Jan 202012
 

 

The Parkinson’s Diaries

By Steven Axelrod

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Leaving the Breakers: Escape from Assisted Living

 

My mother had been diagnosed with Parkinson’s disease ten years ago. Still ambulatory in her late eighties, she was now living in a retirement community in Long Beach, California, on the fifth floor of a beautifully restored hotel from the golden era of Hollywood called The Breakers. The ceiling of the lobby floated twenty feet above the marble floor, with intricately worked plaster panels that put the tin ceilings of Greenwich Village cafes to shame. The peaked red tile of its roofs and turrets lent it a Mission revival feeling, and the top floor restaurant, the Sky Room, earned its name with a spectacular panorama of the harbor, while retaining  a heady whisper of old time movie glamour. The staff was charming and helpful, the suites themselves were spacious and sunny, sparked with period detail in the moldings and baseboards, with high ceilings and water views. The dining room was spacious and congenial, the other residents friendly and patient. You couldn’t ask for a more pleasant and professional assisted living arrangement.

And I hated it, with every fiber of my being.

I hated the way the impeccably courteous, and hard-working staff treated my mother and the other residents as a separate, feeble race, inferior but privileged like hemophiliac dwarf royalty, simultaneously catered to and patronized, deferred to and dismissed. I hated the smell in the hallways, some tragic perfume of disinfectant and decay – the sense, so much like the sense you get in a hospital, of a world where human volition and dignity have been sacrificed to the mechanisms of medical technology and routine.

I also hated the dining hall food, tasteless and generic as if the management actually calibrated how many of the residents had no working taste-buds left and arranged the meal preparations accordingly. I hated the weak coffee and the fuzzy sausages, and the cardboard pancakes, the sense that the particular texture of life, the look and feel and taste of things, didn’t really matter any more.

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Jan 182012
 


In this brief, trenchant memoir, Jean-Marie Saporito combines four elements—an ancient native religious rite, a fatal shooting, a mink coat, and a cowboy—and contrives a haunting and mysterious effect in a style as terse as Hemingway. Jean-Marie is a former student of mine at Vermont College of Fine Arts where she received her MFA. She lives in Taos, New Mexico. She wrote, “If you want, you can add to my bio that I’m dating a cowboy. You know what a cowboy is? A man who can handle cows — ride, rope, herd. I’m learning a lot.”

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Letter from Taos: Too Horrible, Too Beautiful

By Jean-Marie Saporito

 

On Christmas Eve, The Procession of the Virgin, a Tiwa tradition, takes place at the Pueblo. After Vespers in the San Geronimo Church, The Virgin, a statue with dark hair and Indian looking features, is paraded through the Pueblo’s plaza, amidst firing rifles (real bullets) and two-story high bonfires. I attended Vespers and then the spirit moved me to follow the Natives out of the Church, and join in the procession. Yes, I was wearing my mink coat. I sang what must have been prayers, along with the Tiwa choir. Hundreds of people from Taos, along with tourists, gathered to witness the procession, the massive bonfires, the drums and singing.

Several hours later, early Christmas morning, my son’s friend, the drummer in their teen-age band, shot and killed another boy. I say boy — the dead boy was 21, and Charles is 19. Charles will be tried as an adult. The cause of the shooting was a girl. When my son got the call or more likely the text from one of his friends, I was skiing at our ski valley with my cowboy lover, whose kisses I was avoiding, because of his entanglement with another woman.

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Jan 162012
 

 

Robert Vivian is a good friend and colleague at Vermont College of Fine Arts, a Nebraska native, and a former baseball player (a fact that I find endlessly fascinating—Nebraska and baseball: some echo of the American epic in those words). He is a prolific writer of superb meditative essays and a fine novelist, also a playwright and poet. Of the second novel in his The Tall Grass Trilogy, I wrote: “Robert Vivian’s Lamb Bright Saviors is a brave and profoundly moving novel of faith and forgiveness. A closely-observed novel of voices, it speaks the tongues of America’s impoverished underbelly and reveals, amid the squalor, mystery, goodness and salvation.” Robert Vivian teaches at Alma College in Michigan. He is the author of The Tall Grass Trilogy (The Mover Of Bones, Lamb Bright Saviors, and Another Burning Kingdom) and the essay collections Cold Snap As Yearning and The Least Cricket Of Evening. His next novel, Water And Abandon, will be out this fall.

