano;
antes de que yo pueda constatar que existe Roma, el Palacio
del Vaticano, Tuxtla,
porque bien sabe usted que así como lo estoy diciendo
……………………………………………………………………es posible,
más entre dos poetas que no se verán ahora, ni nunca.

Al llegar, verá usted los árboles que ya no podrán
………………………..crecer más.
No verá los ídolos —nadie los ha visto— que los indios
………..esconden detrás de las imágenes católicas.
Verá, junto al arroyo, a Fray Bartolomé de Las Casas,
y se arrodillará ante él; el obispo de Chiapas
…………………………………no sabrá quién es usted.

Le ruego no levante la piedra con la que tropezará
……………………….en su camino a Tuxtla,
……………………….no quiero que se le abra la herida.
Desde el lugar donde va a hablar,
podrá ver el Cañón del Sumidero
y al río Grijalva que lleva en sus profundidades a otro río,
y sentirá que hay más hojas bajo el aire,
más ámbar debajo de la luz.

¿Qué palabra será recogida por esos pobres
que lo escucharán, que han sobrevivido a tantas pedradas
…………………………………y cárceles?
No sé. Lo que sé es que Cristo no ha muerto con ellos,
que estará atento a sus palabras, y cuando usted termine,
Él regresará con ellos por donde vinieron, y al abrir
……………………la puerta de cualquier casa, caerá desmayado.
…………………………………………Buen viaje de regreso.

§

Óscar Oliva comments on “Ballad for the Ayotzinapa Boys”

No, I cannot explain what this is about. A warning cry is nothing more than an open throat. Everyone knows about this atrocious crime, I am nothing more than a troubadour in a land where crime reigns supreme. Nobody is obliged to respond with poetry to these nameless occurrences. Poetry must fly with a freedom that is absolute and when it sounds must do so with a beauty with which, and, for which, we breathe. I do not like so-called political poetry, it too has been corrupted by ideologies. I do believe in rage in poetry. Poetry changes nothing, nor is change its function. It is only to be written and, from time to time, sung. For this reason I like for my poems to be sung, in other languages, other intonations, by popular artists.

.

Ballad for the Ayotzinapa Boys

There are no limits for this country of crime.
There is no name for this country of crime.
There is no country with names for this crime.
There are no crimes for this country of crime.

Tell me, in what faraway land will they be found?

To Juvenal I’ll add François Villon
to compose this ballad, I’ll ask other troubadours

to lend an interrogative refrain: where, in which
crimeless country are those boys who only just
………….stripped naked for love?

Help me run along a river
that runs with so much strength.

Where are they? Encapsulated in which black house?

You won’t find them in the white house, nobody lives there anymore.
The time of new Sirens will come, of new sorcery,
and the lily whiteness will become a yellow shine

or a black lily at the whims of a new owner, a new Circe
of deceit, amongst lions and wolves of the same woods.

…………Our Lady of the Sorrows, where are they?

Where are the 43 tears of yesterday afternoon?

We won’t find out tomorrow where they are,
nor in the coming mornings or afternoons where they are,
nor in a whole year, in which we cannot but return
………………………………………….right back to this refrain:
Where again are the Ayotzinapa boys!?

There are no limits.
There are no names.
There is no country.
There are no crimes.

They run with so much strength.

………………………………Tuxtla, November, 2014.

Translation by Dylan Brennan

 

Balada por los muchachos de Ayotzinapa

No hay límites para el país del crimen.
No hay nombre para el país del crimen.
No hay país con nombres del crimen.
No hay crímenes para el país del crimen.

¿Díganme, en qué país lejano hallarlos?

A Décimo Junio Juvenal agrego a François Villon
para componer esta balada, y pido a otros cantores
añadan otro estribillo interrogativo: ¿dónde, en qué
país sin crímenes están los muchachos que apenas
……….se habían desnudado al amor?

Ayúdenme a correr junto a un río
que corre con demasiada fuerza.

¿En dónde están, en qué casa negra, encapsulados?

En la casa blanca no están, ahí ya no habita nadie.
Llegará el tiempo de otras sirenas, de otros sortilegios,
y la blancura como lirio será un resplandor amarillo
o un lirio negro al capricho de otra dueña, otra Circe
de engaño, entre leones y lobos del mismo bosque.

………¿Dónde están, Madre Dolorosa?

¿Dónde están las 43 lágrimas de ayer por la tarde?

No vamos a averiguar en esta mañana dónde están,
ni en las siguientes mañanas y tardes dónde están,
ni en todo el año, que a este estribillo no nos lleve:
¡Mas dónde están los muchachos de Ayotzinapa!

No hay límites.
No hay nombres.
No hay país.
No hay crímenes.

Corren con demasiada fuerza.
…………………………………..Noviembre/ 2014

§

Óscar Oliva comments on “A Ballad for François Hollande”

I did send this poem to Hollande. However, the carrier pigeon never made it to his window. Either that or it was devoured by the waters over which it crossed. Certainly Hollande forgot about Boris Vian’s song, one that he would have listened to with excitement in his youth. That was my reason for paraphrasing him, to remember the poet and his long trek along the paths of the Provençal troubadours.

.

A Ballad for François Hollande

Monsieur le président
take this ballad
as I awaken ‘The Deserter’
………….by Boris Vian

don’t be surprised if a messenger
pigeon arrives at your window
– there’s all sorts falling from the Cloud

I see you’re busy making war
was I born to the world
for no more than this?

as down the French avenues sings Boris Vian
don’t go to war, we didn’t come here to kill

my mother suffered when I left
when they strafed the bus I was on
I was reading Guillaume de Poitiers’ poem
……………………..about I don’t know what about nothing

you and the terrorists you and the terror
………………………………………….let us
dream the three dreams of Decartes

………………………………………….let us
go into the cafes
the arenas
the football stadiums
I’m no member of either
sleeping or active cell

I’m better off in Agnes’ dream
like Guillaume who dreams
as he sleeps
………….on his horse

don’t make war
abroad
don’t make war
at home

I’m a deserter
sings Boris Vian
………….don’t obey them
don’t go to war
tell your police
Mr. President
that I am unarmed
on the road to peace
I’ve slipped off
my electronic tag
Boris Vian recorded ‘The Deserter’
the same day as his country’s
defeat at Diem-Bien-Phu

all down the Aquitaine roads
about I don’t know what about nothing
but early and almost unseen

I slip this ballad through your window.

–Translation by Keith Payne

 

Balada para François Hollande

Monsieur le président
le mando esta balada
paráfrasis de “El desertor”
………….de Boris Vian

no tendría nada de extraño que
una paloma mensajera llegara a su ventana
la nube cibernética da sorpresas

lo veo tan ocupado
en hacer la guerra
¿vino a este mundo
nada más para eso?

por los caminos de Francia Boris Vian canta
no vayan a la guerra no venimos a la vida para matar

mi madre sufrió tanto cuando me fui a otro país
cuando ametrallaron el autobús donde viajaba
leía el poema de Guillermo de Poitiers sobre no
…………………………sé qué sobre nada

usted y los terroristas usted y el terror
…………………………………….déjennos
tener los tres sueños de Descartes

…………………………………….dejénnos
entrar a las cafeterías
a las salas de conciertos
a los estadios de futbol
no pertenezco a ninguna
célula dormida o activa

mejor entro al sueño de Agnes
como Guillermo que la
sueña porque duerme
………sobre su caballo

no haga la guerra
en casa ajena ni
en su propia casa

soy un desertor
Boris Vian canta
……….no obedezcan
no vayan a la guerra
dígale a sus policías
señor presidente
que no llevo armas
camino desarmado
me quito el dispositivo
electrónico el brazalete
de geolocalización
Boris Vian grabó “El desertor”
el mismo día de la derrota
de su país en Diem-Bien-Phu

por los caminos de Aquitania
sobre no sé qué sobre nada
muy temprano casi invisible

dejo esta balada en su ventana

§

Óscar Oliva: Final words

I have not stopped writing. I no longer can stop. I have finished a new book, LASCAS, which is the continuation of this long race in which we all take part. It is also a journey through the mountains of Chiapas, alongside my grandparents and great-grandparents, alongside Li-Po, Rubén Darío, Juan de la Encina and others who have gazed upon the changing skies. Sturdy horsemen under torrential rains.

— Óscar Oliva, Dylan Brennan, & Keith Payne

.
Óscar Oliva was born in Tuxtla Gutiérrez, Chiapas, on 5 January 1937. He belonged to the group of poets known as La Espiga Amotinada, encouraged by the Catalan poet Agustí Bartra. He has published extensively since the appearance of La Voz Desbocada in 1960 and has been widely recognized for his work as a cultural promoter. He has been honoured repeatedly for his work, winning an array of prizes including the Premio Nacional de Poesía Aguascalientes (1971), Premio de Poesía Ciudad de México (1981), Medalla Rosario Castellanos (1990) and the Premio Internacional de Poesía Ramón López Velarde (2013). In addition to his literary work, Óscar was also a member of the Comisión Nacional de Intermediación (CONAI), between the Ejercito Zapatista de la Liberación Nacional (EZLN) and the Mexican government, eventually leading to the establishment of autonomous, indigenous communities in his home state of Chiapas.

Keith Payne is the Ireland Chair of Poety Bursary Award winner 2015-2016. His collection Broken Hill (Lapwing Publications, 2015) will be followed by Six Galician Poets (Arc Publications) in 2016.

Brennan

Dylan Brennan is an Irish writer currently based in Mexico. His poetry, essays and memoirs have been published in a range of international journals, in English and Spanish. His debut poetry collection, Blood Oranges, for which he received the runner-up prize in the Patrick Kavanagh Award, is available now from The Dreadful Press. Twitter: @DylanJBrennan

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Apr 062016
 

Cynthia photo Shawnigan lakePhoto by Dean Sinnett

x

S trong feet stepped into the boy’s dream, came nearer down the hall, and he sat up, but the sounds went past, outside.

Quick, to the window.

Down the dark quiet street came four horses, two by two, with police on top. Streetlights shone on the animals’ rumps, the riders’ yellow vests. Clop clop. Harness glinted, tails waved, manes lifted and subsided. The horses too wore reflective yellow, in bands round their ankles. No heavy traffic here, though, not like the last time he’d seen them, at rush-hour, walking calmly single-file between a moving bus and a line of parked cars.

Hesitation. Bad. His bruises still hurt.

I have to know where you are, she’d said, you cant just wander alone. You dont know this big city. And stay out of the Park! Who knows what’s hiding there?

Also, they’d taken his keys.

He found clothes. As he felt in the “secret” pocket of her rain jacket, from the other bedroom came sounds he disliked. Good, they’d sleep soon. He left the building via the rusty fire escape off the third-floor hall. At the bottom he must swallow, then jump down to damp earth — better than taking the dim stairs to the basement door.

He hurried then. Clop clop, and the horses headed west past shabby low-rises like his, past the corner store with posters stuck on its outer wall. One said Resist! What? Then past the school, the one he went to, with a map of all Canada on the classroom wall. Vancouver, a dot. The town where he’d lived before, not even that. On the bewildering drive to the city, she’d kept saying Look at the map, see where youre going! He didn’t. Hadn’t asked, ever, to make this move. Back there, the cops only had motorcycles.

The boy kept half a block between himself and the clop-clop, scuttling from hedge to street-tree to shrub. Where did they live? He’d seen them often, on busy West End streets or near the big beach. Sometimes the police halted them, so people could ask questions or even pat those enormous heads. He saw the cops’ holsters close up, and the animals’ big nostrils, and their strange eyes, bluish-brown. Soon the horses moved on. Their steady gait — lots of videos showed that, how the animals just kept on coming, calm amidst furious crowds. Did riots happen here?

As the quartet neared the big street he stayed even further back, waiting while the traffic light changed and changed again. On the restaurant at the corner, someone had half-scraped off a Resist! poster. Near this intersection, he did know his way. Homeless men slept in store entrances, their hidden faces probably familiar to him from the network of local alleys, of bins behind cafes and groceries. Once he’d taken home a cold burger, untouched in its box. They’d found it. Bad.

When green shone a third time he sauntered across, then hastened after the lifting hooves. Along these blocks, richer landscaping fronted condos recently built. To hide and move and hide: easy. Ahead waited greater darkness, though moonlight came and went as the clouds moved.

By day he’d wandered this terrain south of Lost Lagoon, grasping at its geography. Some lampposts in the Park and at its edges displayed a map, for tourists, so he’d learned some main routes. In the middle of the map’s big green stood a tiny surprising coyote. He hadn’t known they could live in cities. Mum said You never see whats right under your nose, but that wasn’t true. On his own he’d spotted a real raccoon snoozing in a tree, and a dead bird with a huge long beak, and sleeping bags inside bushes alongside piled bottles and cans.

Once he’d even circled the Lagoon, peering up at the forest north of it, but hadn’t ever entered the Park after sunset. In the small town, he with other kids spent hours nightly in the local park, only vacating when the teenagers took over — but no map was needed. You could see right across. Now he followed the horses into the dark.

Near-silence, but for the stepping animals. One lifted its tail. Plop plop, and that warm smell mixed with the night’s leafy earthiness.

He’d thought they might turn south, past the tennis courts to the Bay. No. A right turn. Where to? At first following the horses, the boy then dared to move sideways into the damp understory of salal, laurel, giant rhodo — and ahead, to crouch and peek as the nodding heads approached. Even when a rare midnight car drove past, the animals didn’t change pace. The videos showed that too, horses proceeding while police trainers waved flags and noisemakers in their faces, fired blanks, came unseen from behind to beat garbage-can lids. Calm.

Next they turned west. On one side of that road, he knew, lay open lawn, on the other just patchy shrubs, quite low. All the way, streetlights. Now what? Could he scrabble downhill, unseen, unheard, to the underpass, and so move roughly northwest? His insides heaved. No, not that tunnel in the dark — nor by day. It curved, so the exit wasn’t visible from the entrance. Im not a little boy any more. Im not! They’d laughed till they cried, though later Mum said Sorry, and then they smoked. Also, the meadow beyond the underpass gave no cover.

He slowed, guessing. Turned away from the horses, south and then west in a long watchful arc through open and wooded areas. Breathed leaves, a trace of skunk, someone’s cigarette. Uphill then, on to the high bank overlooking the ocean. Here he squatted under a shore-pine distorted by wind and weather, smelled algae, watched the incoming tide’s long frills of white collapse on the beach. Soaked runners, cold sock-less feet — he didn’t care, looked north. I was right. Only a hundred metres away the quartet walked towards a concrete ramp that sloped to the sand. Touching it, the lead animals snorted, and the riders spoke gently, stroking.

When hooves met beach the four horses trotted south, almost as far as the point, almost gone from view — then back again, under the boy’s high perch, to and fro, to and fro. The animals’ muscles created light-patterns on their coats while the waves gleamed under the moon, fell into silver marbled froth, and made their hssshing sound.

When the riders headed straight at the water, the boy gasped. He couldn’t swim. Nodding, the horses waded in. They stepped freely, splashed, came back to shore, reversed and went forward again into the waves, whinnying. Theyre happy! The riders got them to turn tightly, splashing through the shallows, as if in an enclosure rather than the Pacific Ocean. Turn, turn — and out of the water they came, dripping, tossing their manes, to shoulder sideways, back and forth, steady pairs dancing while the sand bounced up by their hooves.

Then they stopped.

Within a minute, the horses walked two by two up the ramp and disappeared eastward into treed darkness, trotting. Where?

Clop clop, clop clop, fading. At last the boy felt cold.

Once he slipped on wet leaves, falling, and without the horses ahead in the darkness he got muddled.

Emerging from the Park, he found the street wasn’t his but took it anyway, for traffic lights winked ahead. Resist! was stapled to four street-trees. At the corner he checked a tourist map. Im just two blocks over. By day he’d go in again, figure out the lay of the land. As the signal changed, he noticed at the map’s left side a legend that matched images to numbers dotting the Park’s green expanse. Seven: a tiny horse. Police Stables.

At home, somehow the key’s noise woke them. Bad. His wet dirty clothes enraged his mother. The man never needed a reason, but used that one too.

In bed at last, he did think a bit about how one day he’d shove them off, shove as if they were an enormous ball, six feet in diameter, rolling about a training ring to impede his progress. As horses do when skilled in crowd control, he’d shoulder them. Lean up against them, step sideways, step and step and another patient leaning step, till like him right now they’d have no choice. Steady he’d be, calm.

Mostly he imagined stables. He’d stand close, look up. Touch? Feed? Once he’d seen a girl hold out an apple. Big teeth showed as the hairy lips lifted back, and the horse bit the fruit. The boy raised his hand, held his palm flat.

—Cynthia Flood

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Cynthia Flood’s fifth collection of short stories, What Can You Do, will appear from Biblioasis in 2017. Her most recent book, Red Girl Rat Boy (Biblioasis 2013) was short-listed for the Ethel Wilson prize and long-listed for the Frank O’Connor award. Cynthia lives in Vancouver.

 x

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Apr 052016
 

latino authorsJonathan Marcantoni (center); Clockwise from top left: I. C. Rivera, Ricardo Félix Rodríguez, Nelson Denis, Rich Villar, David Caleb Acevedo, Charlie Vázquez, Chris Campanioni, and Corina Martinez Chaudhry.

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Recently, I assembled seven authors—Charlie Vázquez, author and COO of Editorial Trance; Chris Campanioni, author of Tourist Trap; Isandra Collazo Rivera, author of Across the Border: Interview with a Refugee; David Caleb, author of Cielos Negros; Ricardo Félix Rodriguez; Rich Villar, author of Comprehending Forever; Nelson Denis, author of War Against All Puerto Ricans—and Latino Lit advocate and founder of The Latino Author, Corina Martinez Chaudhry, to discuss the state of Latino lit in the United States, Mexico, and Puerto Rico. We covered issues as far ranging as the exclusion of Latino authors from the greater American literary canon, to identity politics and social limitations inside and outside of the US, to style and approaches to writing, to social media and, finally, the future of Latino literature. While these artists come from a wide variety of backgrounds and disciplines, the commonality of their struggles demonstrates the universality of art and the collective need for our communities to expand our definition of what we can accomplish through unity and ingenuity. The conversation has been edited for clarity and fluidity.

Jonathan Marcantoni: What are the biggest challenges you face not only as a Latino author, but in regards to the way you write? What kinds of support systems are there for Latino writers where you live?

Charlie Vazquez: The biggest challenge I faced as a Latino writer who began writing daily in the mid-1990s was writing about queer protagonists and writing about them honestly.

David Caleb: I must say that many people have tried to label me as a queer author, regardless of everything else I’ve written and done. It has taken me almost a decade to be recognized as a bona fide fantasy, scifi and horror writer, and not just a queer author.

Charlie Vazquez: I would say that nowadays there seems to be a lot of obstacles in breaking in to better book deals, such as less interested agents than for other folks and genres such as white folks and mystery writers. I think that this is improving, however.

Chris Campanioni: Charlie brings up a good point here: as cultural norms have shifted, it’s gotten easier for me to write about subsets of culture that were not really mainstream or literary, even as recent as 2012. I recall when I began sending out query letters to agents for Going Down, which is a novel about Latino identity but also fashion and commodities and pop culture from the perspective of a male model, probably seventy-five percent of the responses read “Chris” as “Christina” and championed the story about a strong Latina character in the world of modeling or, conversely, loved the idea of re-making The Devil Wears Prada for Latino audiences. No one heard or cared very much about male models, especially Latino ones, especially in the literary world. So the publishing world was reflecting the singular gaze of the fashion world I was responding to. Fast forward to 2015 and I think Latino representation in the fashion industry is much more widespread; literary fiction about the fashion industry seems much more well-received and easier to market today too.

David Caleb: In Puerto Rico, we have quite a predominant literary scene, perhaps stronger than the reading scene. Perhaps. The first decade of the 21st Century saw grand literary efforts in rescuing readers: we have a multidisciplinary BA in Creative Writing from the University of Puerto Rico in Río Piedras, and a Master’s in Literary Creation from the University of the Sacred Heart. Likewise, we have many literary guilds, such as Cofradía de Escritores, the Liga de Poetas del Sur, the group A Voces (a group of queer writers, direct heirs from the former HomoerÓtica collective) and so many others. We are producing a lot of literary work and of the highest quality. We also have many writers of renown who are taking the teaching mantle to show the literary ropes to the new generation of upcoming writers, such as Mayra Santos-Febres, Yolanda Arroyo-Pizarro and Max Chárriez. We even have graduates from the Literary Creation Master’s teaching creative writing in Ireland, such as our own Iva Yates. Finally, we have been getting up to date in literary genres such as detective fiction, fantasy, scifi and horror.

Charlie Vazquez: Latino Rebels founder Julio Ricardo Varela and I discussed this years ago when we first launched Latino Rebels as a blog and Facebook page and coined the #LatinoLit hashtag to group tweets together on Twitter for readers, writers, poets, academics and publishing professionals to locate writers and their works, and it has taken a life of its own. And there’s more coming for that!

Chris Campanioni: I think New York City probably has greater support systems in general, for all sorts of writers, but especially Latino writers and other artists producing art on the fringes. At the same time, it’s kind of a big irony, since New York City is also one of the biggest obstacles for artists who live here, in terms of rent and the cost of living. I think that situation sort of creates a desperation that is actually helpful, or at least that I’ve found helpful, in my work, both as a process and in the content itself. There are a number of Latino-centric bookstores throughout New York City, and Latino reading groups that travel well across the boroughs. Many of the student and faculty-run Latino and literary organizations within the City University of New York’s colleges (Baruch College and John Jay, especially), and Pace University, have been really supportive of my work and of one another’s creative output. If I didn’t teach at these colleges, I would probably feel less inclined to say that support systems for Latino writers are thriving in New York City; but as we all can recognize, “Latino lit” is becoming a thing, even as this thing is hard to define, and I think there will be more humanitarian organizations like PEN America in place, in New York City and elsewhere, by next year or 2017, if only so larger corporate interests can co-opt our literary culture and reap the profits.

Charlie Vazquez: I think that Latinos, like other minority and immigrant groups, have been colonized and taught not to support one another, and this is something that I consciously reject and do the opposite of. If we start sharing resources and introduce the folks who read our work to other writers in our communities, everyone wins! More books read, more books sold, more book deals signed, etc. Period. Publishing is a business. And until we begin increasing awareness of writers and book sales we will all remain right where we’ve been: behind the mainstream.

Corina Martinez Chaudhry: Let me respond as the CEO of the Latino Author and from the perspective of many Latino Authors and their experiences within the writing and publishing industry. There are two huge challenges that many Latino writers face. The first challenge comes from the publishing industry and the second comes from a marketing angle. It appears that the publishing industry overlooks Latino writers because publishing houses are all about the bottom line and they don’t feel that these type of books will sell. There is a myth that Latinos don’t buy books (or enough books to help their bottom line) and the publishing houses tend to lean towards the fact that the overall white American market won’t buy these books. The other challenge in this area is that main publishing houses tend to feel that Latino Authors only write about immigrant stories, which is far from the truth. Sure, many Latino writers do write about this topic; however, there are many Latino writers that write Science Fiction, Murder, Suspense, Romance, etc. This mindset will remain as long as publishing houses continue to mostly publish books from the “white” sector. There are very few Latino writers who have been able to break this myth such as Junot Diaz, Sandra Cisneros, Reyna Grande, etc.

Rich Villar: I’m a poet. In the United States, poetry already fights for space on the shelves of every bookstore from the independent shops to the used bookstores to the giant box stores. So, I suppose that’s a challenge. But there is another sort of conversation and meta-conversation among poets (and writers generally) that bubbles beneath the surface, almost at all times: equity in the literary world. By equity, I mean the notion that a national literature should reflect everyone in that nation, and that means Latin@s should enter the conversation as well. I write about equity. It occupies my thoughts. I’m told all the time it shouldn’t occupy my thoughts. That I should just write, right? Well, of course I should write. But I’m also an activist and an educator. And I am oppositional by nature. So, I think about this stuff anyway.

Nelson Denis: To me, it seems that you write the way you live. In order to write about different topics, just become interested and involved in them. Make them a part of your life.  Make them a part of you. Then start writing about them. I think that writing is like sitting in a storm.  I just sit and sit, and get soaked to the bone, and get sick, but I keep sitting because that’s all I know how to do, and then one day, if I’m fucking lucky, I get hit by lightning. At this point, I just write the thing that makes me sit in this chair, which is getting harder to do.  If I thought about the general public I’d go crazy, which I already am anyway.

Chris Campanioni: I write very fast and like Nelson acknowledges, it is an omnipresent, time-consuming endeavor. I wouldn’t have it any other way and I am often able to write in transit, which frees up my schedule immensely. At the same time, it can feel overwhelming when I find myself in a situation where I have three manuscripts ready to ship off to an agent and I’m already off to the next project. Most writers don’t enjoy the business aspects of writing, what comes after the writing. And I think it’s hard to negotiate the writing schedule around very time-sensitive concerns like agency communications, submissions, and pitch letters. As a rule, at least for literary magazines, I try to set aside one day a week where I take care of submissions for an hour, either before work or after work. That’s the bare minimum: one hour a week. Often, I spend much more time with submissions. These things are important because they build readership and make your work more widely available, but at the same time, they necessarily require so much time, much more time than the actual writing process.

Nelson Denis:  I think it’s important to have as broad a life experience, and as broad a reading experience, as possible. Reading is absolutely critical! I believe five years of directed reading will beat the Iowa Writers Conference any day.  But it must be conscious, cumulative, retentive, and specifically engineered for the type of writing that you are interested in.

Isandra Collazo : I believe there is indeed a strong literary scene on the Island, as well as different study programs and workshops to help aspiring authors shape their work in the best way possible. Our people in Puerto Rico have a drive to write, and not just within the hidden pages of a personal journal. For instance, they witness different social issues unfolding around them and they have an urge to put their thoughts down on paper; as poetry, short stories, and even song lyrics. A few months ago, I received a gift from a friend who is a poet. It was a collection of poems and short stories, written by several authors and students from a creative writing program offered by the Institute of Puerto Rican Culture, at Museo Casa  Jesús T. Piñero in the town of Canovanas.

I mention this because it shows that our writers are supported and encouraged to carry on with the art, even get their works published and presented to the public. A chance like that might seem minuscule for authors with international representation, but for a young writer it is huge. Still, I find that it is hard for new Latino writers to find representation, especially if you write in English, about subjects that don’t exactly cover Latino issues, and God forbid if your main character is a Hispanic female. Of course, this is very subjective.

 J.M.: What kind of books do you see as essential or as being what is popular today?

Nelson Denis: On reading… this is a completely subjective list.  Also, how do you cut it off… we could all write down 100 books.  Probably tomorrow, I would write a different list!  That’s how subjective it is. I’ll break it up into 22 ”Latino” and 22 “General” books, in no particular order:

Latino

100 Years of Solitude
Don Quijote
Down These Mean Streets
Mendoza’s Dreams
Platero y yo
Open Veins of Latin America
Los de abajo
La guaracha de Macho Camacho
In the Time of the Butterflies
Pedro Albizu Campos. Las llamas de la Aurora
Before Night Falls
Dreaming in Cuban
Our House in the Last World
Pedro Páramo
Don Segundo Sombra
La vida es sueño
La c
asa de Bernarda Alba
Marianela
La charca
Niebla
San Manuel Bueno, Martír
El lazarillo
de Tormes

General

The Bible
Hunger (Knut Hamsun)
Aesop’s Fables
Grimm’s Fairy Tales
The Upanishads
Aristotle’s Poetics
Magister Ludi
Invisible Man
The Great Gatsby
Old Man and The Sea
The Sun Also Rises
Germinal
Grapes of Wrath
Tortilla Flat
Collected Stories of Kafka
Collected Stories of Edgar Allan Poe
Crime and Punishment
Chekhov’s Short Stories
Interpretation of Dreams
Archetypes and the Collective Unconscious>
The Art of Dramatic Writing
How to Win Friends and Influence People

Isandra Collazo: So there’s a big community of writers, huge perhaps, as well as readers. But the question is; what do Puerto Rican people like to read about these days? This is taken from Metro PR and IndicePR, last year’s best sellers in the Island:

Bajo la misma estrella, John Green
Four, Verónica Roth
Will Grayson, John Green
Dork Diaries 7, Rachel Renee Russell
An Abundance of Katherines, John Green
Divergent, Verónica Roth
The Death Cure, James Dashner
Yo soy Malala, Malala Yousafzai
Pensar rápido, pensar despacio, Daniel Kahneman.
(And I’m not going to disappoint you,) 50 Shades of Gray, E.L. James

I mean, what is Puerto Rican literature? Books exploring our history, our colonial status, our political circus, and our national identity crisis? Poems about tragic love stories and childhood traumas? What do people want? Or better yet, who’s/what is our target market?

And why are big bookstores closing down? (Bye bye Borders, bye bye Beta Books Cafe).

Personally, I’d love to get to read more Nuyorican literature, and books from Latin authors living abroad, where they share those new experiences and have another perspective. Although there is some support, authors in the Island need to feel free to write about other subjects, for they are afraid. I was afraid. I am still afraid.

J.M.: Isandra, could you elaborate more on the challenges faced by female Puerto Rican authors? And how does everyone feel about being constrained by subject matter that may be “expected” by a Mexican, Puerto Rican, or Brazilian author?

Isandra Collazo: Definitely. I don’t mean to sound like a butthurt female, but it is often expected of me to write of the following genres:

Fiction: YA/Coming of age; Romance (all categories)

Non fiction: How to’s/DIY; Fashion and beauty (mostly articles); Memoirs; Spirituality

And since I am Christian, leader of two ministries, guess what; I am expected to write only about Christian topics, and will be attacked and judged for anything out of the “ordinary.” (Can’t wait for what will happen when they read my novel. *Sigh* bring it… )  In other words, I’m supposed to hold back in many aspects. That said, let’s bring in the fact that I am Latina and my fiction novel (concerning the struggles of expats and refugees) has a Latina main character running around the Netherlands and not the barrio. Sounds a little odd, perhaps?

What’s more common:

In a bold search for new life experiences, the beautiful and ever-independent Isabel Alvarez leaves her cozy American Dream to…

In a bold search for new life experiences, the beautiful and adventurous Katie Smith leaves her American lifestyle to…

See, I felt obligated to say that Isabel was an independent woman who left her American Dream, or basically a woman who left her immigrant success story. Whereas a girl named Katie Smith already gives you the idea that she doesn’t need such adjectives. Am I falling off the point? I feel that my challenge is not because I am Latina, but because of the subject I write about and how I portray my characters. I kind of leave whites in a shadow, except perhaps for one character, throwing all the stereotypes on them while I attempt to bring forth many other cultures and ethnicities.

Chris Campanioni: But you know, as Nelson sort of suggests, this kind of stuff happens all the time and the best thing to do is put your nose in your notebook (or laptop) and keep writing. Writers have egos and they like those egos stroked, even and especially if it’s the other writers doing the stroking. The literary world can often feel like a big dick-swinging contest (and the metaphor is not without its gendered implications: by and large, women are ignored but that, too, is improving) where writers would rather antagonize one another than coordinate, collaborate, and create a meaningful dialogue. The basis of this, I think, is some manufactured idea of “fame” in the world of letters, whereas several others are writing because we have to survive. Write or die.

J.M.: Would you all say the literary world is eating alive it’s most promising writers?

Chris Campanioni: I think the literary world is filled with sociopaths—like any other industry—except in the literary world, it seems somehow worse because this is art that is at stake, not making a profit for some stranger you’ll probably never meet. Anyway, I agree with Charlie’s point here, and Latinos, perhaps more so than other minority groups, tend to polarize one another through various lenses (whether linguistic, thematic, or even appearance: “They don’t look Latino enough to me.”). I mean, in the end it can sound quite funny but of course it is anything but. The issue with “Latino lit” is only that Latino lit as a genre is so sprawling; Latin America is comprised of 21 countries, each with very distinct traditions, interests, histories, slangs and dialects. But readers and writers and editors and agents—some of whom are Latino, too—expect a formula, and very often, ignore or criticize the work if it doesn’t meet these expectations.