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A Few Thoughts On The Meditative Essay

By Robert Vivian

 

The meditative essay hinges on stillness, on a moment delicately teased out of the cogs of time to live in the timeless present: it is not interested much in opinions or even ideas, preferring instead to live in the realm of pondering and contemplation (though the aforementioned may be used as initiating sparks). Its primary focus is not the self, though it uses the self and all that it has to give as a kind of booster rocket that, once the prose reaches certain insights, is jettisoned or spent, much like shuttles that are launched into outer space as we see those burning hoops fall back into the pearly clouds after they have done their proper work of achieving escape velocity. The meditative essay is comfortable and downright friendly with paradox and has no real axe to grind: it’s too intent on paying attention to what bids it keenest focus and delight, be it a button, a homeless woman, the changing of the seasons, or the prevalence of roadkill in a certain area. It is not concerned with hierarchy or competition or anything that goes by the name of ambition or force and draws attention to itself only for the music of its cadences and what these cadences reveal, which are very often surprising to its practitioners, so much so that this same quality of surprise is the meditative essay’s own intrinsic and unshatterable reward.

It lives most abundantly—thank goodness—in what the French philosopher Paul Ricoeur called a “post-critical naïveté”—a term he coined that, according to Thomas Berry in his forward to Thomas Merton’s lovely book When The Trees Say Nothing, “brings together the response of both innocence and experience as we pass through the unfolding events of these times.” But the meditative essay is also a very elusive creature, as elusive as anything, perhaps, in any genre. Why is it elusive, and what do I mean here by elusive? Because the meditative essay cannot be willed or forced and certainly not argued into existence; it comes, like Keats says about writing good poems, like leaves to a tree—that is, the meditative essay comes organically, holistically, though of course not without the patient practice and observance of its creator. More than anything, the meditative essay is like a shy wild animal that will bolt at the slightest sign of undue ego or aggression, though it may occasionally use tiny bits of these to furnish its lair. When the meditative essay is fully and truly itself, we know its author so intimately that we swap souls with her or him: it is a consummately intimate form of exchange, as tender as a confiding lover propped up on his or her elbow in bed after lovemaking. Fear is not in its nature, nor is blame or accusation; indeed, intimacy may be its single-most distinguishing characteristic, the way it takes us into the heart, mind and soul of its author.

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Dec 052011
 

 

 

 

 ‘Beauty is truth, truth beauty,’ — that is all
Ye know on earth, and all ye need to know.
— John Keats

Chlamydomonas is my favorite “model organism.” It is a small green alga that is one of a handful of unlikely organisms that serve science by acting as proxies for the human body. Scientists don’t pick so-called model organisms for exceptional evolutionary achievement and there is no scientific catwalk of gorgeous creatures. Some scientists do exclaim over the beauty of these creatures, but really. Pond scum? Writhing white round worms? Slime mold? The truth is, model organisms are a haphazard lot that scientists select from the teeming crowds because of quirks that make them useful for laboratory research. They are useful and as we work with them we come to know them.

 

Thank Evolution

Life on Earth emerged relatively soon (0.7 billion years) after our Solar System formed and it has been evolving ever since (i.e. for 3.8 billion years). Because all of life on Earth shares fundamental biochemical pathways, it is likely that we are all descended from a common ancestor – presumably the most robust of the emergent life forms.  This commonality means that studies of almost any organism can shed light on the others.

In this Tree of Life diagram the centre represents the last common ancestor of all life on earth. Pink are the eukaryotes (plants, animals and fungi); blue are the bacteria and green are the archea. Humans are second from the rightmost edge of the pink segment. The species included in this illustration are those whose genomes have been sequenced. (Courtesy of FD Ciccarelli).

 

When word gets out that an organism is well suited to a particular type of experiment other scientists interested in related problems begin using this species for their work. Over time, we learn a great deal about the organism and along the way we develop an array of experimental tools to study it. With the application of these tools, the organism expands its repertoire of usefulness to science. In other words, a few assets and a great deal of happenstance get the ball rolling. As our knowledge of an organism and our skill in working with it increase, the organism becomes established as a model.

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Microscopic Models

E. coli, the infamous gut microbe variants of which can wreak havoc with human health, grows rapidly and is one of the easiest beasts to study in the lab. It and a few other bacteria serve as models for understanding microbial-based pathogenesis. They also serve as tools for the experimental dissection of fundamental biochemical processes. From these studies we have learned that although bacteria are small, they are surprisingly sophisticated and are by no means simpler versions of us. They branched off early and have taken a different evolutionary path than us. Because of this divergence, E. coli is of limited use as a model organism for understanding how human cells work.