Rich Villar: Consider this: every year, institutions purporting to speak as national cultural arbiters spend their time doing things like reviewing books, or having conferences, or doing book clubs. And every year, somehow, they manage to miss Latin@ authors. The New York Times managed to produce an all-Anglo reading list this past summer. So, as writers of color, of course we must push back against it. The internet is good for that. It’s a democratizing space: Charlie brings up Julio Ricardo Varela, the #LatinoLit hashtag, and Latino Rebels. I have been fortunate to be able to champion my causes on high-visibility online spaces like Latino Rebels, George Torres and Sofrito For Your Soul, and Denise Soler Cox and Project Enye. I’ve also worked with Tony Diaz and Librotraficante, in an effort to reverse book bans (yes, we still do that here), as well as the trend against ethnic studies in the United States.

J.M.: What about the content itself? How do we stand out?

Rich Villar: Scott McCloud in Understanding Comics lays out a useful graph documenting the possibilities for visual iconography, from pure text to pure representation to pure abstraction. I read this book in high school, reread it in college, and it changed a lot of how I view my own work as a poet. I started looking to the visual, how lines are shaped, how breath is represented on the page. Which then led me to explore certain poetic theories: William Carlos Williams and the variable foot, E.E. Cummings and Papoleto Melendez and concrete poetry, the idea of poetry being a visual art. Which, in turn, led me into Sekou Sundiata and Tracie Morris and Edwin Torres and the possibilities for spoken sound as poetic line.

In poetry, there is music, there is silence and sound juxtaposed into lines, and of course this translates most easily as theater. There is Shakespeare, of course, but there is also Ntozake Shange and Reg E. Gaines and Lemon Andersen and Rock Wilk and so many theatrical poets doing what they do. And what of prose? Look—if you read Junot Diaz or Ana Castillo or Luis Urrea or Sandra Cisneros, you can literally read color, texture, movement. So it’s no surprise when these books become movies, and poems become plays—the text so naturally lends itself to the visual. (And Shange invented the form to describe it—choreopoem.) And of course, none of this is an accident. We live in a cinematic culture, an eyes-first culture, a culture of instant information, and French New Wave style jump cuts and extended camera shots, and fast pacing and editing. Of course our literature will reflect that. Let’s hope we’re producing a generation of writers who are self-reflective enough to recognize the commonalities in the critical vocabulary among these genres. What to show and what to conceal in service of the narrative. Let’s encourage writers to be brave enough to cross into the visual arts entirely, and visual artists onto the page. It would be a return to the root. Is the Latino community equipped to lead it? Of course they are. But the thing to realize is that text and visuals and sound have always been interrelated. We’re only now reawakening to their existence on the same iconographic plane. And incidentally, Pablo Neruda read to 100,000 people on more than one occasion. Is it too much to ask for a Latino poet to fill a soccer stadium?

J.M.: There are structural challenges as well as internal ones, then? And it sometimes falls into place along tribal lines, no?

Nelson Denis: Latino Lit in the US is in a state of atherosclerosis.  Nothing is moving.  The “icons and shibboleths” are all in place:

Down These Mean Streets

Our House in the Last World 

House on Mango Street 

In the Time of the Butterflies

Dreaming in Cuban

Brief Wondrous Life of Oscar Wao

Bless Me, Ultima

I see a pattern here. If you break down our Latino rainbow (Mexican, Puerto Rican, Cuban, Salvadoran, Dominican, Guatemalan, Colombian, etc.) you’ll note that one and maybe two from each country (only 4 countries) make it into the above group.  The publishing industry is so myopic, they think so categorically, that if a new Latino-American writer offers a story that is deeply-rooted and narratively circumscribed by their country of origin, the junior acquisitions editor says “oh, we already have one of those” and finds an excuse to pass.

Meanwhile the senior acquisitions editors are throwing the big money at Isabel Allende, Carlos Ruiz Zafón, Raul Alarcón (U.S. hybrid, but “writing Peru”)—all Latino authors from outside the US, which shows a blatant snobbery and racism: European and South American authors are “high brow,” but US Latino authors are ghetto underlings, and couldn’t possibly have anything to offer.

The same thing is happening with Latino film directors: practically all Mexican, born & bred over there, not here.

Rich Villar: I think this is a destructive mindset that is born from a marginalized, colonized perspective. The Oppression Olympics. The Authenticity Maze. The relative slice of the literary representation pie is not large enough for Latinos to start fighting over. I don’t know which Latino group “dominates” who. (The question makes us sound like we’re all battling for literary supremacy in the octagon.) But, here’s what I do know: Magdalena Gómez and Raúl R. Salinas were friends. Miguel Algarín and Jimmy Santiago Baca as well. Throughout his career, Martín Espada has been allied with and championed by Chican@ writers from Luis Urrea to Gary Soto to Luis Rodríguez to Sandra Cisneros. And Pietri and Papoleto and the Nuyorican poets were honorary members of Jose Montoya’s and Esteban Villa’s Royal Chicano Air Force in California. In other words, we have always been our most successful as a literary movement when we make an inclusive Latinidad, when we seek out comrades and commonalities and write ourselves into a soulful and (yes!) legendary existence. This is why the Acentos Review literary journal does well, not to mention poetry workshop spaces like CantoMundo and La Sopa NYC.

Chris Campanioni: Good writing will always be the writing that has been lived in. Another way of putting this is to admit the obvious: write what you know, but many writers, young and old, forego life experience for an MFA program and crippling loans. In this way, our topics are inevitably Latino because Latino represents multitudes, sort of like my man Martí said:  “Yo vengo de todas partes, y hacia todas partes voy.” Do we follow orders and the rules of academia or the broader literary culture while forgetting our own personal stories? Or do we use the specific pressures and expectations Jonathan suggests are in place for Latino writers as an opportunity to circumvent or re-evaluate them?

Corina Martinez Chaudhry: Unfortunately, Latinos in this country are seen as being at “the bottom of the rung” due to the prejudice and ignorance of decades of stereotyping this group. We are seen mostly as people who clean houses and are only good for gardening, which although it is a hard-working core group, the majority of people look at this as demeaning work. In addition, you see the statistics of Latinos not graduating from high schools and many gangs being associated with Mexicans or Latino groups. Americans, especially white Americans, paint us all with the same brush stroke.

How do we change this? It comes from us continuing to ensure that we as well as our offspring become educated, and we continue to fight to get into the mainstream. This comes from all Latinos working together to make this change because no matter how much infighting there is between our Latino groups because we are from different countries or from different Latino Sectors, the mainstream lumps us all into one. We haven’t yet gotten to the cohesiveness that the blacks have been able to achieve in this country.

J.M. Ricardo, so many of us are Caribeños here, give us the Mexican perspective.

Ricardo Félix Rodriguez: It is characterized by hierarchies, bureaucracy, institutions. Mexico remains a centralized country, therefore resources are concentrated in the capital city. Writers from Mexico City act like if they were the only source of literature. Publishers bet on big names so it is very common for northern writers to seek to write in english. It is also very competitive; there is a belief that only foreign (mainly European) literature has quality and you as a Mexican should not try to be original. I guess you can say it is the culture of “crab” when a crab tries to get out of the bucket and another one pulls him in until it falls.

 J.M.: Is there any government support?

Ricardo Félix Rodriguez: There is support but there are several points against. You have to adapt your writing to a particular literature whether local or regional. Universal themes are rarely allowed. Groups of artists are usually privileged when they have a relation with coordinators. The same writers are competing for the same grants and awards but not able to make a living by selling their books. If Mexico is a country with “poor reading” in the north the crisis deepens. There is a perception that art is an obligation of the government to provide.

J.M.: How is the community of writers though?

Ricardo Félix Rodriguez: There is a community of writers trying to do things differently but writers tend to be competitive here. I would say that the writer here is individualistic, jealous of his work. I think the best talents are not yet known in independent publishing, underground literature, drowning their poetry in a glass of beer.

J.M.: David and Ricardo, what can individuals or local groups do to increase opportunities for up-and-coming authors?

Ricardo Félix Rodriguez: I see it as some kind of reading crisis. People are not used to reading; we need to find the way to promote reading. Through education, raise the cultural background of the average citizen.

David Caleb: In Puerto Rico, in order to increase opportunities for up-and-coming authors, there needs to be an educational revolution starting from the way up and the way down at the same time. First and foremost, the Department of Education must be depolitized. It needs to be flattened and entirely professionalized. There simply is no other way. Teachers need to be sent to reading seminars and there should be a reading course in all grades.

We see close to no state aid whatsoever in our endeavour. Most of our boom has been subsidized by ourselves. Most of the people publishing books are self-managing themselves. It’s a pity, in a way, that such an amazing body of work cannot be entirely supported by the government. However, we have grown used to it. Puerto Rican writers are used to being disenfranchised and orphaned.

That’s as far as the government goes. Now there is a small grassroots movement (everything in PR is small and grassroots) of theatre producers using material from Puerto Rican narrators and poets to make theatre, but this effort needs to be exploited much more. Also the literary scene is too concentrated in San Juan.

J.M. It seems like the problems both inside and outside the US are as much social as they are financial. There is the problem of a lack of interest in reading alongside the problem of marginalization in the media and/or geographically. What solutions might there be?

Corina Martinez Chaudhry: The second biggest challenge that many Latino writers face is marketing their books once they are published. I find that many authors don’t even have webpages or understand much about the internet and how to market their books through this venue which is the greatest tool in this day and age. Many do not understand Search Engine Optimization (SEO), or Google Analytics and how to make these particular tools work for them. By accurately understanding these tools, the way an author writes would not necessarily be a challenge once a writer figures out his or her niche.

Rich Villar: What is it Dead Prez said? “When you bringing it real you don’t get rotation/unless you take over the station.” What’d Jay-Z say? “I’m the new Jean Michel/surrounded by Warhols.” Opportunities exist for writers all over, if you search for them. Grants. Fellowships. Speaking gigs. Freelance writing and editing. That sort of stuff. Here, in the States, that kind of support is not always present, certainly not the same way it’s present in other countries. Here, it’s not an easy life. You have to hold down a 9-to-5 most of the time. At the same time though, I also try to be wary of those places of support that require you to be content inside a particular box, or to be beholden to a particular power structure. That’s why I identify with the hustlers among us poets; yes, we create good textual work, but we also find new ways to express it—on stage, in movement, in visual art, in music, in multiple genres. That’s where my work is taking me. And the freelance life is not easy, but I don’t answer to anybody but my mirror.

I’ve noticed a tendency among younger writers to put the marketing cart before the writing horse. I think the biggest mistake any writer can make is to start thinking about a platform for themselves, or where they’re going to tour, or how much product they’re going to move, before they’ve ever set pen to paper or finished a full poetry manuscript or fleshed out their novel or their memoir. There are so many directions to take within the world of social media, but none of it matters unless you actually have something to say.

These are questions about finding audience, not finding voice. I would tell writers who come into my circle to read and listen and absorb and learn for as long as humanly possible. And then, they should write voraciously and mess things up and take chances. And then, once they have a style they feel their strongest selves in, once they have built a genuine vision for the world, they should write the kinds of prose and poems that scare the shit out of the powerful and thrill the everyday reader. And then they should open up Twitter accounts. It’s needed. This is an age in which Latinos are being banned and deported and threatened and killed off. We need the kind of visibility that changes hearts, not one that simply turns heads. Good literature, followed by good marketing of that literature, will provide that.

 J.M.: In this age of such rampant exposure, where on the one hand, access to millions is at anyone’s finger tips, and on the other, the most important access, the access that helps you make a living are still shut off for the vast majority of people, how do we achieve equity, not just amongst Latinos, but other groups as well?

Rich Villar: The structural battle for cultural equity also leads to some specific artistic battles. Following in the tradition of Sterling Brown and Piri Thomas, I insist upon the truth of vernacular speech and Spanglish in my writing. I follow the transformative prose tradition of James Baldwin, the philosophical underpinnings of Nuyoricanism and the Black Arts Movement, and the truthtelling poetic traditions of Whitman, Neruda, Lorde, and Espada. I believe art is a vehicle for change, and I believe poetry humanizes. I also believe that poetry rooted in those liberatory urges, when taught to teens and young adults as part of a liberational pedagogy, helps form students’ notions of citizenship and citizen action. The cynics will tell you that poetry makes nothing happen. I am telling you, poetry creates possibility out of impossibility. It makes the invisible visible. And it turns cynical people —teens, especially—into leaders. I am eyewitness to that fact.

I’d like to think we’ve gotten better, but we squabble like any other family. My pet peeve among Latino authors is the silencing of others, the shutting down of debate. I think more gets done in any group dynamic when we’re honest about our feelings, no matter how detrimental it may seem at the time. I hate scenes generally. I hate people who think they’re better than others. And I hate grudges. If I have to sit and worry who I might be offending by saying something, or if I have to studiously avoid someone because he or she’s got some beef with me or someone close to me, it just complicates my life unnecessarily. And worse—it has nothing to do with writing. I can name these things honestly because I have also fallen prey to them.

Corina Martinez Chaudhry:  Unfortunately, the main publishing houses are based in New York, so for those authors that live in Mid America or in the West Coast, there are some challenges in getting to know who is who in the industry. The best way of course is to network and make connections within the publishing industry and that can be done by understanding the web and marketing yourself effectively. This is also a way to market yourself in other countries and locations. There are a few support systems that can be used for Latino Authors such as my site, The Latino Author, La bloga, Azul Bookstore in New York, Martinez Book Store at Chapman University in CA, Las Comadres, or the Latino Literacy which assists in giving out awards to Latino Authors in various genres. Connecting with these organizations can provide great support.

Chris Campanioni: Social media is one way in which writers can make these distinctions outside of their work but also adapt their work for new forms. The YouNiversity was originally conceived as a year-long digital mentorship for new era writers, a reaction to the recycled curriculum and check-listed objectives of many MFA programs in the United States and Europe. We’ve been really conscious about devoting a great deal of instruction to the powers—and pitfalls—of curating your digital presence as an author, as well as the work you produce, and finding interesting and exciting ways to present this material in new mediums by really taking advantage of capabilities that certain mediums afford us. The emphasis on several different forms of accessibility, audience contribution, and increased agency is the foundation for the kind of art that will become the eventual norm in the twenty-first century, so it’s not surprising that we urge our students to think about questions of reader inclusion and interaction from the opening weeks of each YouNiversity program. But to really turn social media into a tool for creativity instead of just regurgitation and masturbation, the cultural norms for social media have to change. That kind of work begins with authors like us, who need to start thinking about social media as another mode for creativity, not just for marketing.

J.M.: I have enjoyed this conversation immensely everyone, and to close things out, I want to know what you think is the future of Latino Lit, starting with Nelson.

Nelson Denis: So I see the “future of Latino lit” as one that is highly eclectic: still forcefully Latino, but in surprising, mercurial, even devious ways. We can’t lead with just one punch anymore… We need narrative surprises from multiple tropes, from all directions, and all at once. Latino Kurt Vonneguts and Henry Millers and Hunter Thompsons that defy easy categorization. I’ll offer one example: The Miniature Wife, by Manuel Gonzales. There is a Latino soul in those stories, and it adds to a sense of dread and paranoia… But he uses it like a blackjack. By the time you realize what’s hit you, Gonzalez has made off with your wallet and your pants. That motherfucker can write.

Between the snobbery of the latest Isabel Allende doorstop of a novel, and the mummified ruins of Mango Street, there’s no room left… Unless you make room for yourself, with a punch they never saw coming.

A new genre/sub-genre/hybrid genre or mash-up… A strange dystopian anti-hero… A shocking re-configuration of ancient Latino folk tales… Anything that knocks them off balance.  Anything that makes them suspect, if only subliminally, that they’re abysmally stupid (which they are), and you know something that they don’t—which you do, because you are Latino.

Corina Martinez Chaudhry: The future of Latino Literature, as I see it, is not only in the hands of Latino writers ensuring that good “stuff” is written, but also in being able to work together to change the status quo in this country about how we are perceived. Not to bring politics into the mix, but just look at the temperament of Trump followers and how he has risen in the polls because he began his campaign on bashing immigrants (who we all know means mostly Mexican or those coming from Latin American countries). He was not targeting the Canadians or those coming from “white” nations.

That is why publishers in the industry still have this narrow-minded view that Latinos don’t read or buy books. They think the majority of us aren’t interested in reading or education. Partly, the publishers don’t want to change what has been working for them to make their business successful. It’s not that we don’t buy books, but there are not true statistics of who really buys books. Someone writes about Latinos not buying books and unfortunately people see it as being true. Also, with so many mixed marriages in this country, you don’t even know who has Latino DNA so how would they really know? I was reading an article on PEW Hispanics about how Latinos perceive themselves in this whole mix of nationality and it was very interesting. Some don’t even claim to be Latinos because of how they were brought up although they are very much Latino. So where do these persons fit in those statistics?

There isn’t just one answer to where Latino Literature goes in the future, but I have a feeling that it’s going to be a long climb for most of us. It is a grassroots effort that is needed—beginning with writers such ourselves—to get the masses to change their thinking. How do we do this? First we write good literature, then we support each other to get to the next step whatever that may be, then we become great at spreading the message, and then we put pressure on the main publishing houses to begin promoting some of our great writers or we help other Latinos to start our own publishing houses and support each other. With so many millions of us in this world, we still continue to let “white” Americana tell us who we are.

I am optimistic though. I think that today we have so many Latinos who are successful, and hopefully with that it will cause some “reverse thinking” about who we are as a people overall. It is about not only loving our culture and our language and all that good stuff, but being smart enough to use it to our advantage and work together to get to the mainstream. If we don’t do this, then the future of Latino Lit will remain in the shadows as it does today.

Rich Villar: I would love for Latino Literature not to need to exist. I would love for the United States to begin implementing a pluralistic, multicultural vision of citizenship and for the stories of Latinos to simply take their natural place in the nation’s cultural conversation. Our numbers are, after all, expanding. But realistically, we live in a time when politicians are openly calling for our expulsion and exclusion from the nation. And people are actually taking them seriously. And so, a literature of resistance must emerge. A literature so undeniably good, and human, and innovative, and united, that it would serve as a collective shout and bulwark against our disappearances. If we receive “institutional” support for those efforts, if the mass media chooses to see us and feature us, I think we should welcome it. But if they don’t, or if they compromise us for simple visions of marketing dollars, I think it’s our responsibility to use as many new media and alternative models to support ourselves and demand our places, without permission or translation.

Chris Campanioni: I believe Latino lit—or at least Latino writers—will begin to get more representation, not only in the form of the year-end “best books of …” list, but also on the daily publication level. More editors of more magazines will be looking to publish Latino voices because they don’t have a choice. The quality of our writing, the diversity of our writing, and the sheer amount of Latino writers actively writing today will make the issue of lack of representation seem antiquated in five years. I think we might all agree, Latino writers have much bigger issues to tackle.

David Caleb: I want the literature of my country to head towards uncharted horizons. As a personal project, I am training students in non-fiction queer writing, in order to rescue the history of our island’s queer community, its struggles, its literature, art, music, political activism, and general history and culture. I am also training pansexual and lesbian female writers who will bear the torch in that particular niche. I want a future where every single genre is represented in the island. But more importantly, I want an island of readers. We will rescue and create readership.

Isandra Collazo: This may be a risky answer. But just like Puerto Ricans have been able to stand out worldwide in music, sports, art, cuisine, I guess would also like to see best-selling Puerto Rican authors on the New York Times best-seller list, in genres like fantasy and SciFi, romance, erotica, and fiction in general but perhaps less on the political subject, less colonial status discussion, and less of the past. I want to jump out of la carreta and get on a space ship, looking to the future. I’m not saying those subjects don’t matter, they are our daily bread. But I suppose I want Puerto Rican writers to be known for their creativity and incredible, explosive imagination, fantastic worlds and unforgettable characters, not just deep research.

A friend of mine who is an Assyrian artist told me that cultural or historical pride was meaningless if one didn’t create something. In other words, what’s the point of shouting, “Yo soy boricua, pa’ que tu lo sepas” (I am Puerto Rican, just so you know!) if I can’t add anything else to it? I understand we are on an eternal search for identity (I am, always!) but as a Puerto Rican writer, I want to put my Puerto Ricanness on diverse scenarios and worlds, not leave it in the comfort zone or where it feels at home.

—by Jonathan Marcantoni

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Jonathan Marcantoni

Jonathan Marcantoni is a Puerto Rican novelist and former Editor in Chief of Aignos Publishing. His books Traveler’s Rest, The Feast of San Sebastian, and Kings of 7th Avenue deal with issues of identity and corruption in both the Puerto Rican diaspora and on the island. Along with his solo novels, he also co-wrote, with Jean Blasiar, the WWII-fantasy Communion. He is co-founder (with Chris Campanioni) of the YouNiversity Project, which mentors new writers. His work has been featured in the magazines Warscapes, Across the Margin, Minor Literature[s], and the news outlet Latino Rebels.  He has been featured in articles in the Huffington Post, El Nuevo Día (Puerto Rico), El Post Antillano, and the Los Angeles Times. He has also appeared in several radio programs, including NPR’s Fronteras series, Show Biz Weekly with Taylor Kelsaw, Nuestra Palabra: Latino Writers Have Their Say, The Jordan Journal, Boricuas of the World Social Club, and Wordier than Thou. He holds a BA in Spanish Studies from the University of Tampa and an MH in Creative Writing from Tiffin University. He lives in Colorado Springs.


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David Caleb Acevedo
(San Juan, 1980). Writer, painter and translator. His books include Desongberd, Cielos negros, Diario de una puta humilde, and Hustler Rave XXX: Poetry of the Eternal Survivor. He is pansexual and lives with his husband and three adorable cats.

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chrisChris Campanioni‘s “Billboards” poem that responded to Latino stereotypes and mutable—and often muted—identity in the fashion world was awarded the 2013 Academy of American Poets Prize, and his novel Going Down was selected as Best First Book at the 2014 International Latino Book Awards. He edits PANK and lives in Brooklyn. Embrace the Death of Art.

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corina-chaudhryCorina Martinez Chaudhry was born in New Mexico but has lived in California most of her life. She grew up in the San Joaquin Valley throughout her high school years, but then made the transition to Southern California where she now resides. Her maternal grandparents were from Chihuahua, Mexico; however, her grandmother was half Basque (Spanish/French). Her paternal grandparents were of Mexican and Native American descent. She graduated from Vanguard University Magna Cum Laude with a bachelor’s degree in business and a minor in English. In addition, she has completed a Water program through the California State University of Sacramento, alongside a Management Certification Program through Pepperdine University, and currently manages The Latino Author Website.

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Nelson DenisNelson Denis is the author of War Against All Puerto Ricans (Nation Books, 2015). He served as a New York State Assemblyman, and was the editorial director of El Diario/La Prensa in New York City.  His screenplays have won NYFA and NYSCA awards, and his editorials received the “Best Editorial Writing” Award from the National Association of Hispanic Journalists.

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isandraI.C. Rivera is an enthusiast of travel, international cuisine and everything exotic. She’s passionate about humanitarian work, and often volunteers at shelters and facilities for asylum seekers. Through her literary work, she aims to raise awareness on different social issues, by writing intriguing and exciting novels with a multicultural flavor.

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ricardoRicardo Félix Rodríguez  (Sonora, México 1975). Writer and psychologyst. His books include The surreal adventures of Dr. Mingus, Asgard: a Saga dos nove reinos, There is No Cholera in Zimbabwe, and The Other Side of the Screen (contemporary writers of Poland).

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charlieCharlie Vázquez is an author and the director of the Bronx Writers Center. He served as New York City coordinator for Puerto Rico’s Festival de la Palabra for three years and has just completed his third novel.

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richRich Villar is a writer, performer, editor, activist, and educator originally from Paterson, New Jersey. His first collection of poems, Comprehending Forever (Willow Books), was a finalist for the 2015 International Latino Book Award. He maintains his personal blog at literatiboricua.com and is a contributor to Latino Rebels and Sofrito For Your Soul.

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Apr 042016
 

Donald Trump collage

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The Second Coming

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

— W. B. Yeats

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CONTENTS

INTRODUCTION
The Perennial Relevance of “The Second Coming”

PART ONE
The Poem as Response and Anticipation

I. Vexed to Nightmare: The Financial Crisis; the Iraq War; the Rise of ISIS
II. A Vast Image: From Political Genesis to Archetypal Symbolism

PART TWO
Things Fall Apart, Contemporary Crises, 2003-2016

III. Mere Anarchy: Polarization at Home; the Challenges of ISIS and Syrian Immigration
IV. Things Fall Apart: The American and European Political Center Threatened
V. What Rough Beast?: Can (Should) the American Center Hold?

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INTRODUCTION

In his 2016 foreword to the 20th anniversary edition of Infinite Jest, novelist Tom Bissell asks how it is that, two decades after its publication and almost eight years after its author’s suicide, David Foster Wallace’s complex and groundbreaking fiction, though “very much a novel of its time,…still feels so transcendentally, electrically alive?” Wallace himself, as Bissell notes, “understood the paradox of attempting to write fiction that spoke to posterity and a contemporary audience with equal force.” In a critical essay written while he was at work on Infinite Jest, Wallace referred to the “oracular foresight” of writers such as Don DeLillo, whose best novels address their contemporary audience like “a shouting desert prophet while laying out for posterity the coldly amused analysis of some long-dead professor emeritus.” But in the case of those lacking DeLillo’s observational powers, Wallace continued, the “deployment” of, say, contemporary pop-culture “compromises fiction’s seriousness by dating it out of the Platonic Always where it ought to reside.” This observation demonstrates the usual disconnect between Wallace’s lucid critical prose and the enigmatic, multi-layered, funhouse of his fiction. For ought is not is. As Bissell observes, Infinite Jest “rarely seems as though it resides within this Platonic Always, which Wallace rejected in any event.”

Infinite Jest, as its Shakespearean title confirms, is the work of a modern Yorick, a man acutely aware of the contemporary world, especially of the play-element in culture. And yet it is “infinite,” a novel transcendent both in its linguistic exuberance (language being Wallace’s only religion) and in terms of its ambition to express “everything about everything,” even if we are left, 20 years later, still unable to “agree [as] to what this novel means, or what exactly it was trying to say.”

Unlike Wallace, W. B. Yeats did believe in the “Platonic Always”: in that “Translunar Paradise” to which he had been initiated by his studies in the occult and by his later immersion in the Enneads of the Neoplatonist philosopher Plotinus. And yet Yeats could, in the same poem (“The Tower,” III) in which he evokes Translunar Paradise, “mock Plotinus’ thought/ And cry in Plato’s teeth.” For the antithetical tension that generated the power of Yeats’s poetry required allegiance as well to the things of this world. Even as he yearned for his heart to be consumed in spiritual fire and gathered “into the artifice of eternity,” he remained “caught in that sensual music,” the very fuel that fed the transcendent flame. These antitheses (cited here from “Sailing to Byzantium”) play out in all those dialectical poems leading up to and away from the central “A Dialogue of Self and Soul” (1927).

In the case of Yeats’s apocalyptic poem “The Second Coming,” written eight years earlier, the “Platonic Always” is present in the poem’s archetypal symbolism: that of a bestial image rising up in the desert. The vision is at once concrete and sublimely vague: timeless, universal, transcendent. Its genesis, however, was thick with particulars. In the process of revision, Yeats deleted (aside from “Bethlehem”) all specific references; but examination of the poem’s drafts reveals that Yeats’s symbolism and apocalyptic prophecy were rooted in his response to contemporary events. In registering details of the moment in time in which he was writing, the immediate aftermath of the First World War, the drafts reveal a poet looking back, into earlier history, and ahead, to our own time, with what David Foster Wallace called “oracular foresight,” and birthing a beast that, a century later,  “still feels…transcendently, electrically alive.”

Written almost a century ago, “The Second Coming” has emerged as the prophetic text of our time, uncannily and permanently “relevant.” The best-known poem by the major poet of the twentieth century, it has become something of a requiem for that century, now carried over into the first decades of the twenty-first. That “The Second Coming” is the most frequently-quoted of all modern poems testifies to its remarkable applicability to any and all crises—not only to the Communist Revolution to which Yeats was initially responding when he wrote the poem in 1919, and to the rise of Nazism, which, almost twenty years later, prompted Yeats to quote his own poem; but to the domestic and international crises we ourselves face in 2016, a crucial election year.

A decade ago, “The Second Coming” was often cited in connection with the Iraq War. The 2007 Brookings Institute report on Iraq was titled “Things Fall Apart”; the following year, Representative Jim McDermott called his House speech demanding a strategic plan for Iraq “The Center Cannot Hold.” These days, the disintegrating “center” evokes the polarization of American politics, or the European economic and migration crises, while Yeats’s slouching “beast,” its “hour come round at last,” portends current eruptions in the Middle East, especially the specter of ISIS rising up in the desert and its exportation of terror within and beyond the region. In addition to substantial ISIS-claimed or ISIS-inspired attacks in Egypt, Yemen, Libya, Turkey, Tunisia, Afghanistan, Saudi Arabia, Kuwait, and Lebanon, European jihadists inspired by ISIS have launched large-scale attacks in France and Belgium. At the moment I am writing, March 28, 2016, there are threats of further, and imminent, attacks on European targets. As noted at the end of Chapter I, ISIS jihadists have announced that Paris and Brussels are “just the beginning of your nightmare,” and that networks already positioned in Europe are ready to unleash “a wave of bloodshed.”  Are “Mere anarchy” and Yeats’s “blood-dimmed tide” about to be “loosed”?  And the fearful prospect of radioactive materials in the hands of radical jihadists is now no longer a nightmare but an approaching certainty.

At home, as the survivors of an increasingly sordid and embarrassing primary campaign, the two remaining principal contenders for the Republican presidential nomination out-bellow each other, each boasting, based on zero experience in foreign or military affairs, that he and he alone is the man needed to utterly defeat and destroy ISIS. Listening to simplistic Donald Trump and Ted Cruz, one is reminded of Pauline Kael’s devastating synopsis of John Wayne’s 1955 anti-Communist propaganda movie Blood Alley: “Duke takes on Red China—no contest.” One way or the other, a rough beast is slouching to the Republican convention in Cleveland.

Such Yeatsian allusions have, of course, become commonplace. In accounting for the extraordinary power and perennial relevance of “The Second Coming,” I will illustrate its near-ubiquity and show how Yeats’s revisions of his original (historically-specific) manuscripts universalized the final poem, making it, oracle-like, applicable to all crises, our own included.

 ↑ return to Contents

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PART ONE: THE POEM AS RESPONSE AND ANTICIPATION

I. Vexed to Nightmare: The Financial Crisis; the Iraq War; the Rise of ISIS

The genesis of “The Second Coming” is to be located in Yeats’s troubled response to contemporary history, specifically, the European political and economic crises attending the immediate aftermath of the First World War. As I noted in an essay published four years ago in Numéro Cinq, the genesis of my own thoughts on the poem’s timelessness, as an ode for all seasons, was my observation—nearing the tenth anniversary of 9/11—of the remarkable frequency with which “The Second Coming” was being applied—in magazines, newspapers, and blogs—to almost every contemporary crisis or division, foreign and domestic.  Centers weren’t holding, conviction was lacking, passionate intensity defined the worst, and rough beasts seemed to be slouching in every direction. It was an old story.

Yeats’s poem in general, and its ominous yet expectant final line in particular, provided, back in 1968, the title for Joan Didion’s “Slouching Towards Bethlehem,” and the iconic collection of the same title. The essay describes an outer and inner de-centering: the ’60s druggy counterculture and the author’s own disintegration as a result of her immersion in the ethos initiated by Haight-Ashbury. The collection as a whole dramatizes the breakdown of order and civility when rough beasts slouch to Los Angeles and New York City. That line continues to inspire allusions. While some found comic relief in Slouching Towards Kalamazoo (the ’60s novel by Peter and Derek de Vries), that judgmental judge, conservative legal scholar Robert H. Bork, titled his grim 2003 projection of an America in cultural and moral decline Slouching Towards Gomorrah. The great Nigerian novelist Chinua Achebe, echoing Yeats’s poem (its first four lines appear as the epigraph), titled his 1958 elegy over the breakdown of Igbo culture Things Fall Apart. In our own contemporary Culture Wars, things continue to fall apart, with communal decency ruptured, on both sides, by political ideology.

Surveying the decline in the quality and civility of specifically conservative discourse, New York Times columnist Ross Douthat, himself a conservative, alluded to Yeats’s poem in observing: “It’s a climate in which the best often seem to lack a platform commensurate to their gifts, while the passionate intensity of the worst finds a wide and growing audience.” Rush Limbaugh, who repeatedly moralizes, though with none of Judge Bork’s civility, comes to mind. Notable among Limbaugh’s many pontificating violations of taste and decency was his public branding of a Georgetown law student (an advocate for women’s health issues seeking inclusion of contraception in her college’s insurance coverage) as a “slut” and “prostitute.” That was in 2012, three years before Donald Trump, out-Rushing Limbaugh, found his wide and growing audience.

That famous line made even more famous by Achebe—“Things fall apart; the centre cannot hold”—has also been aptly applied to the European debt crisis, and its threat to the world economy. In 1919, when he wrote the poem, Yeats was looking out at a postwar Europe torn apart by crippled economies and various national revolutions. Though today we have a “European Union,” it is, economically and demographically, gravely imperiled. Complete financial collapse has been averted by cheap loans from the European Central Bank, and the actions of German Chancellor Angela Merkel (Time Magazine’s 2015 “Person of the Year”). But failure to resolve the underlying problem of the inefficient economic policies of the most indebted nations (Greece, Italy, Spain, and Portugal) means that we may still face the prospect of what some prominent economists were envisaging—to cite the blood-red cover and banner headline of the August 22, 2011 issue of Time—as nothing less than “THE DECLINE AND FALL OF EUROPE (AND MAYBE THE WEST).”

The cover article itself, titled “The End of Europe,” following in the line of Kenneth Rogoff and Carmen Reinhart’s 2009 history of sovereign debt, This Time is Different, noted that Europe was not experiencing a typical, correctable recession or even facing “a double-dip Great Recession.” Rather, wrote Rana Foroohar, “the West is going through something more profound: a second [post-1929] Great Contraction of growth,” with investors “suddenly wary that the European center is not going to hold.”  Doubling down on that allusion to Yeats, Foroohar began her lead article in Time’s October 10 “special issue” on the economy: “If there is a poem for this moment, it is surely W. B. Yeats’s dark classic ‘The Second Coming’.” She compared what the poet faced in 1919—“the darkness and uncertainty of Europe in the aftermath of a horrific war”—with the current situation. After quoting the poem’s opening movement, and connecting the “centre cannot  hold” with the “shrinking” of “the middle class,” Forohoor observed of the poem as a whole,  “It’s hard to imagine a more eloquent description of our own bearish age.” Christine Lagarde, head of the IMF, saw, even after emergency help, “dark storm clouds looming on the horizon.” The resistance to the austerity pushed by Merkel and the stubborn lack of growth had led to violence in the streets and to the emergence of extremist, fringe parties. Coupled with Muslim immigration and the rise of Islamic extremism, that trend has since continued and intensified: in France, Poland, even in Germany, with the emergence of revanchist and authoritarian parties. Politically as well as economically, it would seem, “the center cannot hold.”

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Shifting from Europe to the Greater Middle East and beyond, the crises have also intensified, with responses to them participating, rhetorically, in the same pattern: the compulsion to return in times of turmoil to the resonant images of “The Second Coming.” Over the past three years, the poem has been repeatedly quoted in regard to the increasing instability of the international order. Though not the first to consider Yeats’s lines uniquely relevant to their own time, we have a better claim than most. The poem’s opening movement, posted on the website Sapere Aude!, was singled out as the “best description” we have of “the dismal state the world is in right now.” Stephen M. Walt, Professor of International Relations at Harvard, responded to the dangerous “crumbling” of the old “international order” by quoting the whole of “The Second Coming,” a poem that “seems uncannily relevant whenever we enter a turbulent period of global politics.” He concluded “A Little Doom and Gloom” (his sweeping survey of crises in Europe, the Middle East, Iran, and Asia) on a note of foreboding: “I hope I’m wrong, but I think I hear Yeats’s ‘rough beast’ slouching our way.”

Walt’s concerns resonate, and Rogoff and Reinhart may have been right; perhaps “this time” (for, as of March 2016, the European economic crisis is hardly resolved) is “different.” Or it may be that such projections as those sensationalized by that blood-dimmed Time cover were alarmist hyperbole—as charged by one sanguine respondent to the Time issue, who thought “our shifting economies” more likely to be “birth pangs of a new day.” Perhaps; indeed, Yeats’s eternal gyre can be read optimistically, though the birth pangs of his annunciatory rough beast suggest otherwise. When we consider the rise of ISIS and the metastasizing international threat presented by jihadist terrorism, along with Europe’s current immigration crisis, we may conclude that there may be even more terrifying doomsday scenarios in the future. Either way, Yeats’s “The Second Coming” will remain in attendance, ready to supply apt metaphors embodying our sense of an ending: the dying of one age, with another, yet unknown, “to be born.”

This talismanic poem’s projection of cyclical and violent rebirth in the form of a sphinx-like beast rising in the desert eerily foreshadows today’s Middle East, most dramatically, the rise of ISIS out of the wreckage of Syria and Iraq. The once hopeful Arab Spring has long since turned autumnal. Caught up in the region’s cross-current of sectarian, ethnic, and tribal tensions, overwhelmed by military elites and by long-suppressed but well-organized Islamists, the young rebels who actually initiated the Arab Awakening quickly became yesterday’s news. Revolutions devour their own children. History “Whirls out new right and wrong,/ Whirls in the old instead,” to quote Yeats’s “Nineteen Hundred and Nineteen,” a poem originally titled “The Things That Come Again.” As two Middle-East experts, Hussein Agha and Robert Malley, accurately predicted as early as September 2011: whatever the outcome of this struggle, “victory by the original protesters is almost certainly foreclosed.” And so it has turned out. Optimistic anticipations of beneficial change were shattered by what Agha and Malley called, perhaps echoing the Yeatsian widening gyre, “centrifugal forces” (“The Arab Counterrevolution”). Many in the chaotic Middle East are now, as various Islamic sects vie for power, and ISIS galvanizes jihadists, wondering what comes next—or, in Yeats’s stark image of expectation-reversal, what rough beast is slouching their way.

The long-sustained hostility has also intensified between Israel and the Palestinians, with the elusive two-state solution further away than it was when the UN partitioned Palestine 2/3rds of a century ago. That embittered stalemate is epitomized in the title of a recent book, Side by Side: Parallel Narratives of Israel-Palestine. In lieu of advancing any proposals to resolve the issue, the book offers, on facing pages, differing perspectives on the same events. The “sheer reciprocal incomprehension” in these parallel narratives, with “two sides locked in…a dialogue of the deaf,” reminded British journalist Geoffrey Wheatcroft of a famous phrase of Yeats (for once, not from “The Second Coming,” but from “Remorse for Intemperate Speech,” a poem written a dozen years later): “Great hatred, little room.”

Like many lines from “The Second Coming,” this phrase, too, applies throughout much of the Greater Middle East. In Syria, Bashar al-Assad, militarily propped up by Vladimir Putin, continues to barrel-bomb his own people, while we puzzle over how, now that one plan to arm the Syrian “moderate” opposition has ignominiously failed, we might prevent further carnage. In Afghanistan, what began as a justified attack on the Taliban sponsoring al Qaeda now seems a futile counter-insurgency: a struggle hampered by our putative “ally” in the region. Playing both sides in its own self-interest, Pakistan covertly supports the resurgent Taliban it originally created and funds extremist madrassas (now over 1,300) intended to displace Afghan state schools, where secular subjects are taught as well as religion. And Pakistan is itself an unstable nation, its nuclear arsenal partially dispersed and therefore vulnerable to seizure by its own Islamist radicals.

And then there is the nuclear game-playing of a truly paranoid regime. North Korea is already in possession of several nuclear weapons, and its erratic dictator, 33-year-old Kim Jong-un, has become increasingly provocative. North Korea’s nuclear bomb test in January was quickly followed by a rocket-launch, part of a project whose goal is to eventually mount a nuclear warhead on an intercontinental missile. The rocket was launched not only in violation of several UN Security Council resolutions, but even in defiance of the Hermit Kingdom’s powerful neighbor, China, the only nation thought to have the leverage to restrain its unpredictable ally. Apparently not; Kim Jong-un is spinning out of control, threatening, in March 2016, to aim nuclear missiles at Seoul and Washington. A propaganda video released the same month depicted a submarine-launched ballistic missile visiting nuclear devastation on the US capital.

There is a double threat involving Iran: the danger of that theocracy violating the recent accord by surreptitiously working to develop a nuclear weapon, and of the predictable and unpredictable ramifications of an Israeli and/or US preemptive strike. Should our policy be to prevent, to contain, or to attempt to destroy? This issue, politicized in this election year, has become as polarized as the Israeli-Palestinian conflict. And yet, unless the nuclear agreement works, unless reason on both sides prevails and the center holds, we may be careening into yet another, and potentially even more profoundly destabilizing, war in the Middle East.

In Iraq, we have ended our large-scale military presence after a war we should never have started. But in toppling Saddam Hussein, we rid Iraq of a brutal and megalomaniacal dictator whose tyrannical reign had at least one positive aspect: his repression of militant Islamists. As a result we have left behind not only an economically ravished country (35% of those fortunate enough to have survived Operation Iraqi Freedom live in abject poverty), but one divided along predictably sectarian lines. The discrimination against the ousted Sunnis, not yet redressed by Haider al-Abadi, who succeeded Nouri al-Maliki as Prime Minister in 2014, not only affects every aspect of life, but alienates (since they have little incentive to protect the Shiite government in Baghdad) the very Sunni fighters needed to resist ISIS.

The negative consequences of our misguided disbanding of Saddam’s Sunni army after its defeat in 2003 were compounded by our decision to back Maliki over secular Shiite Ayad Allawi, whose party won the March 2010 parliamentary elections, but fell two seats short of a majority. Maliki, pressured by Shiite Iran, broke his pledge to integrate the government and instead institutionalized the repression of the Sunnis. Obama was urged to cease supporting Maliki by, among others, Ali Khedery, who served as special assistant to five US ambassadors to Iraq and as a senior advisor to three CentCom commanders. Khedery concluded a 2014 opinion piece:

By looking the other way and unconditionally supporting and arming Maliki, President Obama has only lengthened and expanded the conflict that President Bush unwisely initiated. Iraq is now a failed state, and as countries across the Middle East fracture along ethno-sectarian lines, America is likely to emerge as one of the biggest losers of the new Sunni-Shiite war, with allies collapsing and radicals plotting another 9/11. (Washington Post, 3 July 2014)

Shortly after we initiated the Iraq War, a Syrian businessman, Raja Sidawi, a friend of Washington columnist and writer David Ignatius, offered a prescient observation. Ignatius cited it, somewhat skeptically, in his July 1, 2003 Washington Post column, “The Toll on American Innocence.” A dozen years later, in October, 2015, he reprised it; and its second coming—in a cover-piece in The Atlantic, “How ISIS Spread in the Middle East”—was far more somber. What Raja Sidawi told his American friend in June 2003 was this: “You are stuck. You have become a country of the Middle East. America will never change Iraq, but Iraq will change America.” Given his cultural and practical knowledge of the region, Sidawi’s remark may not quite match the oracular clairvoyance so many of us have found in Yeats’s “The Second Coming.” But it will do. We stormed into Iraq with “shock and awe”; and with hubris, a mixture of political duplicity and the American confidence of Innocents Abroad—“innocence” indistinguishable from ignorance. We changed; the region didn’t. The result: a variation on the old Sunni-Shiite war, “with allies collapsing and radicals plotting another 9/11.”

§

Principal among those plotting radicals, their brutal implementation of an apocalyptic theology flourishing in the implosion of Syria and Iraq, is of course the Islamic State: ISIL, or Da’esh, best known as ISIS. Confronted by the spectacle of ISIS, commentators from Left and Right, including experts on Islamist terrorism, turned in 2015 to Yeats’s “The Second Coming.”  In a Huffington Post piece titled “ISIL: The Second Coming,” composer Mohammed Fairouz, whose setting of Yeats’s poem premiered in New York City on March 10, applied his epigraph, “The best lack all conviction, while the worst/ Are full of passionate intensity,” to President Obama’s failure to confront barbarous ISIS early on. A June 2015 posting on a West Coast socialist website, titled “Iraq: ‘Things Fall Apart’,” cited the opening three lines of the poem, noting that Yeats “might have written today, and nowhere is this more true than in Iraq.” In a blog posted in August, a former liberal turned Neo-conservative announced, “Read this, and think of ISIS.” The “this” was the full text of “The Second Coming.” The poem had been haunting her, she reported, since 9/11, and “these days it seems more than ever that the rough beast is on the march.”

Between these two, in a July Wall Street Journal essay, “A Poet’s Apocalyptic Vision,” David Lehman, himself a poet, described “The Second Coming,” extrapolating from the moral anarchy of 1919, as a fearful pre-vision of our present anarchy. “If our age is apocalyptic in mood—and rife with doomsday scenarios, nuclear nightmares, religious fanatics, and suicidal terrorists—there may be no more chilling statement of our condition than” this poem, in which Yeats envisages no Christian “second coming,” but “a monstrosity, a ‘rough beast’ threatening violence commensurate with the human capacity for bloodletting.” The accompanying color illustration— a slouching leonine creature with light beaming from mouth and eyes—attempts to visually capture that “gaze blank and pitiless as the sun.” But the image, in this case, is a counter-example to the cliché that a picture is worth a thousand words, or even (if they are Yeats’s) seven words.

Lehman WSJ essay photo by Yao XiaoPhoto by Yao Xiao

After sketching its historical, psychological, and occult contexts, Lehman focuses on the text, celebrating the poem’s “metrical music,” “unexpected adjectives,” and such “oddly gripping” verbs as “slouches,” as well as Yeats’s “epigrammatic ability,” best exemplified in the last two lines of the opening stanza: “The best lack all conviction, while the worst/ Are full of passionate intensity.” The aphorism, says Lehman, retains its authority as both “observation” and “warning.” We may, he suggests (yielding to the irresistible impulse to specify politically), “think of the absence of backbone with which certain right-minded individuals met the threats of National Socialism in the 1930s and of Islamist terrorism in the new century.”  He concludes by recommending that we read the poem aloud to appreciate its “power as oratory,” and then ask ourselves which most “unsettles” us: “the monster slouching towards Bethlehem or the sad truth that the best of us don’t want to get involved, while the worst know no restraint in their pursuit of power?”

Lehman’s question is valid, despite his being unaware that Yeats, interpreting Marxism-Leninism as a second coming of the Jacobin Terror of the French Revolution, initially identified the “worst” with the Bolsheviks, perpetrators of such revolutionary crimes as the slaughter of the Russian royal family; while the putative “best” were vacillating European moderates and liberals who had failed to respond to, much less resist, revolutionary brutality. In its initial drafts, “The Second Coming” reflected Yeats’s response to the violence in Russia in light of the violence in France a dozen decades earlier. But in its final version, the poem also looks, almost clairvoyantly, ahead to the future. And even French and Russian revolutionary brutality can seem tame in comparison with the theologically inspired and politically intimidating barbarism of ISIS, with its mass rape and enslavement, beheadings and crucifixions, and its growing capacity to inspire and ignite terror attacks well beyond the borders of its Caliphate in Syria and Iraq. ISIS is also seeking radioactive materials. As in the past, “The Second Coming” is at hand to supply metaphors. In the final pages of  ISIS: The State of Terror, two noted experts on Islamist jihadism, Jessica Stern and J. M. Berger, quote “The Second Coming,” and then conclude:

It is hard to imagine a terrible avatar of passionate intensity more purified than ISIS. More than even al Qaeda, the first terror of the twenty-first century, ISIS exists as an outlet for the worst—the most base and horrific impulses of humanity, dressed in fanatic pretexts of religiosity that have been gutted of all nuance and complexity. And yet, if we lay claim to the role of “best,” then Yeats condemns us as well, and rightly so. It is difficult to detect a trace of conviction in the world’s attitude toward the Syrian civil war and the events that followed in Iraq….

The double point made by Stern and Berger epitomizes their theme as well as the current crisis, marked by the bloodlust and passionate intensity of the “worst,” and the lack of conviction the civilized world, the “best,” has thus far displayed in fully engaging this religiously inspired death cult. Reviewing this book, and two others on ISIS, Iraq specialist Steve Negus remarks that “only one quotes Yeats’s ‘The Second Coming,’ but the others must have been tempted” (New York Times Book Review, April 1, 2015). Negus was writing before the publication of the latest book-length study, counterterrorist expert Malcolm Nance’s Defeating ISIS: Who They Are, How They Fight, What They Believe (2016). He was also writing five months prior to the publication of perhaps the best of the bunch: The ISIS Apocalypse: The History, Strategy, and Doomsday Vision of the Islamic State, by William McCants. His deep knowledge of ISIS’s political strategy and apocalyptic theology reflects McCants’s immersion in primary Arabic sources. His good-news, bad-news conclusion is that ISIS will be defeated, but that its example will inspire future jihadists. McCants does not cite “The Second Coming.” However, given his richly informed apocalyptic emphasis, it seems safe to imagine that he, too, “must have been tempted.”

In the month I am writing, March 2016, US commandos killed the Finance Minister of ISIS, and, as a result of coalition bombing and Iraqi army advances, ISIS is losing some ground in Syria and Iraq. But even as its Caliphate contracts, ISIS is expanding—geographically into Libya and elsewhere, and exporting terror throughout the Middle East and Africa, and into the heart of an under-prepared Europe. Last November’s coordinated attacks in Paris, which took 130 lives, were replicated by members of the same Molenbeek-based Belgian cell in Brussels on March 22, when two brothers and a third suicide bomber slaughtered 31 and wounded almost 300. Hundreds of alienated European Muslims, radicalized and militarily trained by ISIS in Syria, are now back in Europe, organized in operational cadres. In a video released on March 25, two Belgian ISIS fighters warn that “This is just the beginning of your nightmare.” Promising more “dark days” ahead for all who would oppose them, the terrorists in command of ISIS have threatened that jihadists already positioned in Europe are prepared to unleash a “wave of bloodshed.” Once again, “Mere anarchy is loosed upon the world,/ The blood-dimmed tide is loosed.…”

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II. A Vast Image: From Political Genesis to Archetypal Symbolism

In accord with the mystery of the Sublime, Yeats’s sphinx-like beast slouching blank-eyed toward Bethlehem is a horror capable of many interpretations but limited to none, and, therefore, all the more terrifying. For that very reason, as I’ve just illustrated, “The Second Coming” is perennially relevant. Almost a century after the poem first appeared, pundits in books and essays, newspapers and magazines, routinely draw upon Yeats’s evocation of cultural disintegration and imminent violence, and lines from the poem (the whole poem, in Joni Mitchell’s 1991 riff) riddle popular culture, as we can see by consulting Nick Tabor’s recent compendium of dozens of pop-culture allusions, itself titled “No Slouch.”[1] More gravely, as part of our common crisis-vocabulary, we intone that “things fall apart”; that “the centre cannot hold”; that “the best lack all conviction, while the worst are full of passionate intensity”; that “the ceremony of innocence is drowned”; that we confront forces “blank and pitiless as the sun”; that one era, symbolized by a “widening gyre,” is ending and another imminent, signaled by the loosing of a “blood-dimmed tide” of “mere anarchy,” dreadfully attended by a  “rough beast” slouching towards Bethlehem to be born. How has the poem achieved this Bartlett’s-Familiar status?

sci fi collage

An Endless Source
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In addition to those already mentioned in the text, there are many titular allusions to “The Second Coming.” Canadian poet Linda Stitt considered calling her 2003 collection Lacking All Conviction, but chose instead another phrase for her title: Passionate Intensity, from the line of “The Second Coming” that immediately follows. Describing a very different kind of disintegration than that presented by Judge Bork in Slouching Towards Gomorrah, another law professor, Elyn R. Saks, called her 2007 account of a lifelong struggle with schizophrenia The Center Cannot Hold.
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Detective novels, crime fiction, and pop culture in general have drawn liberally on the language of “The Second Coming.” The second of Ronnie Airth’s Inspector John Madden novels is The Blood-Dimmed Tide (2007). H. R. Knight has Harry Houdini and Arthur Conan Doyle tracking down a demonic monster in Victorian London in his 2005 horror novel, What Rough Beast. Robert B. Parker called the tenth volume in his popular Spenser series The Widening Gyre. I refer in the first endnote to Kevin Smith’s Batman series appearing under that general title.
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Science fiction writers seem particularly addicted to language from “The Second Coming.” Among the episodes of Andromeda, the 2000-2005 Canadian-American sci-fi TV series, were two titled “The Widening Gyre” and “Its Hour Come Round at Last.” But the prize for multiple allusions goes to a project that originally appeared as a six-part e-book in 2006 (marking the 40th anniversary of the original Star Trek series). An omnibus edition, Star Trek: Mere Anarchy, was published in 2009. This “Complete Six-Part Saga” takes from Yeats more than its main title (also borrowed by Woody Allen for his 2007 collection of comedy pieces). All six of the individual novellas in Mere Anarchy (each by a different author) derive their titles from “The Second Coming”: Things Fall Apart, The Center Cannot Hold, Shadow of the Indignant, The Darkness Drops Again, The Blood-Dimmed Tide, and Its Hour Come Round.

A friend, Bill Nack, biographer of the great racehorse Secretariat and an informed reader of Yeats’s poetry, remarked of “The Second Coming” in a letter: “So many lines and images are written indelibly, chipped in stone on that wailing-wall we call the 20th, now the 21st century.” The poem is a mine of incisive and quotable phrases, from the opening movement’s bullet-point declarations (fusing metaphor and abstraction, chaos and order) to that final momentous question. The presentation is cinematic, with the “vast image” looming gradually, and dramatically, into focus:  a mere “shape,” then “lion body,” then “head of a man,” then a zooming in on the creature’s “gaze,” followed by a panning movement back out, since that gaze is “blank and pitiless as the sun.” In addition to the tensile strength of its unforgettable verbs (loosed, troubles, reel, vexed, slouches), the poem’s extraordinary power is attributable to its sources in the occult and the unconscious, its Egyptian and mythological reverberations, and, above all, its alteration of the Bible (Daniel, the gospels, Revelation), culminating in the shock value of the subversion of the Christian interpretation of the “second coming.” “The Second Coming! Hardly are those words out” than the poet envisages, not the return of Christ, but the advent of a sinister rough beast. Apparently moribund for two millennia, it is now, ominously and sexually, “moving its slow thighs,” while “all about it/ Reel shadows of the indignant desert birds.” Indignant because those circling scavengers had mistakenly thought the immobile creature mere carrion; but the beast, imperceptibly stirred into antithetical life by the rocking of Jesus’ cradle two thousand years earlier, is alive. Now, initiating a new cycle, it slouches, provocatively and precociously, towards that infant’s birthplace in order itself “to be born.”

But the poem’s universal relevance, its adaptability, is, above all, testimony to the success of Yeats’s method in revising the original manuscripts. Written in January 1919, first printed in The Dial in 1920, and collected the following year in Michael Robartes and the Dancer, “The Second Coming” had its sociopolitical roots, as the poet’s widow confirmed in the 1960s, in Yeats’s troubled response to the political situation in Europe in 1917-19. And the drafts of the poem, some of the pages preserved by his wife, reveal that Yeats’s apprehensions about the socialist revolutions in Germany, Italy, and, above all, Russia, during and immediately after World War I, were associated, as we’ve seen, with his reading of the Romantic poets and of Edmund Burke, and their responses to the French Revolution: what Shelley called “the master theme of the epoch in which we live.”

As earlier noted, Yeats initially identified the “worst” with the Bolsheviks, perpetrators of such revolutionary crimes as the slaughter of the Russian royal family; while the putative “best” were those who had failed to resist, eventually epitomized, for Yeats, by the British King, George V. As it happens, Kerensky’s Russian Provisional Government had initiated an offer of asylum, promising to send the Tsar and Tsarina and their children to England for safety: an offer rejected by the King (fearful of reaction from the British Labor Party), even though he was Nicholas’s cousin. This cowardice and violation of the family bond, not known to Yeats at the time he wrote “The Second Coming,” surfaced two decades later in “Crazy Jane on the Mountain,” where Yeats’s most famous and least inhibited female persona is revived to bitterly decry the fact that

A King had some beautiful cousins
But where are they gone?
Battered to death in a cellar,
And he stuck to his throne.

Family_Nicholas_II_of_Russia_ca._1914Tsar Nicholas II and family, ca. 1914 (via Wikimedia Commons)

But “The Second Coming” resonates far beyond that old atrocity. It looks back from the Bolshevik to the French Revolution, as filtered through Yeats’s reading of Edmund Burke and the Romantic poets.[2]

Yeats’s natural affinities were with his major poetic precursors, those permanent revolutionaries Blake and Shelley. But in his own political response to revolution, Yeats found himself closer to the great Anglo-Irish conservative statesman Burke, the chief intellectual opponent of the French Revolution and chivalric champion of the assaulted Marie Antoinette. He also found himself aligned with a former supporter of the Revolution (“Bliss was it in that dawn to be alive,/ But to be young was very heaven”): the largely if not completely disenchanted William Wordsworth. At this time, Yeats was reading the French Revolutionary books of Wordsworth’s Prelude as well as Burke’s Reflections on the Revolution in France. His own ambivalent response to catastrophe (horrified and yet strangely exultant), as projected in “The Second Coming,” registers the differing perspectives of Burke and the Romantics on the French Revolution, now refracted through the prism of what Yeats took to be its rebirth in Bolshevism.

An idiosyncratic yet often complex and even profound visionary, Yeats was as much a disciple of Nietzsche as of Blake and Shelley, and an occultist to boot. All of these influences, along with his conservative reverence of Swift, Burke, and of an idealized Anglo-Irish aristocracy, as well as his response to Wordsworth’s Prelude, converge in “The Second Coming,” as in its close relatives, “A Prayer for My Daughter” and the sequence “Nineteen Hundred and Nineteen.” All three reflect, along with the Great War and the Bolshevik Revolution, the beginning of the War of Independence in Ireland. And they all recapture Burke’s elegy over the fall of Marie Antoinette, and his premonition of “the glory of Europe…extinguished forever,” of “all…to be changed.” The sequence’s recurrent “nightmares” and the drowning of “the ceremony of  innocence” in “The Second Coming” echo Burke’s “massacre of innocents” (with the palace at Versailles “left swimming in blood”) and Wordsworth’s “ghastly visions” of “tyranny, and implements of death,/ And innocent victims,” in passages of The Prelude dramatizing his reaction to revolutionary massacre. Such echoes confirm Yeats’s juxtaposition of the excesses of the French Revolution with the postwar turmoil in which he was writing in 1919.

Deciphering Yeats’s handwriting and interpreting his associative connections, we can trace in the drafts of “The Second Coming” his linking of Burke’s lamentation over the assaulted Marie Antoinette with the spectacle of the Russian royal family, including the Tsarina Alexandra, “battered to death in a cellar” (as he would have Crazy Jane later put it). Yeats connects Bolshevik brutality with such French atrocities as the September Massacres and the Jacobin Terror—what, annotating Wordsworth, he characterized as “revolutionary crimes.” In the face of “unjust tribunals,” with admitted royalist “tyranny” replaced by “mob-bred anarchy,” Yeats laments that there’s “no Burke to cry aloud, no Pit[t]”—no one, that is, to “arraign revolution,” as Burke had in the Reflections and in later speeches and William Pitt in ministerial policy. In further noting that “the [G]ermans have now to Russia come,” Yeats seems to combine the 1917 military invasion of Russian territories with the decisive German role in spiriting Lenin, and thus Marxian Communism, into Russia. As a result: “There every day some innocent has died” in revolutionary purges epitomized by the Bolsheviks’ July 1918 slaughter of the Tsar, the Romanov children, and the Tsarina Alexandra: “this Marie Antoinette,” who “has more brutally died.” The crucial point is that, as he continued to revise, Yeats stripped “The Second Coming” of all these particularized references. What prompted him to do this? The drafts themselves offer intriguing clues.

Yeats handwriting collagePages from drafts of “The Second Coming”

Deciphering Yeats’s handwriting
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Despite the conjectures necessitated by the rapid scribbling of a man whose handwriting was maddeningly difficult to begin with, most of the specifics and the gist of what Yeats means are clear in this early draft (page 1., image above):
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Ever further h[aw]k flies outward
from the falconer’s hand. Scarcely
is armed tyranny fallen when
when this mob bred anarchy
takes its place. For this
Marie Antoinette has
more brutally died and no
Burke [has shook his] has an[swered]
with his voice, no pit [Pitt]
arraigns revolution. Surely the second
birth comes near—
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……….intellectual gyre is thesis to
The/ gyres grow wider and more wide]
The falcon cannot hear the falconer
The germans have now to Russia come
There every day some innocent has died
The [ ? ] comes to [?fawn]…[?murder]
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In other drafts (all Box 3, Folder 39, W. B. Yeats Collection, SUNY, Stony Brook), Yeats confirms his regret that there’s no Burke or Pitt to arraign Bolshevik crimes as they had French Revolutionary terrorism: “—no stroke upon the clock/ But ceremonious innocence is drowned/ While the mob fawns upon the murderer/ And there’s no Burke…nor Pitt….”; and, again, “there’s no Burke to cry aloud no Pit[t].” Astutely analyzing the drafts in 2001, Simona Vannini had no doubt about the coupling of French and Russian atrocities. But, resisting the “scholarly consensus” (she refers to Donald Torchiana, Jon Stallworthy, and myself), she doubts, based on the drafts alone, that Yeats intended an “explicit correspondence between the murder of the French and the Russian royal families.” But one does not live by the drafts alone.
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Finally, as slowly but surely as the rough beast itself, the poem as we know it begins to emerge (pages 2.-4., image above).

§

In the most dramatic of the visions induced in Yeats during some 1890 symbolic-card experiments with MacGregor Mathers (the head of Yeats’s occult Order, the Golden Dawn), the poet suddenly saw, as he records in an unpublished memoir, “a gigantic Negro raising up his head and shoulders among great stones”—a vision transmogrified, in the published Autobiographies, into “a desert and a Black Titan.” Even in this dramatic instance, Yeats continues, “sight came slowly, there was not that sudden miracle as if the darkness had been cut with a knife.” In the drafts of “The Second Coming,” groping for figurative language to introduce the mysterious moment immediately preceding the vision of the vast image rising up out of “sands of the desert” and “out of Spiritus Mundi,” Yeats first wrote: “Before the dark was cut as with a knife.” Whether examining the finished poem or the drafts, we are surely justified in locating one of the principal origins of the rough beast in Yeats’s occult experiments with MacGregor Mathers.

We may also have, in the cautionary example of Mathers himself, a key to Yeats’s abandonment, in the course of revision, of the historical figures and events specified in the drafts. Yeats found his occult friend’s apocalyptic imagination, “brooding upon war,” impressive when it remained “vague in outline.” It was when Mathers “attempted to make it definite,” that “nations and individuals seemed to change into the arbitrary symbols of his desires and fears.” Yeats was aware of the tendency of literalists and cranks to apply the obscure symbols of Revelation to the world-historical crisis of their own particular moment in time. This is what Mathers was in the habit of doing and what Yeats had initially done, as evidenced by the drafts of “The Second Coming.” Of course, it was what the Apocalyptist himself had done in producing a text that was less an inspired prophecy than a coded account of events happening at the time he was writing. But there was one clear prophecy. John insists, following Paul and Jesus himself, that the promised second coming was imminent. Implicit throughout Revelation, that prophecy is explicit and particularly resonant at the end, where John puts the premature parousia in Christ’s own mouth, “Surely, I am coming soon” (echoed by Yeats: “Surely the Second Coming is at hand…”), and concludes by intensifying the urgency in his own voice: “Come, Lord Jesus!” (22:20)

Less interested in correlating specific events with Revelation or in predicting the future than he was in artistically mining Revelation as a rich source of resonant symbolism, Yeats was particularly fascinated by sublime aspects of the apocalyptic Beast: simultaneously menacing, exciting, destructive, and potentially renovative. (In depicting the first coming of Christ, he had referred, in the turbulently sublime final line of his visionary poem “The Magi,” to “The uncontrollable mystery on the bestial floor.”) Above all, Yeats, as visionary, would have had no desire, by binding his prophecy to particular events, to make himself ridiculous—as had many biblical scholars, or MacGregor Mathers. That would be to succumb to what Alfred North Whitehead would later call (in one of Yeats’s favorite books, Science and the Modern World) “the fallacy of misplaced concreteness.”

St. Jerome, aware of the many strained, historically specific misreadings preceding his translation of the Bible, was content to revise previous commentaries on the Book of Revelation rather than venture one of his own. As he observed in a letter, “Revelation has as many mysteries as it does words.” The same might be said of the final version of “The Second Coming,” which retains Yeats’s own “desires and fears” without limiting those generalized (“abstract”) emotions to the specific (“concrete”) historical events that originally provoked them. That the beast slouches, in the single vestige of specificity, towards Bethlehem makes the creature a type of the Antichrist. But Yeats was hardly a conventional Christian pitting sectarian goodness against Satanic and bestial evil. In fact, while the final poem and title refer to Christ’s parousia, the original drafts repeatedly refer, not to the “second coming,” but to the “second birth,” echoing Wordsworth’s “nightmare” premonition in The Prelude that the “lamentable crimes” of the September Massacres were not the end of revolutionary violence in France, but a precursor of the far worse Terror to come: “The fear gone by/ Pressed on me like a fear to come…”

For the spent hurricane the air provides
As fierce a successor; the tide retreats
But to return out of its hiding-place
In the great deep; all things have second birth. (Prelude 10:71-93)

Wordsworth’s image of a malevolent and returning tidal sea may remind us not only of the loosing of “the blood-dimmed tide” in Yeats’s poem of “second birth,” but of another powerful, and no less apocalyptic, prophesy of  “coming” destruction. In Robert Frost’s 1926 couplet-sonnet, “Once By the Pacific,” the water is “shattered,” and “Great waves looked over others coming in,/ And thought of doing something to the shore/ That water never did to land before.” This is an unprecedented rather than repeated act of destruction, but its premeditated “thought” makes Frost’s ocean even worse than Yeats’s “murderous innocence of the sea” (in “A Prayer for My Daughter,” where revolutionary violence takes the form of “sea-wind…/ Bred on the Atlantic”). Though Frost’s shore “was lucky in being backed by cliff,/ The cliff in being backed by continent,” the sea seems backed by God himself, whose creative fiat in Genesis, “Let there be light,” is soon to be superseded by his apocalyptic extinction of light:

It looked as if a night of dark intent
Was coming, and not only a night, an age.
Someone had better be prepared for rage.
There would be more than ocean-water broken
Before God’s last Put out the Light was spoken.[3]

In that final line, Frost moves from Genesis (1.3) to the Book of Revelation (21:1). In reversing Christian expectation (in Matthew 24 and Revelation), the poet of “The Second Coming” echoes the whole of the Prelude passage, which ends with Wordsworth returning to Paris, scene of the worst atrocities of the September Massacres, to find the place “unfit for the repose of night,/ Defenceless as a wood where tigers roam.”[4] Yeats’s “strong enchanter,” Nietzsche, author of The Antichrist, invoked a Dionysian and eternally recurrent “savage cruel beast”: an eruptive force incapable of being “mortified” by what he called, in Beyond Good and Evil, these “more humane ages.” Unsurprisingly, since Yeats believed that “Nietzsche completes Blake, and has the same roots,” and that “Nietzsche’s thought flows always, though with an even more violent current, in the bed Blake’s thought has worn,” Nietzsche’s beast (first trotted out in Yeats’s 1903 play Where There is Nothing) later resonated in his archetypal mind with Blake’s Tyger and his half-bestial Nebuchadnezzar, slouching on all fours (as in Daniel 4:31-33) on Plate 24 of The Marriage of Heaven and Hell.

William Blake Nebuchadnezzar (Tate copy)Nebuchadnezzar by William Blake (via Wikimedia Commons)

The Rough Beast
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The vast image or animated sphinx “out of Spiritus Mundi” has many “sources.” It can be traced back to the most dramatic of the mental images induced in Yeats during the symbolic-card experiments he conducted in 1890 with MacGregor Mathers, the dominant figure in the occult Order of the Golden Dawn. In his most memorable vision, Yeats saw a “Black Titan” rising up ominously from the desert sands. Other components are drawn from Shelley’s stony pharaoh Ozymandias (his wrecked statue almost lost among the “lone and level sands”) as well as from his Demogorgon (in Prometheus Unbound): a nightmare denizen, along with the “rough beast” of “The Second Coming,” of the mysterious “Thirteenth Cone” in Yeats’s occult book, A Vision.
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Around 1902, Yeats “began to imagine” a brazen winged beast “afterwards described in my poem ‘The Second Coming’.” In that same year, in his uncanonical play Where There is Nothing, he envisaged a laughing, destructive beast resembling the eternally recurrent “savage cruel beast” of Nietzsche: a Dionysian, libidinal, eruptive force incapable of being “mortified” by what Yeats’s “strong enchanter” called (in Beyond Good and Evil) these “more humane ages.”
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In perhaps the most momentous of his imaginative fusions, Yeats believed that “Nietzsche completes Blake and has the same roots,” and that Nietzschean thought “flows always, though with an even more violent current, in the bed Blake’s thought has worn.” The rough beast of “The Second Coming” can be seen as a fusion of Nietzsche’s savage cruel beast with (along with the dragons of Revelation and of comparative mythology) aspects of Blake’s Urizen, his Tyger, and his bestial Nebuchadnezzar, crawling on all fours at the conclusion of The Marriage of Heaven and Hell.
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In the 1795 color print reproduced here, Blake returned to the image he had engraved on the final plate of The Marriage. In Daniel 4:33, the Babylonian king, cursed and “driven from men,” ate “the grass as oxen”; his hair “grew like eagles’ feathers, and his nails like birds’ claws.” Blake’s Nebuchadnezzar, his mind darkened, stares, unseeing, directly at us. Though his “gaze” is as “blank” as that of Yeats’s “rough beast,” Blake’s king is more terrified than terrifying. But his bestiality and slouching posture is likely to have contributed to the composite beast of “The Second Coming.”

All precursors of the “rough beast.”  But Yeats’s response to French revolutionary violence, and its rebirth, was at least as powerfully influenced by the bestial imagery and conservative politics of Edmund Burke. For conservative Yeats, the September Massacres and French Reign of Terror foreshadowed the emergence in Bolshevik Russia of that “Marxian criterion of values” he described in a letter of April 1919 as “in this age the spearhead of materialism and leading to inevitable murder”: the same inevitability Burke had early and uncannily prophesied in 1790. In terms of imagery, attitude, and actual verbal details, “The Second Coming” would be a very different poem if it had not had precisely this twin historical genesis. Finally, however, the poem, in its final, published text, is not “about” either the French or the Russian Revolution.

Nor is it about the National Socialist revolution. Many readers have taken it that way, citing a 1936 letter in which Yeats, refusing to politicize the Nobel Prize by recommending a German dissident writer, also condemned Nazism, quoting the most Burkean line in the poem as evidence that he was not “callous”: “every nerve trembles with horror at what is happening in Europe, ‘the ceremony of innocence is drowned’.” While Hitler, with the help of Goebbels, read himself positively into the Book of Revelation, as a secular Aryan Messiah and initiator of the thousand-year Third Reich, Yeats, though a man of the Right, saw the Führer as a type of the apocalyptic beast. In applying to Nazism and the threat of a second world war an image he drew from Burke and applied to the First World War and the threat of Jacobinism reborn as Marxist-Leninist Communism, Yeats was being neither hypocritical nor intentionally misleading. Indeed, he was participating in a tradition of allusion that goes on to this day. And justifiably. For if “The Second Coming” were “about” any one of these historical cataclysms, it could hardly accommodate, as it does, all of them.

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No less a figure than Goethe has said that to be fully understood, works of art must, to some extent, “be caught in their genesis.” The manuscripts of “The Second Coming” serve a legitimate purpose in revealing the original historical counterparts of what became a universalized prophecy of an unleashing upon the world of anarchy and blood-drenched violence. The speaker has had an apocalyptic vision, a “lifting of the veil” (the Greek meaning of Apokalypsis) and the disclosure of something hidden from the rest of us. But when “the darkness drops again” over the manuscripts, as it should, we are left  with what really matters—the public text of the poem, freed of the umbilical cord attaching it to its genesis, and thus  limiting its evocative power.

If, in studying any poem, particularly one responding to contemporary events, we were to focus unduly on generative intention, and on the immediate context of its creation, the poem would inevitably dwindle in meaning and impact as that particular moment receded. Yeats’s realization of this explains his deletion, in revising “The Second Coming,” of specific historical details. In Waiting for Godot, Yeats’s fellow Irishman and fellow Nobel Prize winner, Samuel Beckett, achieved symbolic resonance by avoiding all overt reference to the historical-political matrix of the play: the German Occupation and French Resistance. Similarly, by cancelling allusions to the Irish situation and all specific references to past and contemporary revolutions, to Burke, Marie Antoinette, Pitt, Germany, and Russia, Yeats liberated his poem from those localized events destined to be assimilated like so many grains of sand in the desert of time. As an anti-Marxist, Yeats would have enjoyed the effect, since it is Marxist critics above all who have been disturbed by the autonomy of works of art, by their capacity to outlive their particular hour—what Geoffrey Hartmann has memorably called art’s “aristocratic resistance to the tooth of time.”

Insistent that the power of his images derived in part from their roots, Yeats declared in “The Circus Animals’ Desertion,” one of his late retrospective poems: “Those masterful images because complete/ Grew in pure mind, but out of what began?” As we’ve seen, “The Second Coming” arose out of two sources, particular and universal. The specific events that provided its initial stimulus helped to shape the final poem. But Yeats, who was, like Carl Jung, fascinated not only by the occult but by alchemy, knew what he was doing when he transmuted the base metals of his historical minute particulars into the poetic gold of universally resonant archetypes. The archetypal symbols he received, or evoked, especially that mysterious and bestial “vast image” taking form “somewhere in sands of the desert,” came, he asserts, “out of Spiritus Mundi”: out of the World Soul that Jung—who reported strange beasts troubling the dreams of his own patients during the First World War—called the Collective Unconscious. That storehouse of archetypes causes universal symbols to arise in individual minds. But if the symbols in “The Second Coming” reflect Yeats’s own immersion in what he called the “Great Memory,” it is also, since each mind is linked to it, our Unconscious as well. In the dialectic of Yeats’s symbolic poems, myth is personal and experience is mythologized. In a similar reciprocity, allusions to “The Second Coming” register individual responses to current crises, contemporary forebodings which, simultaneously, resonate with eternally recurrent archetypes transformed by a great poet into “masterful images.”

“The Second Coming” obviously and dramatically transcends the minutiae of its origins. But it is one thing to simply be general and abstract, quite another to universalize after having delved deeply into, and worked through, materials that are concrete and specific. The method of Yeats—who always insisted that “mythology” be “rooted in the earth,” that we must delve “down, as it were, into some fibrous darkness”—falls into this second category. Influenced, as was Joyce, by the cyclical philosophy of Giambattista Vico, Yeats agreed with Vico that “Metaphysics abstracts the mind from the senses; the poetic faculty must submerge the whole mind in the senses. Metaphysics soars up to the universal; the poetic faculty must plunge deep into particulars” (Scienza Nuova, 1725). Yeats has it both ways in “The Second Coming.” The specific details of the poem’s political genesis have been buried; but the poet’s rooting of his fears and cryptic prophecy in contemporary history—significant soil enriched by the conflicting responses of Burke and Wordsworth, Blake and Shelley, to the great upheaval of their era—surely contributed to the unique power of a disturbing poem whose universalized vision of violent transformation haunted the rest of the twentieth century, and shows every sign of haunting ours. Without that rooting in Viconian and Blakean “particulars,” idiosyncratic theories and his obsession with what Joyce mockingly called Yeats’s “gygantogyres” could easily have produced oracular bombast that would be truly “callous” and shapelessly rather than sublimely vague.

What we have instead is a poem in which Yeats has it several ways at once. The seer casts a cold eye on the whirling of gyres beyond our control, yet seems, at least in part, excited by the rebirth of cyclical energy. But the note of boredom-relieving anticipation detectable in “its hour come round at last” is offset, not only by the elegiac Burkean music of the opening movement, but by the poem’s deepest tonality. For the real surprise, trumping the Nietzschean irony that this “second coming” will take a very different “shape” than that expected by naïve, optimistic Christians, is that Yeats’s own expectation will be exposed as a pipe dream. We must trust the tale and not the teller. For the poem itself, less aloofly visionary than human, suggests that the antithetical era being ushered in will not assume the hopeful form of the Nietzschean-aristocratic civilization welcomed (“Why should we resist?”) in Yeats’s long note to the poem. Instead, the newborn age is likely to take the chaotic shape prefigured by its brutal engendering. With that deeper insight, that peripeteia or sudden plot-change and readjustment of apocalyptic expectation, both the theoretician and the cold-eyed oracle in Yeats yield to the poet and man whose vision of the beast truly “troubles my sight.” This troubled vision is also rooted in apocalyptic literature. Yeats is doubtless recalling the response of the prophet Daniel (two hundred years before an echoing John of Patmos) to the final and most “terrifying and dreadful” of the “four great beasts” he sees in a dream: “my spirit was troubled within me, and the vision in my head terrified me….I was dismayed by the vision and did not understand it” (Daniel 7:19-20, 8:15-27; cf. Revelation 13:7).

Yeats’s dramatic plot-change, foreshadowed in the poem’s drafts, is reflected in his final punctuation. Violating the grammatical logic of its own peroration, “The Second Coming” ends in a question, leaving us with an open, apprehensive, awestruck glimpse of imminent apocalypse, or transformation, or the loosing of a blood-dimmed tide of terror that may constitute (to again quote Shelley on the French Revolution) “the master-theme” of the post-9/11 “epoch in which we live.” Yeats was even more honest when, in the drafts of the poem, he explicitly acknowledged that whatever gnosis was involved was not his, but the beast’s: “And now at last knowing its hour come round/ It has set out for Bethlehem to be born.” In the poem as published, we are left with human uncertainty rather than prophetic certitude. The syntactical and vatic momentum that follows “but now I know…” is retained, and yet the poet ends, as Daniel had, with a cryptic, troubling vision he “did not understand,” and therefore with a genuine question: the mark of interrogation that always, according to the unknown Greek author of the great treatise On the Sublime, attends that mystery.

Peering into the dark forward and abysm of time, their sight “troubled,” readers of Yeats’s poem are easily persuaded that something ominous is afoot. But we are left wondering which of our own current crises might emerge as no less transformative than the events Yeats was responding to in the manuscript-drafts of “The Second Coming,” specifically his connection of 1919 with the bloodshed following 1789. As those drafts reveal, Yeats was paralleling the two most momentous events in the history of the modern Western world: the French Revolution, and its blood-dimmed aftermath, with the First World War and its various sequelae. The consequences of the Great War include the global influenza pandemic that swept away at least 10 million more people than the 37 million fighters and civilians lost in the war itself, as well as the slicing of the modern Middle East out of the rotting carcass of the Ottoman Empire. Before the 1921 Cairo Conference, which created, ex nihilo, Iraq, Saudi Arabia, and Syria, John Maynard Keynes warned the man who had presided over this division, British Colonial Secretary Winston Churchill: “If you cut up the map of the Middle East with a pair of scissors you will still be fighting wars there in a hundred years’ time.”  Five years from that centennial, Keynes seems no less prophetic, and rather more specific, than the poet who envisaged anarchic disintegration and a beast rising from “somewhere in sands of the desert.”

Though excised by the poet, and partially erased from our collective memory by a historical flood bringing even greater calamities, those World War I-related events sowed the seeds of much that followed. Even Yeats’s stress, in the manuscripts, on the execution of the French queen and its repetition in the massacre of the Russian royal family, were not idiosyncratic choices. Whatever one thinks of Yeats’s politics or of the hapless Romanov dynasty, Yeats was not simply—in Tom Paine’s trenchant critique of Burke’s tear-stained apostrophe to Marie Antoinette—“pitying the plumage while forgetting the dying bird.” Alexandra (“this Marie Antoinette” who has “more brutally died”) was battered and shot to death with her husband and children in the “House of Special Purpose” in Ekaterinburg. Though there was no signed order, the ultimate decision was Lenin’s. Those murders marked a pivotal moment when—in the summation of historian Richard Pipes in his magisterial The Russian Revolution—history made a turn toward genocide, when human beings were placed on a list of expendables and the world entered “an entirely new moral realm.”

Yeats sensed this seismic change and registered it in the drafts from which “The Second Coming” evolved—though he saw it not as “an entirely new” moral phenomenon but as a “second birth” of revolutionary massacre. The execution of the Russian royal family—the barbarous slaughter, in particular, of the children, shot, clubbed, and stabbed to death by drunken incompetents—was Yeats’s contemporary example of the loosing of a blood-dimmed tide and slaughter of the innocents that, for him, hearkened back to the French Reign of Terror and, for us, as readers of “The Second Coming,” prefigures all the horrors of the twentieth century and beyond: war, terrorism, nuclear proliferation, genocide, famine, economic chaos, ecological degradation, melting ice shelves and rising sea levels, and political anarchy—in the form, in our own country, of an ideological and special-interest polarization so intense that the center can no longer hold.

Yeats’s prophetic poem—as open to interpretation as the Beasts and Dragons and Horsemen of the Biblical Apocalypse—envisages, or, rather, can be made to envisage, any and all of these nightmares. Front and center at the moment is ISIS: the apocalyptic cult of fanatics operating out of their medieval Caliphate and able to ignite or at least inspire terror wherever the Internet and the various forms of social media they have mastered can reach. ISIS does not exhaust the legion of threats our own century of stony sleep has vexed to nightmare.  Like Yeats, we are left wondering “what rough beast, its hour come round at last, /Slouches towards” us?

W.B. YeatsW. B. Yeats, 1932 (photo by Pirie MacDonald)

In Part Two, we will revisit the turmoil of the Middle East and the rise of ISIS. Though both have deep causal roots, both are the immediate result of our 2003 decision to invade Iraq: a disaster exacerbated by its antithesis: President Obama’s understandable but consequential decisions and then indecisions regarding the Syrian civil war. The US invasion and occupation of Iraq are the roots of the tree from which most of the poison fruit has fallen, but the carnage and chaos in Syria not only expedited the rise of ISIS but produced the current immigration crisis. It is a tragic history.

When various moderate factions first rose up against the Alawite tyranny of Bashar al-Assad, it seemed part of the hopeful Arab Spring. Obama, who had been criticized for his alacrity in abandoning President Mubarak in Egypt, was now criticized for his reluctance to urge the ouster of Assad. After several months of calibrated diplomacy and sanctions, Western policy shifted to regime change. In tandem with French President Nicolas Sarkozy, German Chancellor Angela Merkel, and British Prime Minister David Cameron, President Obama announced that, for the good of the Syrian people and before his regime was utterly rejected by them, the time had come for “President Assad to step aside.” The policy became distilled to three fateful words: “Assad must go.”

That was in August, 2011, when perhaps 2,000 had been killed in the conflict. Figures differ, but a consensus estimate is that, in the subsequent five years of civil war, well over 300,000 Syrians and non-Syrian combatants have been killed, while another 70,000 have perished because of lack of water, medicine, and other basic necessities. Assad alone is responsible for the slaughter of 10% of his own people, over 40% of them civilians. In 2013, President Obama, in a decision as fateful as the announcement that Assad must go, drew a red line, threatening to attack Assad if he used chemical weapons against his own people. When the Syrian President crossed that line, twice, Obama, on the verge of ordering airstrikes, reversed himself, for reasons, and with consequences, we’ll revisit. Meanwhile, the slaughter continued. In addition to the deaths, nearly two million people have been wounded in the ongoing conflict, and approximately 120,000 are currently starving and freezing in towns besieged by government or anti-government forces, and subject to bombing—from the air by Assad and (until recently) by his Russian ally, and, on the ground, by the various warring factions, especially ISIS, which recently launched its worst bombing attack of the war, killing at least 130 people.

The continuing horror in Syria has also created a wider humanitarian and political crisis. Millions of refugees have inundated not only the region but a Europe already buckling under the burden of debt and demography, and giving rise to right-wing anti-immigrant movements that are now threatening centrist governments. The primaries leading up to our own 2016 presidential election—driven by populism on the Left and, most dramatically, on the Right—exposed a fragile political center that, here as in Europe, may not hold. Thrilling some, dismaying most, a nativist rough beast, Donald Trump, is slouching towards Cleveland to become the presumptive Republican nominee, or to hurl the convention into anarchy.

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PART TWO: THINGS FALL APART, CONTEMPORARY CRISES, 2003-2016

III. Mere Anarchy: Polarization at Home; the Challenges of ISIS and Syrian Immigration

Its evocation of imminent yet mysterious catastrophe has made “The Second Coming” the swan song of our time. As the 20th century’s preeminent visionary poet, Yeats, alert to the dangers of hubristic Enlightenment faith in reason and the utopian myth of collective moral progress, was also telepathically attuned to the paradoxically related loosing of the tides of irrational fanaticism. Religion obviously plays a role in a cyclical poem in which the Christian era’s twenty centuries of “stony sleep” are said to have been “vexed to nightmare by a rocking cradle”:  a nightmare that takes the shape of an apocalyptic beast returning to Bethlehem to be born. But in the twenty-first century, there is an even more terrifying twist on the visionary “nightmares” that rode upon Yeats’s sleep in “The Second Coming” and “Nineteen Hundred and Nineteen.” For today, the forces of irrationalism threatening civilization are quintessentially theological and not only committed to terrorism, but, potentially, armed with the most nightmarish, even apocalyptic, weapons.

In part a reaction to Western colonialism and more recent US intervention, militant Islam has deep theological roots in the “sword-passages” of the Quran. Though we have no choice but to confront the threat of jihadist terrorism, our “global war on terror” is both quixotic and often counter-productive. In the Bush-Cheney administration, Neo-conservative hubris joined with the evangelical notion that it is our messianic mission to extend to all cultures, however little we may understand the ethno-sectarian complexities, what President Bush invoked as “the Almighty’s gift of universal freedom.”  The result was the disastrous decision to invade Iraq, worsened when “liberation” became occupation. Worst of all, in the case of such stateless actors as al Qaeda and affiliated jihadists, and now, in the case of ISIS, our global war tends to generate more terrorists than we can kill. We face a metastasizing religious fanaticism impervious to traditional forms of rational or military deterrence and driven by the mad conviction that any and all forms of terror against the infidel West are part of a holy war carried out to avenge past injustices, all under the auspices of their approving God.

President Obama’s anti-terrorist policy, militant but limited, and only partially effective, will doubtless be intensified, whether Hillary Clinton or a Republican is the next President. If the latter, the principal competing visions may once again become apocalyptic, with each side embarked on a sacred mission to eradicate perceived evil. Along with religious-right hawks, we have militants ranging from Rapture-ready End-Timers to apocalyptic Christian Zionists to unreconstructed theoconservatives still clinging to a version of Bush’s Bible-based foreign policy. Despite Ted Cruz’s hyperbolic pledge to make the desert sands “glow,” there is a significant difference between the combatants: a distinction made graphic in the recent nuclear threats by apocalypse-hungry ISIS jihadists, whose suicide belts and Kalashnikovs will seem a quaint memory once they have acquired enough radioactive material to build a divinely sanctioned dirty bomb.

And then there is Iran. Its Supreme Leader, Ayatollah Ali Khameinei, insists that the endlessly reiterated chant, “Death to America,” is aimed, not at the American people, but at the US government and its “arrogant policies.” There is a danger of that distinction blurring should Khameinei—despite the more “moderate” elements in his government and against the majority wishes of the Iranian people, as reflected in the March 2016 elections—choose to resume Iran’s drive to acquire a nuclear weapon. Iran is already defying UN sanctions by testing missiles, tests not covered in the recent US-Iran strictly nuclear agreement. Any cheating on that nuclear accord would invite, well beyond sanctions, harsh retaliation, probably in the form of a massive preventive airstrike on Iran’s nuclear facilities—by the US alone, or in concert with Israel. No one knows what geostrategic repercussions might follow.

A greater nightmare scenario involves actual rather than potential nuclear weapons, with more to come. Pakistan is planning to more than double its arsenal of 100 warheads, including tactical (“battlefield”) weapons, which lower the threshold to nuclear war. And Pakistan, which would then be the fifth-largest nuclear power, is a state (to cite the title of Ahmed Rashid’s recent book) “on the brink” of chaos, perhaps in the form of an Islamist coup. Nine years ago, a matured Benazir Bhutto returned to Pakistan, determined to resist such militants. “Extremism” can be contained, she said, “if the moderate middle can be mobilized to stand up against fanaticism.” Just before the general election, she was assassinated. No Pakistani since has mobilized any “moderate middle,” and there is no prospect of any “center” likely to “hold.” Even if there is no full-scale coup, Pakistan’s arsenal—widely dispersed to deter the perceived enemy, India—will become still more vulnerable with the addition of those smaller, easier-to-steal “battlefield” nuclear weapons. They, or larger warheads, could be seized by a now more globally oriented Pakistani Taliban or by a post-bin Laden al Qaeda still inspired by 9/11: in both cases, terrorists clearly willing to use even these ultimate weapons in the name of Allah.

Though he admired much in the Islamic and Asian traditions, Yeats, who had read Spengler, feared a decline of the West accompanied by the rise of a barbarous fanaticism threatening all civilization. Europe’s debt crisis has now been compounded by Putin’s actions in Ukraine, and, above all, by the potential of the new migration crisis to destroy the European Union, now “on the verge of collapse,” according to Europe’s central figure, German Chancellor Angela Merkel, whose policy of  welcoming Syrian refugees has put even her dominant position in jeopardy. Yeats’s history-based vision of impending European disintegration, a centrifugal blowing apart triggering a decline and fall of the West as a whole, has taken a demographic and terror-haunted form. The problem of Europe’s dramatically declining native birthrates, long accompanied by growing Muslim populations, is, in 2016, exacerbated by the flood of refugees. Many Muslim immigrants, old and new, unassimilated and hopeless, are often hostile to the host countries, with some extremists eager to kill in the name of jihad—as demonstrated by various terrorist plots, culminating in the coordinated attacks in Paris and, three months later, in Brussels. Noting, in the aftermath of those attacks, that the EU has a single currency but lacks a common database to screen terrorists, Die Zeit political writer Jochen Bittner wondered (in the Yeatsian title of his March 24 NY Times op-ed): “Can the European Center Hold?”

Confronting crises in the turbulent Greater Middle East itself—the rise of ISIS, as a “state” and as a generator of jihadist attacks beyond the region; the mass migration produced by the ongoing carnage in Syria; and the apparently irresolvable impasse between Israel and the Palestinians (their contested land the setting for the biblical myth of Armageddon)—we have ample reason to fear that some momentous change is “at hand,” attended by anarchy and violence. Even those of us most skeptical of oracular clairvoyance often find ourselves caught up in the mingled terror and apocalyptic shudder of the Yeatsian Sublime. No matter how novel the specific threats that arise, we can’t seem to find better or, it sometimes seems, other words than those Yeats put on paper almost a century ago.

Responding to “The Second Coming” in our own troubled moment of history, we sense—now more than ever—that “the centre cannot hold.” Like the “falcon [that] cannot hear the falconer,” things seem to be whirling giddily out of human control. The centrifugal forces we have ourselves unleashed—sociopolitical, technological, military, economic, ecological—are now in the saddle and ride mankind. Within the long-term impact of the overarching global climate change we have exacerbated, there may be perfect storms combining nature and technology. Full-time teams are still fighting the radioactive tide at Fukushima, the nuclear plant devastated five years ago by earthquake and tsunami. A full clean up may take the rest of this century, and in the meantime, officials acknowledge, Fukushima remains vulnerable, a Japanese disaster threatening to become a wider catastrophe.

We in America gaze out at what, despite (and often because of) free-market globalization, is an increasingly unstable world: overheated and overpopulated, sporadically wealthy but overwhelmingly impoverished, violent, threatened by terrorism, and by both under- and over-reactions to it; and  groaning for a deliverance that seems never to come. The Arab Spring quickly lost its liberating early bloom, and Afghanistan, Pakistan, Libya, Syria, and Iraq, far from evolving into even semi-stable states, let alone democracies, are well on their way to falling apart: into mere anarchy, or becoming failed states ripe to be dominated by Islamist extremists. China (Napoleon’s sleeping giant) is awake but stumbling; Russia is once again militant under Putin; Iran and North Korea pose future and, in the case of the latter, a present nuclear threat; jihadism is on the march in the Middle East and Africa, its terror networks threatening to unleash a “wave of bloodshed” in Europe. Fresh crises loom everywhere, none more existential than the challenge to the planet itself presented by global climate change, and the threat to Western civilization posed by the apocalyptic savagery of ISIS.

Looking homeward, we wonder about the state of our own democracy. The Democratic Party offers little to rally around, and President Obama, reluctant to get into the trenches, has had a dismal record of working with Congress.  In fairness, it must be added that this President was resisted from the outset by many who, for political, economic, ideological, or racist reasons, never accepted him;  35% of registered Republican voters remain unreconstructed Birthers, and another quarter are “not sure” he was born in the United States. Even so, Obama has been too aloof to be fully effective.

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But the primary blame is located in the very titles of some recent books: The Disappearing Center; Off Center: The Republican Revolution and the Erosion of American Democracy; Rule and Ruin: The Downfall of Moderation and the Destruction of the Republican Party; and It’s Even Worse Than It Looks: How the American Constitutional System Collided with the New Politics of Extremism. The respected bipartisan authors of the latter, Thomas E. Mann and Norman J. Ornstein, formerly critical of both parties, now insist that the core of the current dysfunction and polarization is an inflexible and obstructionist Republican Party. Beginning with the demonization of opponents prescribed by Newt Gingrich, the party’s “center of gravity has shifted far to the right.” Today’s GOP is “ideologically extreme; scornful of compromise; unmoved by conventional understanding of facts, evidence and science; and dismissive of the legitimacy of its political opposition.” Mann and Ornstein concluded by hoping that voters in 2012 would “punish ideological extremism at the polls and look skeptically upon candidates who profess to reject all dialogue and bargaining with opponents.” Only then will “an insurgent outlier party” have “some impetus to return to the center. Otherwise, our politics will get worse before it gets better.” But things have continued to fall apart, with Republicans uninterested in moving toward a “center” that, many clearly believe, should no longer “hold.” The extremism Ornstein and Mann described three years ago is more obvious today. With no sign of getting better, our politics has gotten far “worse,” incarnate in that reductio ad absurdum, Donald Trump.

Even those of us who intend to vote this November have become frustrated by a system not only dysfunctional, but increasingly venal. Mark Twain’s old witticism that “we have the best government money can buy” was never more telling. Our electoral process has been utterly corrupted by “dark money”—to cite the title of Jane Mayer’s brave and brilliant new expose of the Koch Brothers and affiliated billionaires behind the rise of the radical Right. Their flood of filthy lucre was fully unleashed by the Super PAC-producing Citizens United decision—reinforced by the SpeechNow and McCutcheon cases—all thanks to a conservative and “activist” Supreme Court majority. Those decisions have set more beasts a-slouching. In an overheated 2012 essay titled “Beast of Citizens United Slouches Forward,” Charles Pierce described Mitt Romney as “in every way the rough beast” predicted by Justice John Paul Stevens (in his eloquent dissent in Citizens United): a beast “slouching toward Iowa to be born.” (This particular beast in pinstripes would be undone by the secretly taped revelation that he, like the rich donors he was speaking to at the time, believed that 47% of Americans were freeloaders, mooching on government handouts).

Writing in Vanity Fair, Craig Ungar also cited “The Second Coming,” in noting the re-emergence of a discredited Karl Rove, among the quickest to appreciate the SpeechNow decision, which overturned limits on individual contributions to PACs, making it easier for big donors to influence elections. “Proving the Yeatsian verity about the best lacking all conviction and the worst being full of passionate intensity, Rove has created a ruthlessly efficient political operation beholden to no one but himself.” Though dismissed by Donald Trump as a “total moron,” Rove, like Yeats’s irrepressible rough beast, is again heading-up his American Crossroads Super PAC, specifically dedicated to defeating Hillary Clinton in 2016.

The corrupting power of unrestricted money is manifest in the sorry spectacle of politicians pandering to the narrow interests of their party’s base and accommodating an ever-growing army of lobbyists, the most influential representing corporate interests. The result is legalized bribery, and, under the aegis of supply-side economics and an antipathy to government, a breakdown of that balanced public-private partnership epitomizing the genius of the American system at its best. Today, competing in a global market, Western democracies must engage as never before in strategic economic planning. Public investment in jobs, infrastructure, education, and research will be required to restore economic competitiveness. But such federal prescriptions are disdainfully rejected by Republicans, who have turned Ronald Reagan’s mantra about the federal government being the “problem” rather than the “solution” into Ayn-Randian economic dogma, referring to Washington as if it were an enemy capital and indulging the fantasy that the “socialist” federal government, which has supposedly “never created a job,” should just “get out of the way” and let the infallible free market work its trickle-down magic.

In this ideologically polarized context, those of a Keynesian bent, who still wish President Obama’s initial stimulus package back in 2009 had been larger, more innovative, and tied to financial regulation of the bailed-out banks, and who see a positive role for an activist federal government in economic crises, can expect no compromise (now a dirty word) from those committed to the deregulated market forces of the private sector. Hence, the persistent clamor of Republicans, who have virtually all signed on to Grover Norquist’s Pledge, for lower taxes on the most wealthy—the “job creators.” That remains a priority even in the face of an accelerating disparity between the many and the very few: a concentration of private and corporate wealth that translates into political power since laws tend to get written in accord with the interests of those (say, the Koch Brothers) writing the checks. Democrats, when they are not complicit in corporate power, bow to their own special interests, fostering divisiveness in the form of identity politics.

Either way, little constructive gets done. Despite the abysmal approval ratings of Congress, partisan confrontation blocks progress on any measure aimed at healing our economy and repairing our crumbling infrastructure. Three years ago, two liberal commentators drew on Yeats’s “The Second Coming” to deplore the gridlock. Addressing the political “failure” to grasp the “urgency” of the labor-market crisis, economist Paul Krugman decried (in his New York Times column in September 2012) Republican opposition to any plan likely to reduce unemployment. “These days,” charged Krugman, “the best—or at any rate the alleged wise men and women who are supposed to be looking after the nation’s welfare—lack all conviction, while the worst, as represented by much of the G.O.P., are filled with a passionate intensity.” Five months earlier, Bill Clinton’s former Labor Secretary announced his fear that the US economy was “Slouching toward a Double-Dip.” Playing a variation as well on “the center cannot hold,” Robert Reich observed that the top percent or two have now accumulated “so much of the nation’s total income and wealth that the middle class no longer has the purchasing power to keep the economy going full speed,” and that Republican resistance to tax increases had drained funds required to finance important public investments depended upon by that collapsing middle class. With Washington paralyzed by the divide between dread of mounting debt and the need to invest in infrastructure, education, and job retraining, our economy is still “slouching toward” potential disaster.

Krugman and Reich (and Bernie Sanders) notwithstanding, debt, deficits, and burgeoning entitlement spending certainly matter, and must be addressed, as fiscal conservatives rightly insist. On the other hand, most Republicans seem ideologically incapable of acknowledging the opposite danger: that deep retrenchment in public spending is likely to have the same effect here as in Europe, where fiscal austerity, even when it has arrested the downward slide, has failed to produce growth. Yet, as Israeli political scientist Shlomo Avineri has said, “market fundamentalism, radical privatization, and a universal fear of state power are overly simplistic answers to the question of how to sustain a modern, globalized economic order.” His focus is European and global, but Avineri is not forgetting the private-enterprise purists of the Republican Party in the United States.

§

Political tension, even partisanship, is not only inevitable but desirable; as William Blake reminds us in The Marriage of Heaven and Hell, “Without Contraries is no progression.” Blake also notes in the same text that “Opposition is true friendship,” that differences can be dialectically fruitful, and need not sour into enmity.  But our current political divide is less dialectical than rancorous; and it transcends “politics as usual” because the widening gap is not only economic and ideological but often cognitive. Senator Moynihan’s reminder that “everyone is entitled to his own opinion, but not to his own facts,” has been trumped by political expediency and, often, by actual or willful ignorance. This phenomenon has been exacerbated by a polarized and polarizing media that caters to those who prefer to have their own prejudices confirmed and amplified rather than to actually think. In the cable war, CNN tacks to the center, but the conservative audience addicted to Fox News has little in common with the liberal audience addicted to MSNBC; and in that war, the clear victor has been Fox, the supposedly “fair and balanced” organ of Rupert Murdoch and Roger Ailes.

In the 1960s, historian Richard Hofstadter devoted two books to Anti-Intellectualism in American Life and The Paranoid Style in American Politics. One needn’t accept every nuance of what conservatives might consider his “elitist” condescension to conclude that Hofstadter’s fears are, today—when the political spectrum in the United States has shifted dramatically to the right—far more justified than they were when he was writing a half-century ago. What would he make, for example, of venomous, pseudo-populist right-wing radio or of the dominance of the Fox News Network? What of fundamentalist resistance, not just to ACLU excesses, but to the very concept of a constitutional separation of Church and State? Or of the Religious Right’s self-congratulatory challenge to the validity of science; most notably, dismissal of the scientific consensus on a partial but manifest human impact on global climate change and, most mind-boggling to the rational, the faith-based denial of the demonstrable truth of evolutionary biology? What would Hoftadter have to say, if he wasn’t rendered mute, by the spectacle of Ben Carson, a physician who is also an evolution-denying biblical literalist; of Ted Cruz, a sanctimonious, inflexible ideologue who deems everyone who demurs from his religio-political absolutism a far-left extremist; of insult-monger Donald Trump, who is—well—TRUMP.

At times we seem to be re-fighting the Civil War. During that defining national tragedy, both sides, equally immersed in the wrathful sword-and-vintage imagery of Revelation that dominates “The Battle Hymn of the Republic,” saw themselves engaged in an apocalyptic struggle, each on God’s side and fighting against perceived evil. The Confederacy may have been defeated by the Union armies, but the old ideological struggle persists between central government and states’ rights, between a concept of the common good and unfettered individualism. And once again, though with considerably less justification, what ought to be a public-private partnership is turned into a conflict hyperbolized and sanctified by conservatives and libertarians as a fight to the death between federal “tyranny” and individual “liberty,” now intensified by the guns-and-God identification of the former with all that is reprehensibly “coercive” and “secular,” the latter with stridently libertarian and evangelical concepts of “freedom of religion.”

Faced with the acrimonious divide in our current religio-political Culture War (another example of a “dialogue of the deaf”) and attuned to the language of Yeats’s apocalyptic poem, we readily concur that “Things fall apart; the centre cannot hold.” Ross Douthat, the conservative columnist earlier cited, returning to “The Second Coming” in Bad Religion: How We Became a Nation of Heretics, lamented the “disappearance of a Christian center.” This “polarization is a sign of what happens” to a deeply religious country when “its theological center cannot hold.” However persuasive or dubious Douthat’s specific claim, his citation of Yeats’s famous line helps rhetorically by locating his argument within a larger and resonant context.

More than a quarter-century ago, in a 1988 “On Language” column, William Safire noted that Yeats’s line about the “center” failing to hold “is quoted whenever polarization takes place and centrists disappear.” That observation is even more germane today, when most centrists have fled Washington in frustration or been driven out by their own party’s more extreme elements. Six-time Indiana Republican Senator Dick Lugar, a notably civil and nuanced Republican with almost unparalleled expertise in foreign policy, was defeated in the 2012 primary by a Tea-Party challenger funded by massive outside spending.

The House situation worsened with the 2010 mid-term elections, when the Republican State Leadership Committee, deploying over $200 million from Republican-aligned “independent groups,” achieved the Redistricting Majority Project (REDMAP) dream, giving the GOP control of the redistricting process until the new census in 2020. By assuring right-wing Republicans safe seats, gerrymandering underwrites obstinacy, reducing the Congress to a partisan, obstructionist combat zone, with opponents demonized and compromise replaced by mutual contempt and deadlock. When, in December 2015, Donald Trump, touting flexibility, criticized the relentlessly uncooperative Senate behavior of his main rival, Ted Cruz, he was furiously attacked by right-wing bloviators Rush Limbaugh and Mark Levin for so much as suggesting he would be willing to work across the aisle. In response, a Cruz spokesperson, back when her man was still relentlessly buttering up The Donald, regretted only that Trump, in accurately noting Cruz’s rejection of any compromise, had resorted to “Democrat talking points”! No wonder centrists leave in frustration. What moderate Republican Olympia Snowe described, in announcing her retirement, as the Senate’s “crumbling center” epitomizes our larger cultural breakdown. When things fall apart, no center, religious or political, can hold.

The 2012 Republican primary debates were filled with fevered, self-righteous, semi-theological rhetoric about “taking our country back,” and “saving the soul of America.” Obama was still elected to a second term, to the dismay of Republicans who, from the outset of his first term, never intended to be a “loyal opposition.” Mitch McConnell flatly stated that the “priority” was to make Obama “a one-term president.” Even now, most Republicans put partisan politics ahead of cooperation, then complain when Obama resorts to executive actions. The old adage that politics ends at the water’s edge is long gone with the wind. Republicans adamantly resist, or ridicule, the nuclear deal with Iran, and would rather criticize a president they despise than find common ground in confronting the danger of ISIS.

Though there are thoughtful individual Republicans, their Party has become ideologically extremist and anti-intellectual, hostile to “elites” and to science. No Republican presidential candidate (even when there were seventeen of them) felt free to publicly accept the fact of biological evolution, let alone acknowledge the crisis of global climate change, resorting to denialism based on reports covertly funded by fossil-fuel interests. In December 2015, the Obama administration helped bring together in Paris 195 nations in an accord committing them, for the first time, to lowering planet-warming carbon emissions to help stave off the most drastic effects of climate change. The modest reductions are tailored but voluntary, making this an executive agreement, not a treaty, which would have been rejected by the Senate, controlled by Republicans who, beholden to the Kochs and their affiliates, either deny established climate science, pronounce the cost of combating the problem prohibitive, or are simply out to thwart the President’s agenda.

§

The 2012 Republican primary was temperate compared to the 2015-16 anti-establishment circus, initially starring a pious, clueless neurosurgeon (who would later flame out and endorse Trump), then dominated by a talented but absentee junior senator; an articulate but hyper-ambitious ideologue loathed on both sides of the aisle; and, above all, by a reality-TV huckster and hyperbolist. After losing to Ted Cruz in Iowa, Donald Trump crushed Cruz and Marco Rubio in the next three primary states, becoming—against all predictions from pundits left and right—the prohibitive frontrunner for the nomination. He has continued to cleverly exploit the national frustration at the polarization and dysfunction of Washington, as well as the growing (and justifiable) annoyance with “political correctness.” But in the process, building on and exacerbating the growing fear of all, not just radicalized, Muslims, the Birther-in-Chief (who later played that card on Canadian-born Cruz) has tapped into the nativist zeitgeist and Know-Nothingism of a substantial slice of the American electorate—whose fears, frustrations, and left-behind fury he adroitly channels and fuels.

Republican leaders, having long ginned up their base but caught off guard by the consequences, are now terrified at the looming prospect of Trump becoming their nominee. But he is the untethered Frankenstein’s monster they created—liberated from the Establishment, from Fox News, even from the Koch Brothers! The GOP’s strongest ticket would include John Kasich. But in an extremist milieu, victors tend to be those who appeal to voters “full of passionate intensity,” rather than to the “best”—the better-informed and less absolutist, who don’t expect simple answers to complex questions. Hoping Trump (and Cruz) would fade, the Establishment sought to anoint, as the Party’s “savior,” the more “electable” Rubio, whose initially upbeat campaign quickly darkened into the same old fear-mongering, religious pandering, and strident hawkishness. Since Bernie Sanders, despite his victories and virtual ties, seems unelectable in a center-right country, the Democratic nominee will be a self-wounded, baggage-laden Hillary Clinton.

We can be sure that both sides will be full of passionate intensity. We can also be sure that the Democratic and Republican candidates will be equally supported by their respective Super PACS. Hillary Clinton is flush in PAC money, Cruz is second only to her, and even Donald Trump (closing in on the nomination) will eventually come to the trough. Before his departure, Rubio’s cash cows included three multi-billionaires, who also happen to be pro-Israeli zealots. Despite differences (especially over the West Bank settlements), Israel is our ally, to whom we are bound by history and culture. But must loyalty be obsequious? The Republican nominees (even Trump, who caught hell for saying he would try to be a “neutral” negotiator in the Israeli-Palestinian impasse) are tripping over each other vowing unconditional support of Israel. But 2016 began with primary emphasis on the terrorist and refugee crisis emanating from Syria and Iraq.

This was the subject of President Obama’s rare Oval Office Address in late December (a speech prompting emails from two old Fordham college friends, a Democrat and a Republican, but both foreign-policy hawks). In his Address on the terrorist threat, the President said that we should continue our current policy: working with international partners, using targeted airstrikes and special forces to attack terrorist networks. But he also warned against an expansive ground war in Iraq and Syria, calling for a “sustainable” victory using a minimal number of US ground forces. ISIS (or ISIL, as he prefers) would only grow stronger as an insurgency against an occupying power. “We will prevail by being strong and smart, resilient and relentless.” But alliterative rhetoric is no substitute for a specific strategy.

Until recently, almost everyone (aside from John McCain and Lindsay Graham) agreed with the President that substantial (tens of thousands) of American ground forces would be counterproductive. Trump’s characteristically crude and crowd-rousing alternative—to “bomb the shit out of ISIS”—was bested by Cruz’s lunatic and illegal proposal to “carpet-bomb” their “troops,” to make the desert sands “glow,” presumably with radioactivity.  Given the jihadists’ proximity to the civilians they terrorize and use as shields in the places they occupy, how many tens of thousands of innocents would we have to vaporize to destroy the Caliphate? Besides, even as ISIS loses territory in its Syrian-Iraqi base (down by more than a third from its apogee), the cancer metastasizes—to Yemen, Libya, elsewhere in Africa; and it retains the ability to inspire and coordinate terror attacks far beyond.

There was a shift, to include substantial “boots on the ground,” in the March 10 Republican debate. In calling for a large-scale injection of US troops into the region, the Republicans are in ironic accord with ISIS, itself the bitter fruit of our misguided invasion of Iraq and, in particular, of our ill-planned, blundering occupation, whose chaos created al Qaeda in Iraq. We want no more of that carnage. ISIS does, committed as it is to its own chiliastic scenario, its version of Armageddon. Based on ancient myth, revived by Abu Musàb al Zakhari, founder of al Qaeda in Iraq and the godfather of ISIS, and reiterated by the “Caliph” himself, Abu Bakr al-Baghdadi, the ISIS apocalypse calls for a final battle on the plain outside the small village of Dabiq (north of Aleppo, in Syria). This unlikely place has long been prophesied as the site of the ultimate victory of the Islamic Caliphate over the armies of the infidel—nowadays, those of the United States. Much ISIS propaganda is devoted to luring us into that land war.

Dabiq Burns Cursader ArmiesImage from Islamic State video, in Dabiq (issue one) (via Clarion Project)

It is a lure we should resist. We can target, provide intelligence and special ops; but the main anti-ISIS ground force must eventually be made up, as the President says, of other Sunnis. At least for now, those Sunnis are divided among themselves. The Saudis, the promulgators of fundamentalist Wahhabism and funders of radicalizing madrassas throughout the Greater Middle East, continue their long and sordid double-game—though there are recent signs that they may finally be ready to field anti-ISIS troops. In any case, thus far, President Obama has not displayed the leadership skills (given these divisions, perhaps no one can) required to put together a pan-Arab force, let alone helm or guide the alleged coalition of “sixty-five” partners.

I agreed with some of the substance, though not the “anti-academic” tone, of the response to the Oval Office speech by my Republican Fordham friend. Ridiculing the president’s claim that his plan was “working,” he described Obama as “the ultimate college professor,” couching events that

unfold before his eyes as academic exercises requiring intellectual examination. True, there is a scholarly aspect than can be argued long into the night, but what is really needed is a bold, rousing response like that of George W. Bush, with the megaphone atop the rubble. It’s about looking and acting like a leader, despite the fact that it might not go beyond immediate visceral satisfaction.

Obama may indeed be too “professorial,” but I have no nostalgia for the sort of “bold, rousing response” that led us, hard on the heels of the justifiable attack on the Taliban harboring al Qaeda in Afghanistan, to the duplicitous invasion of Iraq. That 2003 invasion and the subsequent violence and chaos of the occupation triggered a massive increase in worldwide terrorism, an increase British Intelligence has aptly dubbed the “Iraq Effect.” It also engendered much of the current crisis in the Middle East—notably including the abrupt turn, in word and deed, to apocalyptism among Sunnis, not only in Iraq and throughout the Middle East, but in the global jihadist movement. This new End Times appetite among Sunnis, hitherto skeptical of apocalyptic thinking, was fueled by Sunni clerics and by the al-Qaeda precursor of ISIS, Zarqawi, who envisaged the new American “Crusaders” as having joined the Shia and the Jews in a triple union to “destroy” true Muslims. Unlike al Qaeda leaders bin Laden and al-Zawahiri, Zarqawi believed “the Final Hour must be approaching, to be heralded by the rebirth of the caliphate, the Islamic empire that had disappeared and whose return was prophesied.”[5] We now know what rough beast, its hour come round at last, has been slouching to be born in the deserts of Iraq: ISIS.

According to unreconstructed foreign policy hawks who still defend the invasion of Iraq and still fail to grasp the historic complexity of the Sunni-Shia division, that monstrous birth is entirely attributable to Obama, who “abandoned” a “liberated” Iraq made “stable” by the “Surge.” In exploiting the Anbar Awakening, General David Petraeus bought the provisional loyalty of Sunnis even more appalled by al Qaeda than by American forces. But while it was a success tactically and as PR, the Surge, elevated to the status of myth by Republicans, barely affected the underlying realities. Yet the President is incessantly condemned by Neocons, the right-wing media, and the current crop of GOP candidates for “squandering” our “gains” in Iraq by withdrawing “precipitously.” Though he is not without fault, this is far too sweeping, and, of course, characteristically partisan.

Like others, the President was slow to realize the gravity of the threat presented by ISIS (far from the “JV-team” of his glib dismissal), and he failed to heed warnings about the double-dealing of Maliki. The President was eager to get out of Iraq, in accord with his promise during the 2008 campaign, and reflecting the consensus of the vast majority of the electorate. But Republicans tend to pass over that other pledge: the one made by us to the Iraqi government, to completely withdraw US troops by 2011, a pledge made by President Bush. Without the Status of Forces agreement rejected by Maliki (at Iran’s behest), were we to leave in place, in violation of our own agreement and against the express disinvitation of the host government, a residual force of, say, 15-20,000 American troops? The President’s critics on the Right blandly assume that such a force would have prevented the rise of ISIS. General Petraeus recently expressed a wish that we had “tried the experiment,” though he is doubtful “it would have made a difference.”

Opportunities were lost, especially in Syria; today, ISIS entrenched and the Internet at its command, there are no longer any routes to a quick victory without considerable risks and downsides. Any plausible, as opposed to preposterous, plan to defeat ISIS, would not be wildly different from what the President seems to think he can wish into existence, and would involve actual rather than half-imaginary coalitions, Arab and European. But our internally-divided NATO and Arab allies lack the capacity to organize and lead an effective counteroffensive on their own. And Obama may not be the leader required to inspire and implement such a strategy. More hawkish Hillary might be up to the task, more so than Trump, Cruz, and the departed Rubio, all of them as inexperienced as they are bellicose. Had he not fallen from grace, the gifted David Petraeus, running as a Republican or a Democrat, might have provided both experience and thoughtfulness.

We should be under no illusion that there is any military silver bullet that could even conceivably resolve a crisis ultimately based on a long-delayed backlash against Western imperialism and economic exploitation, grievances made toxic by the most militant sections of the Quran being fed by radical clerics to alienated young Muslim men, ripe for revenge. But understanding the causes does not eliminate the need to confront the consequences. Given the deep sociopolitical, economic, cultural, and religious context, and the endless supply of hopeless young men susceptible to the siren call to jihad, eager to spill blood for the glory of Allah and to advance the End Times, there may be no way to avoid a protracted struggle. One would be more satisfied with a multi-pronged, gradual degradation of ISIS leading to eventual defeat were it not for the immediate dangers presented by sleeper cells, and by the ultimate nightmare: the acquisition by ISIS or its affiliates of a dirty bomb or, worse yet, a full-fledged nuclear weapon. Time is no more on our side here than in the need to confront the challenge of global climate change. So, what to do?

In Europe, intelligence has to be much better shared and the EU borders made less porous. Thousands of European Muslims have traveled to Syria and back, now thoroughly radicalized, militarily trained, and ready to wage jihad in their home countries. One such man, Salah Abdeslam, who helped orchestrate the attacks in Paris, slipped easily out of France and into Belgium. Four months later, he was found, by sheer luck, hiding out in jihadi central, Molenbeek, the Brussels neighborhood where he grew up. Though Belgian authorities announced that another attack was “credible and imminent,” Abdeslam’s questioning, apparently perfunctory, yielded no information. Within days of his capture, members of his cell launched their lethal attacks on the Brussels airport and metro station.

In the struggle against ISIS in the Middle East itself, we should counter Iran by pressuring al-Abadi to re-enfranchise the Sunnis, incentivizing the “Iraqi” army to fight, as it has started to do by recapturing Ramadi. We should also inform Turkey that we’re going to intensify our arming of the Kurds—and directly, not through Baghdad. Even then, we can hardly be confident that Sunni forces, themselves radical (foolishly disbanded but left armed by the US in 2003, they became the insurgency against us), would produce eventual stability. And the Kurds, willing and demonstrably able to fight ISIS, are primarily interested in their own independence: understandably, but a further source of regional instability. In fact, in the final week of 2015, Turkey’s increasingly authoritarian President, Recep Tayyip Erdogan, resumed a fierce battle to “annihilate” the Kurdish Workers’ Party (PKK), militants who have long sought Kurdish autonomy.

In the immediate future, Iran and Russia have to be accepted as in fact what they are: major players in the region. This will outrage most on the Right and, when it comes to our policy in Syria, undermine what’s left of the “Assad-must-go” position of the Administration. The more pragmatic assessment of the President’s own Joint Chiefs is that any vacuum left by the removal of Assad will be filled with Sunni extremists rather than largely non-existent Syrian “moderates.” Even a provisional alignment with the supporters of the murderous Assad regime is repellent. But the principal goal we have in common with Iran and Russia is defeating ISIS. For now, along with preventing Iran from developing a nuclear weapon (the one other goal we share with Putin), confronting ISIS must be a strategic priority. In December 2015, a UN Resolution, jointly sponsored by the US and Russia, united many nations in an overdue effort to cut off the sources of ISIS funding. But that cooperation was dwarfed by the impact of Russia’s continued and intensified bombing of Syria, little of it targeting ISIS.

§

Caught up as we are in the struggle with ISIS in particular and jihadism in general, there is a related tension: between Islamophobia and a realistic assessment of the facts. In the wake of the large-scale Paris attack (preceded by the Charlie Hebdo murders and followed by the events in San Bernardino; Brussels was yet to come), President Obama sought to avoid demonizing Islam, while acknowledging that the Muslim community needs to grapple with the issue of radicalization and political violence. In his Oval Office Address, he urged Americans “to see Muslims as neighbors, friends, and countrymen, and to avoid bigotry and discrimination. If we’re to succeed in defeating terrorism, we must,” he said, “enlist Muslim communities as some of our strongest allies, rather than push them away through suspicion and hate.” But, the President added, that “doesn’t mean denying the fact that an extreme ideology has spread within some Muslim communities,” a “real problem that Muslims must confront without excuse.”

The latter is a problem that also needs to be confronted by those who, like the President, want to accept, if not the 65,000 recommended by the UN High Commission for Refugees (UNHCR), at least 10,000 Syrian refugees. Donald Trump’s blatantly unconstitutional proposal that we ban all Muslims until we can figure out “what’s going on” is outrageous, but not, for many, much more so than the Administration’s plan to take in refugees whom even the Director of the FBI acknowledges we cannot properly vet. Tens of thousands of Syrians are starving in besieged towns, and almost all refugees have suffered horribly and deserve compassion. But ISIS would be derelict in its terrorist duty if it didn’t seek to infiltrate and radicalize some of those masses. Syria’s Middle Eastern neighbors—Turkey, Lebanon, and Jordan—have taken in almost four million refugees, and Iraq and Egypt between them another 400,000. Even after the Paris attacks, up to the turn into 2016, Sweden and Germany (having already accepted over a million refugees) were absorbing very high numbers per capita. That ended abruptly in the final week of 2015. Since then the sexual attacks in Cologne and elsewhere on New Year’s Eve, by Arab and North African Muslim men, have challenged Merkel’s admirable welcoming policy and fueled legitimate concern, as well as xenophobia, erupting in street violence between right-wing opponents of immigration and leftist advocates of asylum.

Since our own Muslim population is far better assimilated it seems inhumane and craven for us to resist welcoming a mere 10,000 more, two-thirds of them (as referred to us by the UNHCR) women and children. But many Americans of good will, even those aware that the refugee problem has become a humanitarian crisis on a scale not seen since World War II, nevertheless fear, when it comes to Syrian war refugees, the radicalizing reach of ISIS. Of course, that is just one more aspect of the ISIS strategy of inculcating fear, turning victims seeking to escape from barbarism and lethal violence into potential security threats. The record suggests otherwise. According to an October 2015 Migration Policy Institute report, of the 784,000 refugees we’ve taken in since 9/11, only three have been arrested on terrorism-related charges. But recent events have intensified our concern. Having accepted fewer than 2,000 Syrian refuges since 2012, and now, with many Americans (and virtually all Republicans) opposed to the President’s plan regarding the 10,000, the United States runs the risk of fueling—across the European continent—the sort of anti-immigrant (and anti-American) far-right populism represented in France by Marine Le Pen and her National Front party, and, in Hungary, by Putin buddy Prime Minister Viktor Orbán.

Worse yet, our resistance to accepting refugees further destabilizes such frontline states as Jordan, Lebanon, and Turkey, and strains relations with Germany, which has borne the brunt of the flood into Europe. We have contributed $450 million to alleviate the crisis in Syria, yet appear to be sitting it out, though we are hardly blameless in terms of responsibility. An increasing number of Germans believe, with good reason, that while they are shouldering the consequences of the collapse of Syria, it is America that bears much of the responsibility for the causes of that collapse.  Even former British Prime Minister, Tony Blair, Bush’s war partner, though still proud of the ouster of Saddam, admitted (on CNN in October 2015) that “mistakes” were made. Indeed, “the rise of ISIS and the disintegration of Syria figure among the catastrophic consequences of the US invasion of Iraq in 2003.”

That accurate conclusion was drawn by Michael Ignatieff, playing off but going beyond Blair’s admission. The Murrow Professor at Harvard’s Kennedy School observed in his November New York Review of Books essay “The Refugees & the New War,” that the refugees present not only “a humanitarian crisis,” but “a national security challenge,” though not the one stressed by those unnerved by the possibility of importing terrorists. US strategy in the final year of Obama’s presidency should start, he concludes, from the understanding that helping Europe deal with the refugees is

critical to the battle against jihadi nihilism. If Europe closes its borders, if the frontline states can no longer cope, the US and the West will face millions of stateless people who will never forget that they were denied the right to have rights. In a battle against extremism, giving hope to desperate people is not charity, it is simple prudence….In a war against jihadi nihilism, in a world of collapsing states and civil war, a refugee policy that refuses to capitulate to fear belongs at the center of any American and European strategy.

This openness—at once strategic and in accord with the Universal Declaration of Human Rights and subsequent confirmations of the rights of stateless refugees—is currently complicated by the sheer scope of the crisis; while hesitance is propagandized by jihadists as anti-Muslim hatred. Trump’s “total ban” feeds that narrative, yet appeals to some annoyed by Obama’s attempt to recognize distinctions. With jihadism expanding and growing more savage and dangerous with the emergence of the apocalyptic and ruthless Islamic State, many have wearied of the President’s nuanced language, especially his apparent inability to utter the phrase “radical Islamist terrorism.”

This semantic sensitivity, though diplomatically defensible and admirably intended to avoid turning combat with jihadist terrorism into a war on Islam itself, nevertheless seems misguided, unnecessary, and patronizing—to the vast majority of Muslims and to those capable of distinguishing between them and jihadists. His stubbornness on this point (adhered to by Hillary) also leaves Obama, once we get beyond the lunatic Right’s delusion that he is himself a covert Muslim, vulnerable to the charge of politically correct reticence—and worse.

In a discussion of foreign policy during the December Republican primary debate, Chris Christie contemptuously dismissed the President as a “feckless weakling.” None of the other Republicans on the stage objected to this depiction of a sitting President, whose reputation affects national security. The prime example of this “weakness” for most of his critics, even for many of his supporters, remains Obama’s pivotal rethinking of his initial decision, in the summer of 2013, to militarily enforce the chemical-weapons “red line” he had drawn in Syria, cancelling the airstrikes intended to punish Assad for crossing that line. While the President should never have laid down that red line, he did have valid reasons, military and political, to rethink the airstrikes. His reversal was influenced by David Cameron’s failure to get parliamentary authorization, Angela Merkel’s reluctance, and Obama’s own second thoughts about the danger, in blowing up chemical depots, of poisoning the very civilians he was trying to save.  But the price was not only a loss of US “credibility,” but a perception of Obama himself as vacillating, indecisive, “weak.”[6]

Though Obama’s reluctance to intervene in the cauldron of the Middle East should be appreciated as wisdom rather than dismissed as weakness, he can also be frustratingly overcautious. He can also appear casual, as in his decision, after Brussels, to continue his visit to Cuba and Argentina rather than rush back to Washington. (Despite the baseball-and-tango “optics,” he was also ordering the commando operation that took out the ISIS Finance Minister.) Better Obama’s cool and restraint than the reckless hubris of Cheney and Bush, whose “bold, rousing response” led to the catastrophic invasion and occupation of Iraq. Obama’s restraint is also preferable to the macho chest-thumping of Chris Christie, hailed (three years ago by conservative pundit Bill Kristol) as a much-needed incarnation of Yeats’s “rough beast.”[7] This President’s scrupulous deliberation has its own flaws, but it is sober and rational compared to the half-truths and hyperbole that have marked this Trump-dominated Republican primary in general.

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IV. Things Fall Apart: The American and European Center Threatened

In fact, the more one sees and hears Donald Trump, the more one recognizes in him, far more than in Christie (who later hitched on to Trump), the contemporary political incarnation of Yeats’s “rough beast”—boorish, narcissistic, reckless, given to irresponsible hyperbole and ad hominem bullying. In a January 20 New York Daily News op-ed, “Slouching toward Des Moines,” Harry Siegel deplored the inadequacy of the candidates then gathering for the Iowa caucuses. “The people who would be President are lunatics, liars or both,” he opined. Citing Yeats’s poem in its entirety, he synopsized “the Republican view of the world, and America’s place in it,” by directly quoting Trump, and captioning as a symbol of “passionate intensity” a photo of Trump being endorsed by syntax-challenged flamethrower and nitwit, Sarah Palin. “What rough beast?” Siegel wondered, answering himself: “I’m afraid we’re about to find out.” One day earlier, former Bush speechwriter Michael Gerson noted the intensified conflict between the frontrunners for the Republican nomination: Trump, an “ethno-nationalist wrecking ball,” and Ted Cruz, “more demagogue than ideologue.” Gerson concluded his January 19 Washington Post column: “For Republicans, the only good outcome of Trump vs. Cruz is for both to lose. The future of the party as the carrier of a humane, inclusive conservatism now depends on some viable choice beyond them”—a sentiment echoed by his NY Times counterpart, David Brooks, hoping for Trump and Cruz to kill each other off.

A few days later, National Review, the venerable conservative journal founded by William F. Buckley, weighed in with a special Against Trump issue, featuring twenty-two diatribes denouncing Trump, a “philosophically unmoored opportunist who would trash the conservative ideological consensus.” In varying degrees of panic (the one African-American among them, Thomas Sowell, more exercised by hatred of Obama than fear of The Donald, sounded positively unhinged), the right-wing pundits (plus Glenn Beck) projected the nomination of Trump as a disaster for the Republican Party and a catastrophe for their own “principled,” intellectual conservatism.

Trump characteristically dismissed National Review as a failing, elitist magazine, and announced that his followers’ loyalty was such that if he were to “shoot someone on Fifth Avenue” it would have no effect on his numbers. The outrageous remark was at once offensive and funny. Fears that it might also be accurate were allayed when a suddenly vincible Trump was defeated in evangelical Iowa by a hymn-citing Cruz (“To God be the glory!”), while just edging out a no-less-pious Rubio, praising “Jesus Christ, who came down to earth and died for our sins.”  Better Trump than Cruz, though it’s hard to know which demagogue best embodies the Yeatsian “worst.” As a deal-maker par excellence, Trump seems flexible and pragmatic, but as a candidate on the stump and on TV, he plays a man “all conviction” and “full of passionate intensity,” his certitudes and seemingly spontaneous outbursts cunningly calculated to inflame, while entertaining, the huge crowds he attracts. Media-savvy and freewheeling, a master of the immediacy of reality TV, Trump plays on the frustrations and fears, the anger and alienation, of his core audience: white, non-college-educated, struggling economically—in short, the very “losers” this relentless exponent of “winning” almost certainly despises even as he charms them.

Going into New Hampshire, some attention shifted to Cruz and Rubio, but moderate Kasich beat them both, and all were trounced by Trump, whose decisive victory there, in South Carolina and Nevada (and solid lead in the national polls) left the Republican Establishment reeling. Much of the Religious Right has rallied to Trump, but not Richard D. Land, the former President of the Southern Evangelical Seminary. Dipping into the “maelstrom” of sociopolitical turmoil agitated by the “populist uprising” of 2016, Land, now executive editor of The Christian Post, reported on January 31, that lines of Yeats’s “famous poem” keep “running through my mind.” He quoted a half-dozen lines of “The Second Coming,” beginning, “Things fall apart; the centre cannot hold,” and asked, in conclusion: “Can the political-societal center hold, or has it been hollowed out (center, and increasingly the center-right and center-left) to the point that America and her political institutions have devolved into…ethnic, societal, religious, and electronic tribes (Fox, CNN, and MSNBC)?” Has the “tidal wave of intense populism” surfed by Sanders and Trump left us with a “political tsunami” and an anti-centrism “currently beyond rational constructive consensus?”

This imagery, like the loosing of Yeats’s irrational “blood-dimmed tide,” captures the out-of-control aspect of the 2016 election. The populist appeal of Bernie Sanders, focused on inequality of wealth and opportunity, though anti-establishment, is comparatively benign. But just as Yeats tapped into the Collective Unconscious of  Spiritus Mundi for his images in “The Second Coming,” Donald Trump has, alas, tapped into part of the American psyche—not the Emersonian “Oversoul,” but the darker Under-Soul, or “base,” or id, of the contemporary Republican Party. His appeal, populist-nationalist and pseudo-conservative, though based on himself as the latest embodiment of the Great Man theory, feeds on the facile illusion of simple solutions to complex problems and on what Nietzsche called ressentiment.

As E. J. Dionne noted in an August, 2015 Washington Post op-ed titled “When Yeats Comes Knocking,” Trump “is a symptom of a much wider problem.” Citing the “most cited poem in political commentary,” Dionne observed that we are “definitely in for another ‘Second Coming’ revival,” since “the center is under siege all over the democratic world.” Dionne, a liberal, quoted conservative Reihan Salam, also struck by the similarities between Trumpism and rising movements (to the left and right of centrist European parties) that “manage to blend populism and nationalism into a potent anti-establishment brew.” In a February 24 NY Times op-ed, Jacob Weisberg, author of a balanced new study of Ronald Reagan, noted that unless the Republican Party (which venerates Reagan, but more in the breach than the observance of his pragmatism) “repudiates the inflammatory rhetoric of the primary, it will lose Reagan’s claim to the center and become more like one of Europe’s chauvinistic right-wing parties.”

Trump’s wealth allows him to spurn corporate donors and PACs (appealing to his working-class supporters), and to mock (in tweets) his fellow candidates as “puppets” who (aside from Kasich) flock to palatial meetings to “beg for money from the Koch Brothers.” But he is at one with the Republican Right in fomenting hatred of a federal government allegedly out to “take away our guns” and freedom; and no one has matched Trump in manipulating the festering rage and fear over rapid demographic and sociocultural change that the former fringe but now center of the GOP has been scaremongering for years. That witches’ brew culminates in Obamaphobia: a visceral hatred directed at the ultimate “other”: that alien and Constitution-spurning usurper in the White House whose domestic reign Republicans deem “lawless” and “imperial,” even as they pronounce him “weak” in foreign policy. The hatred is most toxic in Cruz and Rubio, who accused the President of deliberately intending to damage the United States.

In dealing with Syria and ISIS, Obama’s characteristic weighing of every alternative can summon up, even among some of his supporters, the most repeated phrase from “The Second Coming.” I would not myself ascribe to the President a “lack of conviction,” let alone the sweeping “all conviction,” applied (by David Lehman and by the authors of ISIS: The State of Terror) to those who have demonstrated insufficient decisiveness in confronting the terrorist challenge. Cool, poised, and aloof amid the fevered atmosphere of polarizing and extremist babble, Obama may see himself (a colleague, historian Ed Judge, suggests) as the “Man” in Kipling’s “If”: “If you can keep your head when all about you/ Are losing theirs and blaming it on you…” Almost congenitally incapable of expressing and evoking that “visceral” response sometimes required of a leader, Obama can vacillate. Again, his pivotal decision/revision not to enforce with air strikes the red line in Syria brings to mind Yeats’s tragic insight, “The best lack all conviction, while the worst/ Are full of passionate intensity.”

This President may not be the “best,” but he is far better than this year’s Republican alternatives, all (with the only partial exception of John Kasich) critics and haters at once dismissive of Obama’s “weakness” and apoplectic about his exercise of executive power. Finally, however, as it is worth recalling, there are passions even more intense than Obamaphobia. The excellent documentary, “VICE Special Report: Fighting ISIS,” which debuted on HBO on the final day of 2015, ends with Ryan Crocker, former ambassador to Baghdad, lamenting the presence in fragmented Iraq of multiple “passionate intensities,” none boding well for the region, or for us.

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Like the volatile American primary races, the world doesn’t stop turning and churning. 2016 began with the US stock market’s worst-ever start to a new year, a five-day sell-off reflecting international economic and political turmoil. There are two epicenters this time, Europe and China. In China, runaway economic growth has come to a sudden halt, reflected in the plummeting of its financial markets and fostering a cycle of decline and panic throughout the world, especially in South America and in South Africa, whose economies rely on supplying Chinese manufacturing’s insatiable demand for natural resources. These negative repercussions are compounded by the collapse in the price of crude (at its lowest point in a dozen years), which has already had a devastating impact on petro-states, much of whose oil is sent to China. The dramatic slowdown of the long overheated Chinese economy, the second largest in the world and a main driver of international trade, could conceivably trigger a global recession deeper and wider than the US and Europe-centered financial crisis of 2008.

The European situation is more immediate and more dire. Geoffrey Wheatcroft opened a February 18, 2016 essay in The National Interest: “There are times—and the present moment is very much one of them—when certain great poems, minatory and ominous, force their way into the mind.” He cites Cavafy’s “Waiting for the Barbarians,” Auden’s “The Fall of Rome,” Kipling’s “Recessional.” But his title, “Europe’s Political Center Cannot Hold,” confirms that he really has in mind “that extraordinary, oracular work,” Yeats’s “The Second Coming.” The lines about mere anarchy and the blood-dimmed tide being “loosed upon the world” were (notes Wheatcroft, aware of the poem’s original context) “not meant to be a guide to everyday politics.” Yet the words “the center cannot hold” and “The best lack all conviction, while the worst/ Are full of passionate intensity,” written in 1919, “seemed all the more forceful with every year over the next decades of totalitarianism, total war, and total murder.”

So they do again today. We have witnessed the explosion of the Levant and the implosion of Europe, the rise of demagogues on both the Left and, more notably, on the Right, on both sides of the Atlantic. The internal atrophy of politics in the United States is another question [and one not limited to “Donald Trump’s vulgarity”]….But we Europeans should hesitate before sneering….What has happened in these recent years is not just the near collapse of the European Union, but the demonstration of its complete inadequacy to deal with present dangers, from the self-inflicted and unresolvable crisis of a single currency…to the awful problem of mass immigration [caused mostly by refugees fleeing the horror in Syria]….Beyond that is the acute threat within Europe to political stability. The [the old center-right and center-left consensus] is now being severely challenged from the outside left and outside right by parties and politicians called “extremist” or, much more revealingly, “populist.”

Hungary, Poland, and other Eastern European countries, only free of Soviet imperialism for a quarter-century and in the European Union for a decade, have shown “alarming signs of sliding back into authoritarianism, nativism, racism and corruption.” Even “more perturbing” are events in the nations of Western Europe, recent experience in the largest of which (France, Germany, and Italy) has been “somber.” Consider France, where the National Front founded by neofascist Jean-Marie Le Pen is now headed by his more adroit daughter, who expelled her father from a party whose tone, however, remains staunchly nativist, “anti-immigrant, anti-Muslim.” Wheatcroft’s survey, brief but ominous, provides sufficient evidence to support his grim Yeatsian thesis: “Europe’s political center cannot hold.”

On the humanitarian and political fronts, 2016 arrived accompanied by an intensification of already bad news. The Syrian refugee nightmare continued to worsen by the day, with tens of thousands of Syrian civilians—cut off in towns besieged by pro- or anti-government forces, and bombed from the air—starving and freezing as a harsh winter set in (an ironic reminder of the antithetical crisis: accelerating global warming). Russian airstrikes, especially in and around the rebel-held city of Aleppo, intensified sharply. The February peace talks in Geneva were suspended before they even started, a “temporary pause” essentially attributable to Putin’s bombing, a strategy popular at home and successful in turning the war in favor of Russia’s ally, Assad. In March, that goal achieved, Putin withdrew.

Putin was always seeking a military rather than a political solution in Syria; while the US negotiated but seemed unable to stop him, debating even about airdrops of food and medicine in areas where Russian planes were operating. The agreement reached in Munich on February 11, between John Kerry and Russian Foreign Minister Sergei Lavrov, called for a “cessation of hostilities” on the ground in Syria in order to get humanitarian aid to besieged areas. This tentative step toward a true cease-fire depends on its being honored by the various warring parties and by Assad himself. At the very moment when negotiations to that end were underway, ISIS launched its deadliest attacks of the civil war, bombings that took at least 130 lives. Whatever our role or Putin’s, without a genuine cease-fire, the humanitarian crisis will intensify within Syria and continue to expand throughout the Middle East and Europe as desperate refugees flee starvation and carnage.

At the same time, we have an expanded example of the post-World War I European fragmentation that prompted Yeats to conclude in 1919 that “Things fall apart; the centre cannot hold.” In 2016, beyond the internal collapse of the European “center,” the transatlantic alliance binding the United States and Europe since the end of World War II and anchoring global stability for seven decades seems no longer able to hold. We are still united by shared values, but there is a growing divergence between European and American priorities. Their militaries underfunded, worried about the potential threat of unassimilated Muslim populations, the nations of Europe (and Turkey, also a NATO member) are too divided among themselves to present much of a united front. Insufficiently full-throated in celebrating American “exceptionalism,” and caricatured by jingoists as “apologizing” for America, Barack Obama has been more justly accused of indecisiveness in his vacillation over the Syrian “red line.” We retain—for good or, as we know all too well, for ill—the option to act unilaterally; but  things have fallen so far apart that, whoever is President, the US may no longer be able to lead a coalition of the unwilling, or unable.

This transatlantic division and consequent diminution of resolve and leadership is especially dangerous at a moment when the West is confronted by so many global challenges. The most urgent emanates from the world’s most volatile region, the Middle East, torn by its own divisions: the old and apparently irresolvable breaches between Israel and the Palestinians, and between Shia and Sunni. After three decades of opining about the Middle East, Tom Friedman, in effect, threw up his hands, admitting in his February 12 NY Times column that none of “the many Mideast solutions” are any longer viable. He concluded that the “real,” as opposed to the “fantasy,” Middle East is “a wholly different beast now slouching towards Bethlehem.”

The intra-Muslim rift has been intensified by the recent rupture between Saudi Arabia and Iran, the region’s two most powerful oil-rich states, and the principal defenders, respectively, of the Sunni and Shia branches of schismatic Islam. Triggered by the Saudi execution of prominent Shiite cleric Nimr al-Nimr, and the ransacking and torching of the Saudi embassy in Tehran, the crisis between these regional rivals led, in early January, to a severing of diplomatic relations and to escalating tensions affecting the whole of the Middle East. The breach torpedoed hopes for diplomatically resolving the crises in Syria and Yemen, in which Tehran and Riyadh support opposing sides, and it works to the benefit of ISIS by further destabilizing a region already fractured along ethno-sectarian fault lines. With this Saudi-Iran rupture, we also have the hypocritical spectacle of one barbaric theocracy criticizing the other for behaving—barbarically.[8]

Both autocracies relish the graphic execution of their perceived enemies, and both spread terror: our “ally” through its far-flung madrassas and by permitting its elites to fund jihadists; our opponent, but partner in the nascent nuclear agreement, more directly, and through such proxies as Hamas and Hezbollah. The January 4 New York Times account of the crisis was accompanied by a video of a Tehran mob being whipped into a religio-political frenzy by a cleric ranting that the decapitation of al-Nimr, part of a mass execution (forty-seven in all, mostly by beheading and mostly Sunnis), was carried out at the behest of Islam’s true enemies. According to this turbaned pundit, the Saudis are the “collared dogs” of the Little and Great Satan; thus, the protest climaxed with the usual chants: “Death to Israel,” “Death to America” (even, for good measure, “to England”).

As a fomenter of hatred, unrest, and terror, Iran is second only to ISIS. Offering one glimmer of light, the March 2016 Iranian elections confirmed widespread support for the reformers and those most committed to the nuclear agreement with the US. Whatever the leadership’s internal stresses, and while it remains a theocratic tyranny, Iran seems dynamic compared to its sclerotic regional rival. While revolutionary Iran meddles, propping up the Assad government, bankrolling Israel’s regional opponents, and stirring up Shia minorities in the Sunni-dominated Gulf states, the Kingdom is experiencing its own severe internal tensions. The new dynastic discord within the Saudi royal family has reached the point where open conflict is now a plausible threat, a scenario incomprehensible before the January 2015 ascension of King Salman. Reputedly suffering from dementia, the aging King may have deferred considerable authority to his favorite son, defense minister and Deputy Crown Prince, Mohammed bin-Salman.

Whoever is calling the shots, ailing father or impulsive son, the monarchy’s new and unilateral aggressiveness (pursuing in Yemen a costly, brutal, and indecisive war against the Houthi movement and the Yemeni army, and ordering these recent provocative executions) reflects less strength than fear. Fear of a succession crisis; fear, despite huge cash reserves, of a collapsing oil-based economy; above all, fear of revolutionary Iran and its hegemonic ambitions in the region. The nuclear deal with the US has alarmed not only Israel and Saudi Arabia, but all the Sunni states. Its verification procedures are persistently and deliberately misrepresented by its opponents, but the accord still comes with a cost. Even those of us in favor of the deal— given the unpalatable alternatives—should be as troubled as its opponents are by the prospect of a $100 billion or so windfall attending the unfreezing of Iranian assets in the initial withdrawal of sanctions. Most of that money will be needed to rebuild the sanction-damaged Iranian economy. But some of it will inevitably be used to fund Iran’s proxies. What impact might that influx of cash have on the region?

Bahrain and Sudan joined the Saudis in breaking diplomatic relations with Iran; the Emirates sharply reduced contacts; and Shia militias bombed Sunni mosques in Iraq. Quickly rippling through the Middle East, the decision to behead al-Nimr stirred protests as far away as Pakistan and India. The fact that the United States advised against the execution of al-Nimr and was given no advance notice of the Saudi decision to sever diplomatic relations with Iran suggests that the young Crown Prince may be in charge in Riyadh. With the role of the US diminished, China and Russia both weighed in, urging restraint; Putin even offered to mediate. This political and religious crisis, the most dangerous regional confrontation in decades, threatens, in the language of several Middle-East experts, to “spiral out of control.”  Retired General Mark Hertling, a perceptive CNN military analyst, concerned that a more direct military conflict between Saudi Arabia and Iran could erupt, employed the same imagery: “That’s the key issue. This is spiraling very quickly.” It is hard, in pondering the perennial relevance of “The Second Coming” to contemporary crises, not to think of Yeats’s own spiraling imagery: the poem-opening falcon, no longer under the control of the falconer, “turning and turning in the widening gyre,” its spiraling movement replicated by the “desert birds” whose shadows “reel” about the ominous “shape” moving in “sands of the desert.”

This crisis, on hold but potentially explosive, is part of a recurrent centrifugal pattern. Yeats was responding to specific historical events in “The Second Coming.” If readers were bound by the literary equivalent of judicial “originalism,” the theory espoused by the eloquent but reactionary late Justice Antonin Scalia, many or most of them would be guilty, in endlessly citing and alluding to the poem, of misappropriation, quoting Yeats’s words while inadvertently or deliberately misconstruing his original political intentions. But we are not thus bound, as Yeats also intended. For his deepest and most genuine foresight, as we have also seen, was his decision to delete, in the process of composition, virtually all the specific details that would have tethered his poem to the events of 1919 as seen through the perspective of the worst atrocities of the French Revolution. The result is a universal poem that has resonated with every generation of readers, and from every political perspective, for almost a century.

Whether we have in mind international political and economic crises, the coarsening and polarization of American politics, the metastasizing of Islamist terrorism, the fragmentation of the European Union and of the Middle East, the refugee tide inundating Europe and the Levant, the danger of nuclear proliferation and nuclear blackmail, or the interrelated ecological challenges threatening life on the planet itself in our new “Anthropocene Age,” we may be reminded of John Donne’s disoriented cry early in the 17th century. With “new Philosophy” calling “all in doubt,” sun and earth “lost” and the “Firmament”  itself “crumbled out againe” to atoms, the Metaphysical poet summed up the chaos in a single line: “‘Tis all in pieces, all cohaerence gone” (The First Anniversary, 205-13). That lamentation over the loss of wisdom, cohesion, stability and order was surely recalled by an admirer of Donne, W. B. Yeats, when he wrote the line that has become so familiar to those contemplating the world the modern poet prophesied as he brooded, in excited reverie and dread, over European disintegration, and envisioned, “everywhere,” the loosing of an irrational blood-dimmed tide of “anarchy” and varieties of “passionate intensity” erupting in violence and chaos. To quote it once more: “Things fall apart; the centre cannot hold.”

One recalls that open question from Yeats’s near-parallel poem, the great sequence “Nineteen Hundred and Nineteen”: given all this, “is there any comfort to be found?” If so, it is unlikely, for most readers of “The Second Coming,” to derive from Yeats’s own Burkean political perspective, in which the sociocultural disintegration threatened by centrifugal forces could be countered only by the values of a hierarchical, aristocratic civilization. What comfort there is, if there is any at all, may be inherent in the symbol of the gyre itself: the eternal cycle which, for Blake, was a dehumanizing nightmare, but, for Yeats’s other great mentor, Nietzsche, an eternal recurrence to be embraced with astringent tragic joy. And there is a variation more comic than tragic. That aspect of the recurrent cycle was caught by an anonymous editorial writer in the Christmas Eve 2015 issue of a newspaper, the Memphis Flyer. “Simultaneously looking back and forward,” and proceeding “ahead into the next turning of the eternal gyre,” the editorialist invoked the locus classicus:

That aspect of the eternal gyre is something we of the Western world owe to William Butler Yeats, whose poem, ‘The Second Coming,’ gave us lines to remember through all the cycles, all the turnings of fate that seem to foreshadow an end but merely invite a new beginning. There are times, as Yeats wrote almost a century ago, when ‘the best lack all conviction, while the worst/ Are full of passionate intensity.’ A hundred years later, and it’s still true. It will always be still true. And we will survive and scramble to find our place in a brand new cycle, which itself will seem to be heading to an end but will just be the same old adventure in a new cycle….

The phrasing at its most glib—“merely,” “brand new,” “just be the same old adventure”—is in keeping with the purpose of the editorial, which was to wish its readers a “Happy New Year!” But, mutatis mutandis, this  optimism differs only in tone from Yeats’s own pipe dream, as expressed in his lengthy annotation to “The Second Coming.”  I refer to the vision—influenced by Nietzsche but one that would have repelled Blake—of that new and nobler hierarchical civilization Yeats hoped, and apparently believed, would succeed the democratic and Christian age that was dying.

Introducing his play, The Resurrection, Yeats presents a counter-myth to democracy, Christianity, and that linear “progress” Nietzsche dismissed as a “modern theory, and therefore vulgar.” “When I was a boy” Yeats tells us,

everybody talked about progress, and rebellion against my elders took the form of aversion to that myth. I took satisfaction in certain public disasters, felt a sort of ecstasy at the contemplation of ruin. [Around the turn of the century, after reading Nietzsche], I began to imagine, as always at my left side just out of the range of sight, a brazen winged beast that I associated with laughing, ecstatic destruction.

Yeats goes on in this paragraph to cite his 1903 uncanonical play Where There is Nothing, featuring a Nietzschean beast with the literally hilarious name, “Laughter, the mightiest of the enemies of God”—a beast (he adds in a footnote) “afterwards described in my poem ‘The Second Coming’.”

But is this assertion, this claimed identity, really accurate? Mythically and politically, the apocalyptic “rough beast” of “The Second Coming,” wingless and certainly not laughing, may represent both the end-product of the vision of the “progressive” Left and the first stirrings, life arising out of death, of an antithetical vision of the aristocratic Right. But however “exciting” it may be, the risen and slouching creature, as actually presented in the poem, is far less promising than sinister, its imminent birth less hopeful than horrifying. In terms of its precursors, Yeats’s rough beast resembles Nietzsche’s beasts, cruel or laughing, only peripherally. And it has less in common with Blake’s prophetic Tyger, terrible but beautiful, than with the slouching, bestial Nebuchadnezzar of Blake’s striking illustration. Indeed, as a creature of “second birth,” the rough beast may most resemble one of those “tigers” Wordsworth imagined prowling the bloodied streets of revolutionary Paris, ready to pounce again in the even worse Terror to come: for all things have second birth.

In short, whatever the poem’s original starting point as a response to his juxtaposed Bolshevik and French Revolutions, and whatever Yeats’s own politics and cyclical counter-myth to the vulgar modern myth of linear progress, “The Second Coming” turned out, as a linguistic work of art, to have a momentum all its own, quite aside from authorial intention. Though the tone of the finished poem mingles dread with a vestigial schadenfreude (“I-told-you-so”) exultation, it ends in human incertitude rather than prophetic certainty.

Other readers may differ, but, aside from that breathless and ambiguous phrase, at once cyclical and terminal, “its hour come round at last,” I find—once we’ve turned from the prose glosses to the actual text of “The Second Coming” itself—little or nothing of the anticipatory optimism attending Yeats’s theoretical celebrations of ecstatically destructive beasts. Nor, I believe, at least as poet rather than prose annotator or apocalyptic theorist, did W. B. Yeats—his sight titillated, but, finally, as “troubled” as ours by what he glimpsed before the darkness dropped again.

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V. What Rough Beast?: Can (Should) the American Center Hold?

Re-narrowing the focus, I want to return to the current American political scene, specifically to the 2016 Republican primary race. As mentioned earlier, back in 2012, Bill Kristol, the conservative mastermind who had earlier helped midwife both the Iraq War and the emergence to national prominence of Sarah Palin, welcomed Chris Christie as the “rough beast” the Republican Party needed to win the Presidency. This time around, we have two far more likely Republican contenders for the title of “rough beast”: Donald Trump, obviously, but with Ted Cruz lurking in the wings.

Christie was forced out of the 2016 race after a humiliatingly weak showing in New Hampshire, but not before humiliating Marco Rubio, who, in a campaign-altering meltdown, reiterated a canned accusation that it was Obama’s deliberate intention to damage the US:  “We have to stop saying that Obama doesn’t know what he’s doing; he knows exactly what he’s doing….” Rubio kept robotically repeating this charge of presidential treason, even after Christie had twice ridiculed, not the malice or the mendacity, but the verbatim repetition! In a second coming, Christie, out of the running himself, returned as a revenant the day after the Republican debate in Austen, Texas, to repeat his takedown of Rubio. Having finally been put on the defensive in that debate by Rubio, Trump demonstrated his skill in dominating the news cycle. The next day, in a surprise “Big Announcement,” he trotted out Christie to repeat his ridicule of Rubio while effusively endorsing the “one man” able to provide America “the strongest possible leadership” and insure that “Hillary Clinton will never return to the White House.” In one stroke, this tag team of bullies blunted Rubio’s short-lived post-debate “momentum,” taking the wind out of the sails of the Republican Establishment’s preferred last hope to Stop Trump.

Shortly thereafter, with Christie looking less like a formidable surrogate than a flaccid sycophant, Trump managed (after failing, in response to repeated questions from CNN’s Jake Tapper, to definitively repudiate the support of David Duke and the KKK) to reach a new level of vulgarity. Trump turned Rubio’s innuendo-laden taunt about his allegedly “small hands,” and what that “meant,” into a boastful “guarantee,” in the next debate, of his impressive sexual endowment. The “debates” had deteriorated from mere incivility to schoolyard braggadocio, with “he-started-it” silliness to follow. When a lush photo from Melania Trump’s modeling days was distributed by a group unaffiliated with Cruz, Trump tweeted a threat to “spill the beans” on Cruz’s wife, Heidi. At first Cruz responded with an indignant defense of his wife (its sincerity tainted by the fact that it was plagiarized, verbatim, from the 1995 film, The American President), before bellowing, after Trump had posted an unflattering photo of Heidi, that this “sniveling coward” better leave “Heidi the hell alone.”

In the first Super Tuesday round of primaries and caucuses, Ted Cruz, who had not at that point descended into the Trump-Rubio gutter, did well, crucially holding his own state, Texas, and winning several others. Though Rubio, ironically the first “Tea Party” senator, had briefly become the darling of the Establishment, the attempt to slow down Trump by wrestling with him in the mud had backfired and been to no avail. Trump took seven of eleven states on Super Tuesday. Subsequently, and even more ironically, with Rubio fading (he would never get beyond his two minor victories: the Minnesota caucuses and the Puerto Rican primary), and Trump denounced by Mitt Romney as a fraud, Cruz, in whom everything anti-Establishment was concentrated as in a bouillon cube, emerged as that Establishment’s last desperate hope to keep the blond-maned rough beast from slouching to the convention in Cleveland with the required 1,237 delegates, or with so many fired-up acolytes chanting Trump! Trump! Trump! that it would prove difficult if not impossible to broker him out of the nomination.

It would be a battle between egotistical demagogues, equally capable of commanding an audience, though their oratorical styles could hardly be more different. Silver-tongued Cruz, who can’t say “hello” without sounding as if he’s pontificating from a pulpit or from atop a soapbox, deploys the  elaborately-constructed, orotund sentences of a trained debater, skillfully weaving his points into a coherent argument. Rambling and repetitive Trump rallies his rapt audiences in staccato, non-syntactical bursts, hitting the same few points, and often legitimate grievances, but appealing less to reason than to emotion and prejudice. In a March 8 NY Times op-ed, “Only Trump Can Trump Trump,” Tom Friedman noted the folly of rivals trying to rationally convert Trump “fans” who respond to him on a “gut level” impervious to logical argument. Friedman’s conclusion, that “you can’t talk voters out of something that they haven’t been talked into,” aptly reminded my friend Dennis O’Connor of Jonathan Swift’s advice to a young clergyman in 1720: “Reasoning will never make a man correct an ill opinion, which by reasoning he never acquired.”  In addition, with his base, Trump assumes the ethnic stereotypes he shares with them, and in which, as a businessman, he has trafficked for years. He also possesses a bully’s ability to size up an opponent and skewer him with an ad hominem epithet. “Little Marco” was left, diminished, on the ropes; a single hyphenated adjective, “low-energy,” from which Jeb Bush never recovered, was enough to demolish a dynasty. “Lyin’ Ted,” puffed up with hubris, proved able to take a punch.

The latest avatar of the Religious Right and a purist ideologue—a contemporary right-wing version of Robespierre, the “Incorruptible” of the French Revolution—Ted Cruz is, for many, more frightening even than Trump. An unctuous, sanctimonious ultra-conservative, Cruz thunders apocalyptically about undoing everything done by his hated predecessor on “my first day in office”—“repealing” Obamacare, “ripping to shreds” the nuclear agreement with Iran, getting rid of regulations on corporations, stringently curtailing a woman’s reproductive rights, rolling back environmental protection measures (indeed, terminating the EPA, along with the Department of Education and the IRS); devoutly committing ourselves to Israel, right or wrong; to judicial originalism; and to the extremist agendas of both the NRA and the Koch Brothers.

Hardline conservatives applaud many of these presidential priorities, but Ted Cruz is a zealot and a singularly unattractive one, loathed from the outset by his Princeton and Harvard classmates and later by his Senate colleagues. It is not necessary to consider him (to cite the paired photo of Cruz and Grandpa Munster that has gone viral) “a blood-sucking vampire from a bygone era,” or as “Satanic” (a televised adjective David Brooks later modified to “Mephistophelian”), in order to be turned off by Cruz’s naked ambition, his self-righteousness, his preening arrogance, and the studied artifice of his oratory, as bombastic as it is demagogic. One can admire his verbal skills, but despise the man himself, to say nothing of the hard-right policies he so apocalyptically and inflexibly espouses.

Ted Cruz Grandpa Munster

To observe that Cruz was cursed with a vampiric and (however appropriately) a Joe McCarthy-like visage is to risk joining Donald Trump in belittling a person’s physical appearance. But it’s his facial expressions I find repellent, wincing every time he punctuates his favorite applause lines by chuckling—silently, creepily, barely moving his lips and without anything resembling actual human mirth. Listening to his speech to his followers on the evening of the third Super Tuesday, the Ides of March, I was reminded of Shakespeare’s Cassius, that cunningly ambitious man who thinks too much and has “a lean and hungry look.” As Caesar intuited, “Such men are dangerous.” Though many Republicans, including former rivals Jeb Bush and Lindsay Graham, have now, however half-heartedly, endorsed Cruz as the only way to Stop Trump, others remain no less terrified of the prospect of the reptilian Ted Cruz slouching towards Washington.

Republicans unnerved by Trump and repelled by Cruz are now hoping for an open convention, in which most pledged delegates, committed to the primary and caucus results only through the first ballot, would be free to vote for anyone on a second and subsequent ballots. But that threatened to loose “mere anarchy.” If Cruz or front-runner Trump were to be spurned at a contested convention, their followers might revolt—even, as Trump warned (or threatened), “riot” or launch an independent third party. As March ended, the panicked GOP, having long nurtured its radical right wing, seemed on the verge of disintegration. Party elders feared that neither a detested Cruz nor an unpredictable Trump would be able to defeat a damaged but still formidable Hillary Clinton (they continued to dismiss “that socialist,” Bernie Sanders). In addition to losing the Presidency, with Trump as nominee, Party bosses fretted that some centrist Republicans would either cross over, or not vote at all in November; or that the “Trump Effect” would further radicalize the GOP, strengthening Tea Party challenges to Establishment incumbents, and wrecking what was left of the no longer very grand Grand Old Party.

With no center able to hold, Ayn Randian conservative Paul Ryan, Speaker of the House, now seemed like a moderate. But, however respected, even revered he was, Ryan was unable to get hardliners on his right to endorse his budget, while being threatened, from his other flank, by Trump, who rejected cutting Social Security benefits, and informed Ryan who would be “boss.” Even the Republican center-right, the position represented by all three Bushes, had manifestly collapsed, with Trump having achieved the unique feat of unleashing the furies of both the extreme Right and, for Republicans at least, the populist Left. Ryan himself was privately and publicly urged to become the savior at the convention (a role Kasich hoped to play, in the wake of his March 15 victory in Ohio). But any such convention coup, though infinitely preferable to the extremist alternatives, would leave the ultras committed to Cruz and the devotees fanatically loyal to Trump more convinced than ever that they had been betrayed yet again by the Washington elites: insiders represented, on the Democratic side, by Hillary Clinton, a battered but resilient survivor of Bernie Sanders’ valiant and stunningly popular insurgency from the progressive Left.

The division within the parties reflected, but failed to resolve, the massive discontent in the nation: the very frustration and anger—much of it rooted in the slowly, weakly and, above all, unevenly recovering economy—that had fired up the anti-Establishment Sanders and Trump movements in the first place. Some professed themselves perplexed by voters torn between the apparent extremes of Trump and Sanders. That phenomenon can be explained by their overlapping support from blue-collar workers. Those workers, always a low priority for Republicans, were largely abandoned in the 1970s by the Democrats, who have become—as progressive gadfly Tom Frank argues in Listen Liberal, Or Whatever Happened to the Party of the People? (2016) —more allied with non-union technocrats and other professionals. There are exceptions among individual pundits and politicians (even Hillary Clinton is having second thoughts on trade). But in general, the “party of the people” became less interested in blue-collar workers and thus in economic inequality—which has actually widened under Obama.

Into this vacuum came Sanders and Trump, whose populist blue-collar appeal is based on their protectionist opposition to outsourcing and to international trade agreements that have benefited corporations but taken away thousands of manufacturing jobs, especially in the Midwest rustbelt. American de-industrialization is not attributable to NAFTA, CAFTA and the TPP alone, but unemployed factory workers are understandably less interested in nuanced theoretical discussions of the positive aspects of globalization than in eagerly listening to those who reflect their grievances and promise to redress them. No matter that, as a businessman, Trump does not practice what he preaches when it comes to outsourcing and hiring illegals. No matter, as well, that he (and Bernie) make campaign promises, many of which they would not be able to fulfill as President. Both create hope, much of it false. But the desperation is real, and the appeal powerful.

Though the American economy under Obama has created 4 million private sector jobs since 2010, many without a college education or lacking the skills required in a new economy have been left behind. Unemployed and underemployed whites are at the core of Trump’s constituency. But these painfully real socioeconomic conditions do not fully explain the phenomenon of Trump, who is also, as David Remnick observed in the March 14 New Yorker, “the beneficiary of a long process of Republican intellectual decadence” (the assault on science, the elevation of Sarah Palin, etc.) and years spent “courting the basest impulses in American political culture,” beginning with  Richard Nixon’s “Southern strategy” and including, more lately, “a birther movement and the Obama Derangement Syndrome.” Birther-in-Chief Trump, flaunting endorsements by the barely coherent Palin and the evolution-denying Doctor Carson, occupies a prominent position at the populist epicenter of this intellectual decadence.

Unlike that of Sanders, Trump’s populist insurgency is spiked by a toxic dose of nationalism and xenophobia. Something short of a fascist or a racist himself, Trump assumes and fuels the resentment and racism of many of his followers: a visceral hatred evident in the outbreaks of violence at recent Trump rallies. As usual, there are two, if not quite equivalent, issues in tension. Sarah Palin, eloquent as ever, has dismissed the protests as “punk-ass little thuggery” cheered on by a leftist media. It is true that Black Lives Matter activists intend to disrupt more than protest, undermining the free-speech rights of Trump supporters. What matters is how Trump has responded to this double “tension.” Unsurprisingly, he has not made it a “teachable moment.” While he does “not condone” the violence against the various protestors (some carrying “Sanders” signs), Trump most certainly does not condemn it. Instead, he incites or incentivizes it, announcing from the podium that he himself would like to “punch” protesters, and waxing nostalgic about the days when such dissidents would be “carried out on stretchers.” When one of his fans did in fact sucker-punch a black protestor as he was being led away, Trump offered to pay any legal fees incurred by the assailant—who was immediately afterward taped, not only expressing pleasure at having punched his victim in the face, but adding ominously that he was “not one of us,” and that “next time we may have to kill him.”

Such behavior and such an attitude are obviously extreme even in the most raucous Trump rally. But the “passionate intensity” of the “worst” is often allied with prejudice and ignorance. One is therefore unsurprised by Trump’s professed “love” for the “poorly educated,” and by the enthusiastic willingness of “my people” to follow their Leader. Even Vladamir Putin, that poster boy for virile masculinity, has been impressed by the same quality in Trump—who returned the compliment (“at least,” in contrast to Obama, “he’s a leader”). The exception among foreign heads of state, Putin also pronounced Trump “brilliant and talented,” leading to an official endorsement by the head of Russia’s state-owned news agency.

No Putin, let alone Hitler, Trump has been more engagingly compared to Mussolini. The Donald recently, if unwittingly, re-tweeted a favorite maxim of Mussolini (“It is better to live one day as a lion than 100 years as a sheep”), and his neo-fascist tendencies extend beyond the jutting jaw he shares with Il Duce.[9] But even this alignment is overblown. More apt is the comparison with a later Italian leader, plutocrat turned prime minister Silvio Berlusconi, with whom Trump shares a megalomaniacal and vulgarian cult of the Self. Like all his buildings and projects, Trump’s private Boeing 757 airliner, the backdrop at outdoor rallies, is emblazoned with his name in huge letters. Each step of the plane’s airstair has two “TRUMP” signs; every bath-fixture and seat-buckle is 24-karat gold; every leather seat is stamped with the Trump crest. Asked recently who he consults on “policy,” he responded, as a narcissist would, “I talk to myself. I have a great brain.” The machismo and self-aggrandizement are grotesque, but to his fans, such displays project their leader’s confidence, strength, and authority.

Trump Mussolini

Jonathan Weiner, co-author of Authoritarianism and Polarization in American Politics (2009), recently described Donald Trump’s core voters as driven by their attraction to authority, to plain-spoken solutions to problems and the promise of decisive action in defense of their traditional values. In “Why Trump?,” an online essay published on March 6, cognitive scientist George Lakoff interpreted the nation’s politics, and Trump’s in particular, “metaphorically,” in familial terms. The “conservative and progressive worldviews dividing our country” can be encapsulated in two common but antithetical forms of family life: “The Nurturant Parent Family (progressive) and the Strict Father Family (conservative).” Inculcating “discipline” and “strength,” the Strict Father model produces “winners,” who deserve to win, not only in life, but in electoral contests. Thus, a “formidable candidate’s insults that stick are seen as victories—deserved victories.” For those whose attitudes and prejudices have been deemed outmoded and stigmatized as “politically incorrect,” Trump “expresses out loud everything they feel—with force, aggression, anger, and no shame.” By supporting and voting for Trump, they make him their voice, and their views are made “respectable” by “his victories.” He is “their champion. He gives them a sense of self-respect, authority, and the possibility of power.”

Donald Trump photo by Tony WebsterPhoto by Tony Webster (via Flikr Creative Commons)

Lakoff sketches out a conservative worldview embracing distinctions  Trump adroitly straddles.[10] But it is the distinction between “direct” and “systemic” causation that most illuminates Trump’s appeal to the wide following he has attracted. According to Lakoff, empirical research has shown that conservatives “tend to reason with direct causation,” and to deal with a problem by “direct action,” whereas progressives are more in their element engaging the “complex” interactions involved in “reasoning with systemic causation.” If it sounds like Trump vs. Obama (he of the unenforced “red line”), it is.

“Many of Trump’s policy proposals,” as Lakoff notes, “are framed in terms of direct causation.” Immigrants are flooding in from Mexico: build a wall to stop them. Many have entered illegally: deport them, even if 11 million are working and living throughout the country. Jobs are going to Asia: slap a huge tariff on the goods produced there. ISIS profits from Iraqi oil: send US troops to Iraq to seize it (in fact, coalition bombing is now taking a serious toll on ISIS oil production). Want to defeat ISIS?—“bomb the shit” out of them, and threaten (even if it’s a war crime) to kill the families of jihadists. Seeking information from terrorist suspects?—water-board them, or worse. Afraid a few terrorists might slip in among Syrian refugees?—ban all Muslims from entering the country.  To add the latest: tired of funding NATO and providing a nuclear umbrella in the Far East?—declare NATO defunct and let Japan and South Korea develop their own nuclear capability. “All this makes sense to direct causation thinkers, but not [to] those who see the immense difficulties and dire consequences of such actions due to the complexities of systemic causation.” Trump’s can-do machismo (including his insulting of the way a woman “looks”) will be less effective in a general election than it has been on this rowdy campaign trail.[11]

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Contemptuous of Trump’s penchant for simplistic solutions to complex problems, and stunned by his colossal egotism, skeptical observers of his campaign were initially incredulous, even amused. But their sides stopped shaking in mirth as he piled up victories. With his near sweep on the third Super Tuesday (March 15), his delegate count became virtually insurmountable. Crushing Rubio in his home-state, winner-take-all Florida, Trump drove the Senator from the race, collecting a bonanza of 99 delegates. Kasich held on in his home-state, denying Trump Ohio’s 66 delegates. Cruz won nowhere, but continued to collect delegates, slouching toward Cleveland with a number sure to be second only to the front-runner,  whom he planned to defeat at a contested convention. Needless to say, if he fails to reach the nomination-clinching 1,237 prior to the convention, Trump will not go gently in any floor fight; there are arms to be twisted, and there’s always that threat of a “riot.” Quite aside from his own fierce will to “win,” The Donald has repeatedly told us that what he is leading is not a mere political campaign, but a “movement.”  He’s right, and he’s not alone.

Such anti-centrist movements, driven by right-wing authoritarianism and galvanized by Europe’s even greater immigration crisis, are proliferating throughout the West. In France, Marine Le Pen has slowed her activities as president of the right-wing National Front, but only because she is preparing to run next year for the Presidency of France. (Her father, the party’s ousted neo-fascist founder, having tweeted in January that if he were an American, he “would vote for Donald Trump,” accurately described Trump in March as “an independent candidate with populist language; this is what has made him successful.”) In Germany, Angela Merkel’s centrist coalition is under threat because of her (no longer welcome) welcoming policy toward migrants. That policy, controversial within her own party, is challenged by right-wing opponents, most prominently by Frauke Petry, the efficient and determined leader of the AfD (Alternative for Germany), a populist, anti-immigration party she led to victory in several mid-March elections. Going beyond even Marine Le Pen, Petry has proposed that police “shoot, if necessary,” at migrants attempting to enter the country illegally.

In impoverished Greece, over 100,000 migrants have arrived since the beginning of the year; in late February, police clashed with asylum seekers at the Macedonian border. Politically, demographically, and economically, the culminating moment came on the night of March 7, when Europe officially closed its borders. The leaders at the summit convened in Brussels, the EU capital (also, ironically, the central nest in Europe of unemployed, unassimilated jihadists in the making), proclaimed the end of “irregular flows of migrants.”[12] Henceforth, refugees fleeing from war-ravaged Syria and Iraq would no longer be able, in the typical scenario, to escape to the Turkish coast, board a raft to Greece, and travel on, seeking refuge in Germany or elsewhere in Western Europe. Instead, the EU pledged billions in aid to Turkey in exchange for a commitment to take the migrants back. It was a drastic step, but the alternative seemed to be the continued fracturing of Europe, with centrist governments, burdened by debt (with the exception of Germany) and besieged by refugees (and here Germany is no exception), battling against “energized movements from right and left.”

I am quoting a February 25 Washington Post column by Fareed Zakaria, repeated three days later on his GPS Sunday-morning television program on CNN. Zakaria’s title and theme are a modestly hopeful variation on Yeats: “In the West, the Political Center Holds—but Barely.” He begins:

“Things fall apart; the centre cannot hold;/ Mere anarchy is loosed upon the world.” It’s time to quote W. B. Yeats’s famous poem again. But this time, it really does seem that the political center is under intense pressure—from left and right—all over the Western world….Across Europe, governments that occupy the center ground find themselves struggling against [extremist] movements….Centrists are under siege in the United States as well….Why are centrists so vulnerable?

Zakaria notes that moderate politicians and governments have performed rather well in recent decades, steering their countries through many difficult challenges. But while they may be competent, “centrists are dull, practical types,” and “there is always a search for romance in politics.” Even amid centrist success, there are still problems, many of them, often outnumbering the successes, stemming from the same force: globalization. Whatever their ultimate source, there are “enough problems to galvanize the romantics who believe that the answer is a revolution.” And, in contrast to traditional politicians, “outsiders,” a Donald Trump for example, “promise easy answers.” Zakaria turned again to “The Second Coming”:

“The best lack all conviction,” Yeats wrote, “while the worst are full of passionate intensity.” The simple solutions are, of course, non-solutions. And they mostly won’t happen.…But what is happening is political paralysis. The romantics and the radicals might not have the power to overturn the centrist consensus, but they can place it under relentless pressure….In the United States, the country and its political leaders have spent months debating fantasies [building the wall, deporting 11 million people, banning all Muslims]. Meanwhile, there is no discussion of the important issues and the actual, plausible policy options to deal with them—regarding the global economic slowdown, massive infrastructure deficits, growing inequality and climate change, among others.

Yeats was wrong. The center can and does hold, but just barely.

Even that tempered and terminally caveated hopefulness—though a far cry from the optimistic interpretation of the eternal gyre as “just the same old adventure in a new cycle”—may or may not amount to whistling in the dark. Just one day after Zakaria’s reassurance on television, provocative social critic James Howard Kunstler also repaired to “The Second Coming,” painting (in a March 1 blog titled “Yeats’s Widening Gyre is Upon Us”) a dismal picture of the United States as the two parties slouched toward their 2016 conventions. The “sinking global economy,” igniting “cluster-bombs of default through the financial system,” would centrifugally “effloresce,” Kunstler surmised, right around the time of those conventions. He foresaw both front-runners “lumbering inevitably toward their respective nominations,” with the GOP likely to split into “warring factions” in a probably futile attempt to derail Trump at the convention: a split reflecting, and exacerbating, the nation’s economic and cultural fissure. On the Democratic side, Bernie Sanders’s campaign has sparked a revolt that could spawn a liberal version of the Tea Party, which might, in turn, become a truly revolutionary movement were Trump or Cruz to win the presidency. Kunstler concluded: “Yeats’s widening gyre is upon us, and the second coming will not be the reappearance of the celebrity known as Jesus Christ, but rather of the event called the American Civil War.”

The optimistic God’s-eye interpretation of the eternal gyre seems, in the present circumstances, far too cheery to be persuasive. We may hope that Fareed Zakaria’s less dramatic projection of a threatened “center” holding, “but barely,” proves more accurate than James Kunstler’s vision of a second Civil War.  And yet, the American political “center” richly deserves to be challenged, as it now is—powerfully from the left, even more powerfully from the right. In his 1925 poem “Shine, Perishing Republic,” Robinson Jeffers brooded, “sadly smiling,” as “this America settles in the mould of its vulgarity, heavily thickening to empire.” Prophesying coming decay, this austere, almost survivalist poet of rock and hawk held out one Nietzschean-Yeatsian hope. There will always be “noblest spirits,” for whom “corruption/ Never has been compulsory.” When “the cities lie at the monster’s feet there are left the mountains.” So, “shine, perishing republic./ But for my children, I would have them keep their distance from the thickening center.”

The Jeffers poem, written at the same time as Robert Frost’s earlier-quoted sonnet of impending disaster, “Once by the Pacific,” was only one of three darkly prophetic poems cited by readers responding to a March 2016 essay, “Donald Trump and the Remaking of America.”[13] The essay was by military historian and retired colonel Andrew J. Bacevich, whose critical history, America’s War in the Greater Middle East, would be published in April. He has long condemned the Iraq War as a catastrophic decision—as has Trump, though Bacevich otherwise dismisses The Donald as a reckless celebrity performer who has, dangerously and all-too-effectively, adopted a bellicose “attitude or pose that feeds off, and then reinforces, widespread anger and alienation.” At once less interventionist and more hawkish than Hillary, Trump was aligned by Bacevich with Cruz and Rubio, in that all are “unabashed militarists,” each claiming that, as commander-in-chief, he would take no “guff from Moscow, or Pyongyang or Beijing or Tehran.” Each has asserted that, once in office, he “will eradicate ‘radical Islamic terrorism,’ put the Mullahs back in their box, torture terrorists, and give Bibi whatever he wants.” (In this same month, Trump pronounced all of Islam motivated by “hatred of us,” and threatened to kill the families of terrorists—though conceding that if, as president, he could not “expand” the laws, he would, reluctantly, abide by the Constitution and the Geneva Convention.)

Responding to the Bacevich essay online, “John T” summoned up the famous “centre” that “cannot hold” and the loosing of “the blood-dimmed tide,” recalling as well that “the worst / Are full of passionate intensity,” and that a “rough beast, its hour come round at last,” is slouching to be born. After quoting eight lines of “The Second Coming, John T observed that the emergence of Donald Trump marks “the fulfillment of a half-century’s considered and deliberate emasculation of the underlying sense of social responsibility that once held this country together in a fragile balance.”  But, as it turns out, John T is no fan of the contemporary American center.

“The centre cannot hold,” as Yeats said long ago, but it is the corporate center itself that created and unleashed the monster of Trumpism that is tearing the Republican Party apart and that, in the end, will put an end to the corporate institutions that… have so successfully controlled and undermined the very social contract that made their dominance possible. Donald Trump and what he so gleefully represents is a cancer metastasizing through the Republican Party, but what the Democratic pundits who are so joyfully pouncing on the wounded beast fail to understand is that it is a cancer that will bring the Democratic Party down in the same manner….[The followers of Bernie Sanders] expect and demand real and fundamental reform. [They are] not going to have it,…and are not going to accept the lies and pretense that Hillary Clinton is attempting to market. Donald Trump may be the rough beast slouching towards Washington, but the coming fragmentation of the two parties quarrelling over the prize he is seeking is the only hope for real long-term reform that we have left—if we can weather the storm.

Responding, “Ikallitres,” a poetry-lover aware of Matthew Arnold as well as of Robinson Jeffers, observed that “quoting Yeats’s ‘The Second Coming’ has become passé because it can be used to describe any and every one of the disasters that our politics has become.” (From my perspective, the second part of that sentence at once demonstrates and rebuts the first.) The same was true, he continued, of Arnold’s “Dover Beach” (locating us “here as on a darkling plain/ Swept with confused alarms of struggle and flight,/ Where ignorant armies clash by night”). Though grateful to have been reminded of the finale of “Dover Beach,” John T responded to the criticism of his having cited Yeats in words I’ve been employing throughout this essay, though, unlike Ikallitres, I do not find “The Second Coming” outmoded: “Yeats is so passé precisely because his poem was so very prescient at the time he wrote it and so very relevant today.”

Will the Western “center” hold? Should it? The “centre” celebrated by Yeats (a Romantic drawn to both Burke and Nietzsche) was cultural, steeped in ceremonious tradition: not our moderate political center, which he would have doubtless found as “vulgar” as the “thickening center” deplored by Jeffers, a fellow Nietzschean. And yet Yeats, in revising, purged his poem of particulars that restricted it to his own moment in time and reflected his own political perspective. As I have stressed throughout, in so doing, he universalized the poem, making it perennially relevant, applicable to the crises not only of his time but of ours. Reading “The Second Coming” in 2016, we lament the collapsing of the center and the falling apart of things in our present world of anarchy and blood-dimmed violence. We also dread the emergence—from the chaotic Middle East, from fragmented Europe, from our own polarized politics—of some new incarnation of that rough beast, its hour come round at last, and slouching towards us.

—Patrick J. Keane

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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 (2008).

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Footnotes    (↵ returns to text)

  1. “No Slouch” (Paris Review, 7 April 2015). Oddly, Tabor’s otherwise thorough gathering omits Mitchell’s “Slouching Towards Bethlehem” (on the Night Ride Home album, 1991). But he lists innumerable pop-culture references, including many book-titles, especially sci-fi and detective novels. My own favorite examples range from the titles of all six volumes in the recent Star Trek compendium, itself titled Mere Anarchy (also a Woody Allan book title) to the 12-issue Batman series, written by Kevin Smith, and gathered together under the rubric The Widening Gyre.
  2. In fact, those crucial lines, “the best lack all conviction, while the worst/ Are full of passionate intensity,” echo Shelley and Wordsworth. According to the last Fury in Shelley’s Prometheus Unbound, the “good” lack “power,” the “powerful” lack “goodness”; and “all best things are thus confused to ill” (1:625-28). But Yeats, who was reading the French Revolutionary Books of The Prelude, is also recalling a phrase he underlined in Book 11 (“I lost/ All feeling of conviction”), and is verbally close to a passage in Book 10 in which, contrasting the moderate Girondins to the murderous Jacobins, a troubled Wordsworth speaks of “The indecision on their part whose aim/ Seemed best, and the straightforward path of those/ Who in attack or in defense were strong” (130-32). And there is a final parallel. In Wordsworth’s Excursion, which Yeats read in 1915, the “bad” earn “victory o’er the weak,/ The vacillating, inconsistent good” (4:298-309).
  3. Frost’s poem is riddled with more-than-biblical echoes, though the poems alluded to all have apocalyptic implications. In “Once by the Pacific,” the “clouds were low and hairy in the skies,/ Like locks blown forward in the gleam of eyes”: a fusion of the “insolent fiend” who, in the phantasmagoria at the climax of Yeats’s evocation of  “the things that come again” (the original title of “Nineteen Hundred and Nineteen”), “lurches past, his great eyes without thought/ Under the shadow of stupid straw-pale locks,” itself a negative echo of the primary passage Frost has in mind: “the locks of the approaching storm,” in Shelley’s “Ode to the West Wind,”  where the wind-blown clouds are “Like the bright hair uplifted from the head/ Of some fierce Maenad.”
  4. Prelude 10:92-93. Almost eleven hundred victims suspected of Royalist plotting were butchered during the September Massacres. Among those dragged from prison in September, sentenced to death by tribunals, and killed instantly by small squads of executioners was the Princess de Lamballe, maid of honor to Marie Antoinette. Notoriously, her body was mutilated and its sexual parts paraded before the windows of the prison that held the royal family.
  5. McCants, The Isis Apocalypse, 146. For evidence that “most modern Sunni Muslims viewed apocalyptic thinking with suspicion before the United States invaded Iraq,” and on the “triple-union” now helmed by the American “new Crusaders,” McCants (145-46) cites Apocalypse in  Islam (2011), 121-40, by the French scholar Jean-Pierre Filiu.
  6. For details, see Jeffrey Goldberg’s “The Obama Doctrine,” The Atlantic (April 2016), 70-90.
  7. Following a Republican 2012 presidential primary debate and registering both the on-stage verbal meltdown of then front-runner Rick Perry and the continued right-wing lack of enthusiasm for Mitt Romney, Kristol fired off a Weekly Standard “special editorial,” titled simply “Yikes!” Kristol—who then wanted the outspoken New Jersey governor to get into the race—ended by quoting an email from a fellow-Republican equally dismayed by the caliber of his party’s candidates. Concurring with the emailer’s allusion—“The best lack all conviction, while the worst/ Are full of passionate intensity”—Kristol couldn’t “help wondering if, in the same poem, Yeats hadn’t suggested the remedy: ‘And what rough beast, its hour come round at last,/Slouches towards Bethlehem to be born?’ “Sounds,” he concluded, “like Chris Christie!”
  8. Reviewing a study of the Iran-Iraq War in January, 2016, Graeme Wood cited Henry Kissinger’s observation at the time that it was “a pity both sides can’t lose.” Given the horrific death-toll, the remark was (as Wood says) not only “famous” but “fatuous.” Nevertheless, in contemplating the potential of a larger Iran-Saudi conflict, one might be forgiven if, for an irresponsible moment, Kissinger’s realpolitik remark came to mind—along with then-Senator Harry Truman’s observation, in June 1941, when Nazi Germany had invaded the USSR: “If we see that Germany is winning, we ought to help Russia, and if Russia is winning, we ought to help Germany, and that way let them kill as many as possible.” Brutal; but, Truman thought, in the best interest of democracy.
  9. See Fedja Buric’s “Trump’s not Hitler, he’s Mussolini: How GOP anti-intellectualism created a modern fascist movement in America,” Salon (11 March 2016) accessed April 1, 2016.
  10. As in the old Chain of Being (or the Elizabethan World Picture diagrammed decades ago by E. M. W. Tillyard), this conservative worldview is hierarchical, extending from God to man to nature. Conservative “family-based moral worldviews run deep,” and, Lakoff argues, “Conservative policies” are inflected, even shaped, by this Strict Father hierarchy. Your moral worldview defines for you what the world should be like; “when it isn’t that way, one can become frustrated and angry.” Lakoff notes variations and the split among white evangelical Christians, laissez-faire free-marketeers, and pragmatic conservatives bound by no evangelical beliefs. Winning among all three groups, Trump himself is “a pragmatic conservative, par excellence.”
  11. Trump, already opposed by almost three-quarters of women polled, finally suffered what may be genuine damage. On March 30, pressed hard by MSNBC’s Chris Matthews on the question of abortion, Trump said, not only that it should be illegal, but that any woman who had an abortion should be subject to criminal “punishment.” Here is the exchange, verbatim:

    Matthews: Do you believe in punishment for abortion, yes or no, as a principle?

    Trump: The answer is there has to be some form of punishment.

    Matthews: For the woman?

    Trump: Yes, there has to be some form.

    A more deft politician would never have let himself be cornered by this cable-news version of Socratic dialogue. For Rush Limbaugh, who quickly sped to Trump’s defense, Chris Matthews was no Socrates but a “Democratic Party hack,” whose gotcha question came “out of left field.” Of course, Limbaugh has no problem when the same relentless badgering is employed in the form of questions coming “out of right field,” as they incessantly are in the habitual technique of his fellow right-winger Sean Hannity. In any case, however it was educed, Trump’s astonishing statement, which goes beyond even the extremist anti-abortion positions of Rick Santorum and Mike Huckabee, was quickly walked back by Team Trump. But the damage was done. The Donald’s freewheeling, unscripted style had finally cost him. How much remains to be seen; but some backlash was quickly evident in his falling well behind Ted Cruz in the polls leading up to the next important primary, in Wisconsin, on April 5.

  12. The Brussels agreement, finalized on March 18, went into effect on March 20. Two days later, three suicide bombers (two of them brothers) killed 31 people and wounded some 300 in Brussels, striking at Zaventerm airport and Maelbeek metro station. A fourth terrorist, whose device remained undetonated, escaped, becoming the subject of a widespread manhunt. Anti-terrorists raids and searches occurred in France and Germany as well as Belgium; and ISIS threatened more “waves of bloodshed,” especially in Europe.
  13. The Jeffers poem has a more direct connection to another poem by Frost. “Our Doom to Bloom,” one of Frost’s late—serious yet light-hearted—assaults on the US welfare state, has as its epigraph Jeffers’s “Shine, perishing republic.”
Apr 032016
 

Hands-016

The infinite suggestiveness of common things… —Patrick Madden

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Sublime Physick: Essays
Patrick Madden
University of Nebraska Press, 2016
244 pages, $24.95

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In the last sentence of his postscript to “Independent Redundancy,” the mammoth centerpiece essay of his new collection, Patrick Madden quotes Gide: “Everything has been said before, but since nobody listens we have to keep going back and beginning all over again.” This might be just a bit too morose to serve as an unqualified summation of Madden’s essayistic perspective, but it’s pretty close. To read a Patrick Madden essay is to interface with the mind of an engaged, self-conscious thinker. Actually, that’s not quite right: It is to interface with Madden’s curation of the minds of many thinkers within the expanse of his own.

Madden is not a hoarder of his thoughts or his words, or the words of his many sources, and he frequently seems more interested in exploring mysteries than creating them. In his first collection Quotidiana (2010), Madden declared the essay “an open, leisurely form, somewhat allergic to sensationalism,” and the primary intention of the essayist to “make the mundane resplendent with their meditative thoughts.” In Sublime Physick, his second collection, he continues exploring “the infinite suggestiveness of common things”—spitting hockers, turning 35, being recognized in a public place, temporarily losing his children—while expanding upon a tendency he intimated in Quotidiana of blending his sources into his own thoughts and sentences to the extent that it’s sometimes difficult to tell where his own thoughts begin or end. This will probably be the most divisive element of Sublime Physick’s otherwise gentle, reflective style: Either you are carried away into the free-flowing stream of voices commingling under Madden’s umbrella, or you are confounded by his seeming unwillingness to settle on a central voice or thematic concern.

Madden does his part to prepare the reader in “Fisica Sublime,” the “introduction” which is also the second essay of the collection. After explaining his choice of placing the “introduction” second in the collection, Madden spends most of the essay giving the etymology, metaphorical significance, personal associations, multiple spellings, and binary structure of the essay’s and the book’s title(s), concluding:

Perhaps, I’m beginning to think, everything we think we know is a kind of sublime physic, an abstraction derived from concretion and a double-aspected entity that we think we know in two distinct forms, yet is really a unity: matter-energy, space-time, mind-body, emotion-intellect, self-others, inside-outside, nonfiction-fiction; you could go on and on listing apparently opposed binaries and find, again and again, that where they meet is beauty.

These beautiful binaries comprise the nucleus of the collection’s essays, whose ostensible subjects range from Madden’s travels with recently deceased Uruguayan poet/storyteller Eduardo Galeano, to the brief disappearances of two of his six children, to a midlife non-crisis, numerous meditations on time and its discontents, and the acquisition of a bass guitar.

And that’s just the first half of the book. Much of the second half is taken up with just two essays, the first of which, “Independent Redundancy,” can fairly be called the opus of the collection. In thirty-six sections that seem to be written from at least eighteen points of view, Madden explores the phenomenon of the title, a term Madden coins “to describe the phenomenon of two or more individuals coming up with the same idea without any cross-pollination or shared influence.” The essay trots out a set of cultural referents seemingly impossible for one head to hold, unified mostly by representing different cliques of the same school of thought. Following are some notable juxtapositions and conversations.

Madden opens the essay and comes back numerous times to the phenomenon in popular music of the independently redundant melody, like the one shared by George Harrison in “My Sweet Lord” and the Chiffons in “He’s So Fine,” and by Coldplay’s “Viva La Vida” and Joe Satriani’s “If I Could Fly.” He even traces back the latter pair, in a connection one can guess only he has made, to the Argentine band Enanitos Verdes (Little Green Men). At least as interestingly, Madden also addresses the more obvious technique in modern hip-hop and mashup culture of sampling – direct “quotation” of previously recorded material, most times without citation, a technique, interestingly, that Madden consciously practices in his own essaying. As usual, most musical references somehow lead back to Montaigne or the band Rush.

He spends less space but as much energy on the nature of innovation and discovery in the sciences, positing most great advances as the cumulative work of many— “the result of convergences in ideas, materials, and possibilities”—rather than “the result of genius operating in isolation.” He points out that though the discovery of sunspots, the law of conservation of energy, and the invention of the airplane were all products of independent, synchronous work by numerous thinkers, “our mythologies tend to give full credit to a single inventor.” This leads Madden to ponder the place of free will in this process:

It occurs to me that the struggle between models of determinism…applies to invention as much as individual (or group) destiny, invention being a subset of destiny, and that all are opposed, in some way, to any real model of creativity. Rather, if we stipulatively determine (determine!) that invention means an unpredictable, unexpected, not inevitable creation and that discovery, as is binary, is that which—like a rock in the path of a tiller—will inevitably be turned up, then that is the same struggle. And this would mean that those who believe invention inevitable really really mean that there is only discovery, not invention…

Of course, Madden is not afraid to turn the scope inward. He peppers examinations of his own writing style throughout the essay, from examination of influences like Woolf, Borges, Lamb, and Hazlitt, to farcical interactions with various artificial intelligence devices, robots, and computer-generated feedback services, to his surprised reaction and subsequent self-analysis after a friend tells him he’s a postmodern writer. He decides he’s postmodern mostly in that “I am painfully metaliterary in my thinking.” Perhaps the most singular purpose to this self-analysis (or written-self-analysis) is, in his words, “to wave at the attentive reader, calling attention to the artifice, the fact that this is a creation made of language; it is not the thing it describes.”

Each of the 36 parts echoes independently and redundantly, while Madden stops for breath only occasionally to project himself on the reader:

What if we are our book but our book is not us? What if this independent redundancy spins out of control and the inadvertent plagiarism becomes complete? (184)

…whatever we may convince ourselves, we will never know it all, and no matter our cries of originality, we are ever repeating, singing back the melodies we heard somewhere before, whether we remember or not. (222-3)

As if to pull in the reins after the freewheeling “Independent Redundancy,” Madden finishes the collection by meditating in its final essay on fixity. As if in counterpoint to the multitude of voices, influences, and points of view in the previous essay, Madden situates “Fixity” firmly in his own, starting at a centuries-old grave in Greenwich, England and moving outward to the situation of Greenwich as earth’s prime meridian and finally addressing the gathered crowd with “how you necessarily apprehend my essay, dear reader: by depending on my observations as I in turn depend on the observations of others, near and far, here and long gone.”

Which is all fine and would be a fitting theoretical tie-in to, even justification for, the multitude of voices and echoes he invokes through the previous essay. But Madden goes deeper into himself, deeper into his own fixed point in the landscape, or rather a fixed point adjoining his. As he was traipsing through Greenwich, “111 degrees 52 minutes 24.1608 seconds west of me,” Madden’s wife felt the surging limbs of what would be their fifth child within her and remembered the ghost-child they lost a year and a half earlier, “realiz[ing] with a start that had this lost child come to term, there would have been no time for this new person inside her now, so strikingly active so near to advent; that the loss of one is the profit of another.”

And thus the essay and the book end with a beginning, a birth, that might have been a continuation had circumstances, fate, or whatever shrugged and begun a family a year and a half earlier. The forces that shaped Madden’s life and words would have had an entirely different prime meridian, his family started from a different point, the quotidian moments given substantially different context, all built upon “rigid foundations and relative freedom” from which “we flail against nothingness or take stock from temporary origins and movable objects.”

 

—John Proctor

NC

Proctor

John Proctor lives in Brooklyn, New York with his wife, two daughters, and Chihuahua. His publications include Atlas & Alice, The Weeklings, Essay Daily, The Normal School, The Austin Review, DIAGRAM, Superstition Review, and Underwater New York. His essay “The Question of Influence” was a recent Notable selection in The Best American Essays 2015, and his essay “The A-Rod of Ballhawking” was nominated for a 2016 Pushcart. He teaches academic writing, media studies, and communication theory at Manhattanville College. You can find him online at NotThatJohnProctor.com/.

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Apr 022016
 

Mahtem Shiferraw - Author photo
Fuchsia

It really is a thrill to feature three poems from Mahtem Shiferraw’s debut poetry collection, Fuchsia, here at NC. Longtime readers may remember Mahtem from our production masthead many moons ago, and now she rejoins us having received the Sillerman First Book Prize for African Poets. Fuchsia is a thrilling debut, and, as Yusef Komunyakaa praises, it “captures mysteries of the heart and mind alongside everyday rituals.” Enjoy this small slice of a beautiful book. — Benjamin Woodard

 

Talks about Race

I have dark skin, dark face, and darkened eyes –

the white resides only outside the pupil.

I don’t know how to think of this –
I wasn’t taught to notice one’s colors;

under the sun, everyone’s skin bounces streaks of light.

Which do I claim? It is difficult to explain
the difference between African & African American
the details escape me, thin paper folding the involucre of a burning fire.

I am “other”; it is such
an indistinguishable form, beyond the construct of the proper self.

Sometimes I am asked
if I am Indian, Middle Eastern, or Biracial;

I don’t know what to say to these people
who notice the shape of the eye before its depth
the sound of the tongue before its wisdom
the openness of a palm before its reach.

And what to those who call me, “African”?
Don’t they know I can count the years spent back home
wishing I knew I was “African”?

And how to cradle, and contain the disappointment that is
rekindled whenever someone does NOT know
my Ethiopia, my Eritrea.

I don’t know how to fit, adjust myself within new boundaries –
nomads like me, have no place as home, no way of belonging.

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E is for Eden

It lasts a while. The bitter aftertaste of sorrow
and something sweet. Like honey waves soaked

in lemon juice, it creates hollow spaces between
moments of unabridged whiteness. Glance over

once and the skies have a different story to tell.

You were created with a purpose:

a land of all lands, neither heaven nor earth
suspended between the blue wings of oceans
and their unoccupied gaze.

Once there were creatures here, inhabiting
your luscious corners, and they prodded and swiveled
and flew to please you.

You were made in somebody’s image,
but you have forgotten.

What remains now is the aftermath –
even that stripped of all its glory.

The eyes of men are saddened by the sudden
shadows unveiling in women’s eyes. Your breath

was once dirt, ash, tangible and ugly. Your face
did not exist. The contours that shape your smile,

your hairline, the timid dimple on the left cheek, they
were all ash. Here is what was: only the thought of

being loved and rejected, being loved and birthed,
being loved and destroyed. Your breath does not have

the apple’s acrid taste; it smells of something wild and
unadorned, it says do not fear, it is I, it whispers at night

when you are cold and shivering and alone in this world.

This breath is not yours to take:
mend it and oceans will flow once again.

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Synesthesia

White is a color,
black is art. Nod to those before you.
Brown is a sense of being, and dark hovers
only beneath the shadows of necks –
those who fear it most. Here is to fear.

Red are the tip of shoes of the woman
who waited in the bathroom patiently when I was
only three – to steal my mother’s ruby earrings. White

is the unsafe silence of bathroom walls, and their
morbidly cubic nature. White is water running under
my feet, the innocent screams of school children
at lunch hour.

Brown is the anomalous texture of curtains from my
childhood. Brown is also the parched wood
of a small coffee-grinder my mother used. Brown as in
the intimate angles of sharply cut ambasha my grandmother
made, flour and water, lemon skin and cinnamon shreds, the
dark heads of raisins, while on a cargo plane back to Ethiopia,
the tired eyes of war-victims and their slow recovery. Brown
is also the color of my skin, but I didn’t know it then.

Blue are the waters embedded in my grandmother’s eyes. Blue is
the whisper of the Nile, Abbay. Blue is the color of the brave. Blue
are the walls of empty neighbors houses and the insides of their
living room. Blue is skimmed milk tearing the sky.

White sometimes comes back at odd hours. White are stranger’s eyes
drenched in sadness. White is the uniform of doctors, the smell of
alcohol and something mad. White is absence. Purple comes back

as shoes, American shoes. Sky and blood under a quiet shadow. The
shadow of a young tree planted in memory of a murdered teacher in
high school. And the milky paste of over-ripe figs spurting prematurely,
spiking insides. Purple is warmth in mid-July, when rain hails on corrugated
tin roofs and the leaning green arms of lonely corn plants.

Yellow is crying; it’s a bell, a cathedral in Asmara? A school? Or the
shriek of a mass funeral. Yellow is dead. But listen to black. Listen to
black notes, black heart, listen. Black is art. Not of the artist, the art of
being. The painful art of memory. Here’s to remembering.

— Mahtem Shiferraw

Excerpted from Fuchsia by Mahtem Shiferraw by permission of the University of Nebraska Press. © 2016 by the Board of Regents of the University of Nebraska. Available wherever books are sold or from the Univ. of Nebraska Press 800.848.6224 and at nebraskapress.unl.edu

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Mahtem Shiferraw
is a poet and visual artist who grew up in Eritrea & Ethiopia. Her work has been published in The 2River ViewCactus Heart PressBlood Lotus Literary JournalLuna Luna MagazineMandala Literary JournalBlackberry: A MagazineDiverse Voices QuarterlyThe Bitter Oleander PressCallaloo Literary Journal and elsewhere. She won the Sillerman Prize for African Poets and her full-length poetry collection, Fuchsia, was published by the University of Nebraska Press. Her poetry chapbook, Behind Walls & Glass, is forthcoming from Finishing Line Press. She holds an MFA in Creative Writing from Vermont College.

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Apr 022016
 

Circling Raven Prophecy, Kay O’Rourke

 

This writing project began as a flash of an idea when I first saw artist Kay O’Rourke’s series of thirty paintings, The River Remembers, in Spokane’s Marmot Gallery. I thought how great it might be to have a collection of written somethings to go with these artworks that depict the history of the Spokane River Gorge. My sense was the somethings shouldn’t detract or distract from Kay’s gorgeous paintings. If the writings somehow paid homage to the paintings, I mused—perhaps by taking the same shape (Ah, yes, that magical, sometimes mystical SQUARE!), and if they weren’t too prissy-looking (as regular lineated poems can often appear)—then maybe just maybe the literary enterprise might indeed complement the visual art.

Of course we were talking about an ekphrastic endeavor, and obviously the writings needed to be prose. As in prose poems. Friends at Spark Center, a tutoring center in my neighborhood, helped bring this crazy idea to life. And of course so did the fabulous area writers who threw themselves into this project with such passion. Some of these were novice writers; some were graduates of or students enrolled in Eastern Washington University’s M.F.A. Program. Several were high school students in the Salish Language School, a school that fosters education in traditional tribal language and culture for local Native American young people. This amazing group of area poets and lovers of our river came together, each taking on a painting or two, and “living in it” creatively, roaming imaginatively among its details and history.

Presented here are eight excerpts from the series of twenty paintings and their accompanying prose companions. So many surprising sources of joy fed into this project: the contemplative moments we all spent with the paintings, the intimate engagement of the writers, the stories that poured forth, the prose poems taking shape before us with such gusto, and the history we all learned together of our town and our river. We are grateful to Kay O’Rourke for these marvels of inspiration. I never dreamed all these unexpected sources of delight would, like small feeder streams, enter the great river.

—Nance Van Winckel

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About the Contributors

Kay O'RourkeKay O’Rourke.
Photo Credit: Jon Lepper, Tim Halloran Spokane Creative Life

Artist Kay O’Rourke

I work in oil and mixed media large scale drawings. I also play with found objects, creating artistic narratives. My work is narrative in nature, celebrating moments and memorializing them. The images can be about joy, humour, anger and even sometimes fear. I follow all the rules of good art making but let my inner person take me where I must go.

This last year was spent doing a commission of 30 paintings on the History of the Spokane River Gorge from the beginning of time up to Expo 74. I was commissioned by Jim Frank for Kendall Yards in Spokane these works now hang permanently in the Spark Centre at Kendall Yards. These works still represent my way of using “Majic Realism.” I believe Myth and Folk tales give a better sense of history beyond facts.

I’m drawn to naturalism, lyricism and myth. I consider my work to be “Paw Prints” of my life journey, the creation of myth from the ordinary.

The Writers

Megan Cuilla received her MFA from Eastern Washington University. She lives in Spokane, WA, with her husband and pet rats. Her work has been published in Rock and Sling and Knockout.

Once in a moon Jeffrey Dodd emerges from his bungalow in the foothills of North Spokane, shakes his fist, and returns to prune his shopping list.

Brooke Matson’s first full-length collection of poetry, The Moons, was published by Blue Begonia Press in 2012 and was also included in the 2015 Blue Begonia Press boxed set titled Tell Tall Women. Matson’s poems have appeared in Floating Bridge Review, CALYX, and various issues of RiverLitfor which she was the 2014 Poet in Residence.

Kathryn Smith’s poems have recently appeared or are forthcoming in Bellingham Review, Mid-American Review, Florida Review, Bluestem, Cleaver Magazine, and Ruminate. She was a 2013 artist resident at Holden Village, and her work has been nominated for Best American Poetry and the Pushcart Prize. She has an MFA in creative writing from Eastern Washington University and lives in Spokane, WA.

These students from Spokane’s Salish School contributed prose pieces: Ryem Abrahamson, Sierra Bates, Danny Boyd, and Shana Ellingburg.

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Raven Watching

After the painting Circling Raven Prophecy (#4)

#4Circling Raven Prophecy

See the reflection in my eye? That is you. It is sunset, or is it sunrise? Sometime before now, a tree branch snapped. The teal-tinted feather that covers my ear moves gently as you move. Everything cries out:  the scent of the river. My murder in the sky.  The man at the river’s edge. The men who are coming.

We flew from where we rested and now we circle the water, waiting. I used to believe things would be like this, circling and timeless, the banks of the river lush, alive. Things will change, sometimes in an instant, and sometimes forever. My beak is open as I breathe in. Tomorrow, I must remember today. One of my brothers carries a vine.

—Megan Cuilla

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The Flowing Clock

After the painting Spokan Chief Garry (#7)

#7Spokan Chief Garry

As I look down the stream, I see in it the generosity and unconditional love it sheds on my people. As I listen, it whispers along the shore all the uncanny secrets of life. We learn from the river; our way of life is like the river. We appreciate that every deed pours into the vast ocean of unknown; yet we stay as composed as the river floating through the luminous meadow. Giving back to our relations, we exist as the river, the people of this land. But as I look at the clock, I see they’re just like the clock, always ticking, running around in circles, running out of time. I begin to question, what happens to the clock as it drowns into the river? Will it keep ticking? Or muddle in the grasp of the water? The ticking stops, and the water talks. Listen.

*Translation notes: Spokan is Salish spelling of the anglicized Spokane.

— Sierra Bates

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Hope

After the painting The Indian Wars (#8)

#8The Indian Wars

I am a spirit, who was once a little girl. I thought after death would mean that I would be with the spirits, but when the spirit of death chose me, I was in the clouds, watching over my tribe and my family, until I do something good for my tribe. Then the syapé came, killing our horses and our people, and the spirit of death picked the horses’ spirits one by one.

I looked at the sky, which was red from the blood of the horses. I looked at my grandparents, my grandmother, crying, holding onto my grandfather as tight as she could, my grandfather, crying on my grandmother’s shoulder, wishing that hope could be as big as the sun. But at that time, it seemed that hope was smaller than the palm of his hand.

I promise that the next day, I will make hope bigger than the sun, bigger than anything. Not so that I could be with the spirits, but so there will be happiness in my tribe once again.

—Danny Boyd

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Legend

After the painting Indian Canyon Falls (#9)

Indian Canyon Falls

Heron watches the Falls

The secret to stillness is to tell yourself a story. Once upon a time there was a face in the falls. I tilt my head to feel the spray. Once upon a time he saw me. I tilt my tilted head, turn a widened eye. I am wondering, a wonder. Once upon a time he wandered. My face faces its own direction, something to do with motionlessness. Something in the water. In the light. Once upon a time a creature ceased flight. It’s something to do with flying forever. I will not disturb the water.

The Falls watch Heron

I am almost not here—cascade of my arms, the way I wear water and water wears me. One heron tilts its head, one leg raised toward…. The men broke camp; the new camp came. Only the horse gave notice. I thought death would be like floating on the water’s face forever. Then the herons came, their blue-gray feathers like a cloak tipped with light, and now I think it’s something to do with perpetual motion. They embody stillness, my opposite (I am ever moving, never constant, ever present). Part of me is water, part is air. I never grow cold.

—Kathryn Smith

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Only Lies Remain

After the painting The Hanging of Qualchan (#11)

#11The Hanging of Qualchan

Qualchan is my name. I am strong.

I was surrounded, but I was not defeated.

My wife Whistalks, my brother Lotout, and I were trapped by the white man. They didn’t expect me to go in with my head held high. Nor did I expect them to break our treaty. We were supposed to bring the white flags, but instead they brought rope and deceit. Twenty-seven already gone, and the three of us stand strong while they hold my father hostage. They tricked us. They’re liars! My throat may be snaked with the string of the wrong, but the fire in my heart will never die out. Hi čn yoyot. I am strong.

Tomorrow I must warn my people! Tomorrow I must tell them of the “Indian Land For Sale” and the “Have a Home of Your Own” that will appear on paper directed towards the foreigners of this land.

HI ČN YOYOT.  QUALCHAN ŁU I SKWEST

—Ryem Abrahamson

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The Empire Builder’s Lament

After the painting James Jerome Hill (#18)

#18James Jerome Hill

This idle leaves room for the goats to wander and taunt the wiry little dogs whose herding days are short. Not good. And giving the lean-about boys time to relax is not good for their industry or their understanding of provision. Even when we’re still, I’m to keep working out my fear and trembling. This land will never claim its own bounty.

When we move, all dominion moves with us and those boys are lumping coal into the box quicker than my little Lindell runs to fetch his pigs when they get a slop of liberty. We cut through Minnesota and Dakota so fast you could see Providence. Hear His voice calling out from the drive wheels: ta-lith-a cu-mi, ta-lith-a cu-mi, ta-lith-a cu-mi. And the prairie did rise.

Whatever future’s far shore we wash up on, this work multiplies in us like the bunched buffalo grass on the plains. Like Lindell’s little cutlets squeeing all over creation, and the voices boiling up from the steam. The other night, big harvest moon calling us home, I wondered if I’d see them again on this side. Even here, elbows deep in this valve chest, a voice calls cu-mi, and I am yet complete.

—Jeffrey G. Dodd

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Four Faces

After the painting Union Depot Demolished (# 28)

#28Union Depot Demolished

I am the silent observer. The beauty of repetition, a stem of possibilities. I am time. I cannot fall. I have to stay strong even though the walls surrounding me are my prison. Keeping me locked away from the outside world. Allowed to look but not touch. That is my punishment.

As the world around me collapses, I remember the very beginning. The people. The plants. The life. The peace. I remember years later, a happy couple boldly dancing on the dirt, sharing their joy with the world. I remember the freedom, back before I was put in my tower, trapped. Now all I see is broken pavement. I don’t know or understand why the world around me collapses. Beneath my numbers, I see destruction. A crashed train, broken cords, a light holding on to all it has left: its color. Red.

I wish I could leave my prison and bravely help the world pick itself back up. I strive to help but no one opens the door to my eternal cage where I am confined.

Tomorrow I will continue to focus on the beautiful repetition and on the way the wind feels on my 365 stones. But today I mourn and put on four faces: strong, bold, brave and fierce. I will prove to the world that not everything can be demolished.

—Shana Ellingburg

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The New Season

The Herbert H. Hamblin Conservation Area (# 30)

#30The Herbert H. Hamblin Conservation Area

To live in rivers is to live among mirrors. My family—we are grafted from one another, sprouting along the river rock like lichen. I have mistaken their wings for mine, recog­nized their coal-black beaks dipping among the yarrow and felt my own hunger raise its neck. Once I looked into my own eyes and saw a raging falls, a red stream of salmon twisting like a muscle across the land, a fire running with yellow feet across the bodies of trees.

A moment ago, I floated among the sedges—the ones with roots that taste like the caps of mushrooms—the water smelling of rusted steel. Goslings pushed their tiny bodies across the current, following their mother’s wake like beads of dew running across a spider’s thread. Then I tasted the delicate, warm dust, bitter with the sap of unfamiliar trees. It fell around us like a new season.

Maybe it is the sun pausing like a hot ember in the clouds, or maybe it’s the scent of burnt feathers mingled with pine, but my sister says the word first. My call follows hers—like the goslings following their mother—and then we are all calling with our blackened mouths, the memory lifting us like a many-winged river from the earth. I glide higher among the flock, heart pounding, and as I do, the sun itself flies down to rest on the water—fanning its red wings.

—Brooke Matson

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author pic

Nance Van Winckel’s newest book is Ever Yrs, a novel in the form of a scrapbook (Twisted Road, 2014). Book of No Ledge, an altered encyclopedia, will appear with Pleiades Press’s Visual Poetry Series in November 2016. Nance teaches in Vermont College of Fine Arts’ MFA in Writing Program and lives in Spokane, WA.

 

Apr 012016
 
Rick Jackson

Richard Jackson

Robert Vivian

Robert VIvian

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From Traversings, by Richard Jackson and Robert Vivian (Anchor and Plume, New Orleans, publication imminent).

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FINDING PARADISE (RJ)

When Dante finally arrived there he had no words
for it. The frog giggers in the river must think
their spotlight is their way to revelation. The dam’s
been broke for years, the mills broken wheels turn back
to a time before time, if they turn at all. The evening sky
still leans down over the ridge line as if it wanted to be
water. The river rubs against the ledge rock. Here we are
far from beheadings and crucifixions in what was once
the land of paradise, a word that came from the Persian
meaning an enclosed park. They must have had this place
in mind. One trout tries for but misses the Jesus bug
that skates away. At night the bats will take what the fish have
missed. Plato thought we are born with a memory of Paradise.
Imparadise’d in one another’s arms is what Milton said.
I think that owl wants to be the moon. He knows
Paradise is the life you’ve hidden from yourself.

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Frog Light (BV)

I, too, was king of the frogs, king of the night palpitant of shadows and king of the white hot spotlight that kills with its stare in the sweeping net of a searching full moon, myself dazed between water and earth on the brink of paradise as the gigger closed in on me with his bamboo spear and beer brewing alchemy in his veins, and what will do you with your vast immortal longings and amphibious wishes deep in the Ozarks before I am speared and the angels pin back their wings and lean in closer to listen to the murder of my race. They say we taste like chicken but the whole world sings in our swollen throats. Before the light freezes me I tell the river I won’t let a window kill me.

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WINDOWS (RJ)

There’s no telling how many worlds live inside our windows.
Each breath raises that question. Each question is a ladder
that has nothing to lean against. Above it, the full moon reveals
the torn paper edges of clouds it hides behind. Tonight it is
just cool enough to stop the insects’ singing. Look the other way
and a distant storm silhouettes the far hills. We have to live on
the rim of these dreams. We make, from a cluster of stars, shapes
they would never agree to be a part of. No one knows what to make
of the solar dust that may or may not explain our origins. When
you lose your sense of smell, they say, your chances of dying
increase exponentially. Why is another question. We name things
to stop them from changing. These are not windows, but mirrors.
This evening, I swear, I saw a stone learning to become a star.

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When Stones Abandoned The World (BV)

All at once they picked themselves up from the barren fields and started walking toward the horizon, silent, solemn march going to the stars even as they tried to become them and rose the thrust and the warbler and the startled robin and I could see that the stones were naked but unabashed and unashamed wanting only to be rinsed again and rose the wind and the dust and where were the stones going but to another place not of their keening and to watch them go I felt abandoned and I did not ask the stones why they were leaving everything behind and rose other birds and still others, starlings and crows and turkey vultures and smoke from a distant fire and if you could see the stones moving, if you could see them turning away you would wonder if home is a dream we tell ourselves to keep from dying though death is with us always in the smallest things, a moth on the windowsill with its paper wings full of dust, old, faded pictures of loved ones long since gone into the ground, but the stones wouldn’t say for they had lain prostrate long enough and the whole earth seemed to tremble and shimmer in the wake of the their passing rife with jewel fire of beauty—I mean the way the ground burned after them in variegated flames, I mean the heart and quake of it that had its equivalent somewhere inside me as I was left behind and there was nothing I could do but watch the stones go on their steadfast journey and vault of sky above them, changing itself with every passing cloud to show them how it was done.

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NOT THE SAME (RJ)

Sometimes our dreams flutter with the moths against
the window in their desperate attempt to reach the darkness.
I don’t know what drives them. The universe inside us
spins along as if it knew where is was going. It is the same
with our rudderless words. By now the storm that has been
crawling along the mountain tops has begun to show itself.
The sounds of individual drops of rain on the window are
really one sound. The other day an asteroid, a rock from
some world we’ll never see, passed, as the astronomers say,
nearby. Stevens called this the odor of stars that links us to
whatever is beyond us. St Francis knew it and talked to trees
and stones, to birds and stars, to the world he loved because
it was a world inside this world. Tonight the news is enough
to put the heart is a sling. The hands of the rain are empty.
The moth doesn’t know which way to turn. The night sounds are
padlocked in their stalls. In the morning the sunlight will judge
what the night has left. To think of love is not the same as having it.

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Day Is A Word (BV)

How are we to make the shadows whole wherever they fall or the sound of rain that comes sweeping down then timpanies away and the moth trapped in a jar, oh, the holy fluttering like a heart skipping a beat wanting to keep on forever and how is the shadow of a doorway absence unto itself that seeks not its own fulfillment but the vision of a door as a dream the shadow loves more than itself for it carries its darkness as a reckoning and the stillness of an empty church at the foot of a mountain and the devout ear of the teacup whose reign of openness is here to stay and the moth again so light against the glass even its desperation carries a stroke of sweetness into the land of bottled oxygen and because the moth is quiet in its doom somehow the whole world is blessed and the shadows again, partial, shifting and reverent in their silence that belies the night they come from and day is a word, a cry and a candle flame as somewhere else on another page the moth is free and flies imperfectly for all of us in a delirium of loops, writing its impossible verses in the air.

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A DOOR WITHOUT A ROOM (RJ)

Wenceslas Cathedral, Olomouce, Czech Republic

Sometimes our dreams flutter with the moths against
the window in their desperate attempt to reach the darkness.
I don’t know what drives them. The universe inside us
spins along as if it knew where is was going. It is the same
with our rudderless words. By now the storm that has been
crawling along the mountain tops has begun to show itself.
The sounds of individual drops of rain on the window are
really one sound. The other day an asteroid, a rock from
some world we’ll never see, passed, as the astronomers say,
nearby. Stevens called this the odor of stars that links us to
whatever is beyond us. St Francis knew it and talked to trees
and stones, to birds and stars, to the world he loved because
it was a world inside this world. Tonight the news is enough
to put the heart is a sling. The hands of the rain are empty.
The moth doesn’t know which way to turn. The night sounds are
padlocked in their stalls. In the morning the sunlight will judge
what the night has left. To think of love is not the same as having it.
Today it is a Cathedral and its famous carved door for Saints
Cyril and Methodius that has traveled all over Europe looking
for a home. You have to imagine where that door might
lead you. Outside the word for fog creates its own world
as it wraps itself around the campanile. There must be a name
for that empty space between the fog and the ground. A couple
of squirrels disappear down its whitening aisle. Inside, a woman
tapes a prayer to a wall with other prayers, and hopes it will
find its way to a love that lies beyond the wall.

Tomorrow will be
Chattanooga where the gypsy moths, who are never anything
like angels, have left their tattered webs in the trees that, like
so many Sybils, have started to deal out their leaves. A friend
once said the leaves are the souls of everyone who has been
forgotten. They fall to meet their own lost shadows. Who has
an answer we can believe in? We have put so many padlocks on
our dreams. Every word should be a door, though our words
last longer than what they mean. Or, every word should be
a prayer, a kind of love to open again our lost or forgotten loves.

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Dream Book (BV)

The hour just now and the holy stillness in rapt awakening, and see how the chair waits for the body and the table upright for the books and the hand that would turn the pages, fingers on paper, leaf after thoughtful leaf while outside other leaves fall from the book of a tree, each one a poem unto itself and so bright in its glowing as I dream of a book or it dreams me and mysterious words within and here are scales of music and a whole cathedral of choir and the love of pure sound in the valley of throat, that hollow chute where emptiness is fulfilled so the book is also my heart wanting so much it can’t be said, maybe the stars or mice out in the fields, maybe the unplowed furrows, the lonely rows and the train tracks beyond stained with creosote and the long moaning of many miles and the crushing burden of coal cars moving brothers of earth across the earth and away from this moving caravan a butterfly, so light no train could bear it nor any human heart though mine will try by saying simply yes to it, go, my gentle friend who cannot see me.

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Richard Jackson has published over twenty books including thirteen books of poems, most recently Retrievals (C&R Press, 2014), Out of Place (Ashland, 2014), Resonancia (Barcelona, 2014, a translation of Resonance  from Ashland, 2010), Half Lives: Petrarchan Poems (Autumn House, 2004), Unauthorized Autobiography: New and Selected Poems (Ashland, 2003), and Heartwall (UMass, Juniper Prize 2000), as well as four chapbook adaptations from Pavese and other Italian poets. Traversings (Anchor and Plume), an exchange in poems and lyric prose with Robert Vivian, will appear in April 2016. He has translated a book of poems by Alexsander Persolja (Potvanje Sonca / Journey of the Sun) (Kulturno Drustvo Vilenica: Slovenia, 2007) as well as Last Voyage, a book of translations of the early-20th-century Italian poet, Giovanni Pascoli, (Red Hen, 2010). In addition, he has edited the selected poems of Slovene poet, Iztok Osijnik. He also edited nearly twenty chapobooks of poems from Eastern Europe. His own poems have been translated into seventeen languages including Worlds Apart: Selected Poems in Slovene. He has edited two anthologies of Slovene poetry and Poetry Miscellany, a journal.. He is the author of Dismantling Time in Contemporary American Poetry (Agee Prize), and Acts of Mind: Interviews with Contemporary American Poets (Choice Award). He was awarded the Order of Freedom Medal for literary and humanitarian work in the Balkans by the President of Slovenia for his work with the Slovene-based Peace and Sarajevo Committees of PEN International. He has received Guggenheim, NEA, NEH, and two Witter-Bynner fellowships, a Prairie Schooner Reader’s Choice Award, and the Crazyhorse prize, and he is the winner of five Pushcart Prizes and has appeared in Best American Poems ‘97 as well as many other anthologies. Originator of VCFA’s Slovenia Program, he was a Fulbright Exchange poet to former Yugoslavia and returns to Europe each year with groups of students. He has been teaching at the Iowa Summer Festival, The Prague Summer Workshops, and regularly at UT-Chattanooga (since 1976), where he directs the Meacham Writers’ Conference. He has taught at VCFA since 1987. He has won teaching awards at UT-Chattanooga and VCFA. In 2009 he won the AWP George Garret Award for teaching and writing.

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Robert Vivian’s most recent collection of prose poems, Mystery My Country, will be published in 2016, along with Traversings, a new book co-written with Richard Jackson. He is the author of The Tall Grass Trilogy—The Mover of Bones, Lamb Bright Saviors, and Another Burning Kingdom, in addition to the novel Water and Abandon. He’s also written two books of meditative essays, Cold Snap as Yearning and The Least Cricket of Evening. Several of his plays have been produced in New York City and his monologues have been published in the Best Monologues series. His essays, poems, and stories have been published in Harper’s, Georgia Review, Creative Nonfiction, Alaska Quarterly, Ecotone, and dozens of other journals. He teaches at Alma College in Michigan and has taught several times at various universities in Turkey, especially in Samsun, Turkey.

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