 

Electron microscopic image of E. coli  courtesy of MediaWiki

We tend to think of ourselves as more highly evolved than, well, everything else. This is a strange idea given that every living thing has an evolutionary history as long as ours. We confuse evolutionary longevity with complexity. While we are no more highly evolved than any other being on Earth, we are arguably the most complex beings in an evolutionary lineage that specializes in complexity, a lineage we call the eukaryotes.

Around two billion years ago, by a process that seems to have involved some early cells engulfing other early cells and them all coming to live in peaceful co-existence, the eukaryotic lineage was born. These larger and considerably more complex cells, containing what have since become nuclei and mitochondria, allowed a blossoming of innovation, including complex multicellularity.

Under conditions of starvation, free living single cells of the slime mold Dictyostelium crawl towards one another. Eventually they aggregate into a slug-like creature that crawls around for a bit. Cells that find themselves in different parts of the slug differentiate into specialized types and together the community of cells (organism?) forms a base, a stalk and a fruiting body to launch spores (towards the end of this clip you can see the base and stalk on the left, the fruiting body filled with hopeful spores is just off screen to the left)..

Yeast

Fungi, plants, and animals, we are all eukaryotes.  We are certainly different from one another, yet we are related closely enough that our genes are sometimes interchangeable. In a dramatic demonstration of this fact, Paul Nurse and Melanie Lee used a human gene to replace an essential gene in a single-celled fungus, a variety of yeast that is used in Africa to brew beer. [1]

Saccharomyces cerevisiae, the budding yeast, is another microscopic fungus, the predominant yeast that we have been using for brewing and baking for something like 10,000 years. Like the fission yeast used by Nurse, the budding yeast grows rapidly and we are adept at manipulating its growth and life cycle in the lab. Yeast is a strikingly good model organism for a growing array of cellular processes, including cell division.


Dividing yeast cells courtsey of the Salmon Lab, University of North Carolina

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Yeast has proven itself so useful that hundreds of independent laboratories from around the world use it as a model organism. These scientists have developed sophisticated technologies that allow them to probe deep into the workings of cellular processes such as cell growth and division.

Cell growth and division may look simple, but consider what is being accomplished:  cells grow and divide in just the right balance to maintain cell size within a limited range – too much division with not enough growth produces wee cells and vice versa. Cells must be able to assess their own size and then divide with exquisite precision.  Cell division is not initiated until each strand of DNA is completely copied once and only once. Each daughter cell receives precisely one copy of each chromosome along with a share of mitochondria and other essential organelles. The more we learn about the molecular machines that control and execute these feats, the more stunning it all becomes. The mysteries are deeper with every layer that is pulled back.   And the relevance to humans is unambiguous: cancer is cell division control gone awry.

Dance of the chromosomes: vertebrate cell division

As useful as yeast continues to be, there are some questions for which yeast is of no use at all. We tend to think of evolution as a process of acquiring ever more fancy ways of doing more and doing it better, but often it goes the other way. When conditions change, structures that previously served a purpose may no longer be of any use. Because it costs energy to build structures, individuals with a mutation that prevent the structures from being built can put the saved energy into other things – breeding being an eternal favorite. Such was the case in the deep caves of Mexico where light does not penetrate. After generations in complete darkness, a fish known as the Mexican cave Tetra no longer has eyes.

Like the eyeless Mexican Tetra, yeast is a bit weird in that it is a stripped down little creature. Over evolutionary time, yeast has lost some features, presumably because the cells have adapted to environmental niches where these features are of no use.  Among the attributes that yeast lost are cilia, small hair-like structures that protrude from the surface of the cell.

How do we know that one lineage (e.g. yeast) lost something (cilia) as opposed to the possibility that the thing never developed in that lineage to begin with? We know because cilia appear in all major branches of the eukaryotes and in each case they are fundamentally the same, built from the same complex array of molecules assembled in the same way by the same molecular machinery.  The last common ancestor of plants, animals and fungi was a single-celled organism with cilia.

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How I Met Chlamydomonas

Chlamydomonas is a unicellular organism that has some of the attributes that recommend yeast, with the bonus that it has retained its cilia. This microscopic green alga is found worldwide living in soils, ponds and even on snow. All they need is light, water and a few minerals – they grow well in a flask of fertilized water on a windowsill. Specific cellular traits have made Chlamydomonas a valuable model for energy capture (photosynthesis of crop plants, biofuels and artificial leaves), cellular stress responses, mechanisms of evolution, and an array of human genetic diseases. Although I now use Chlamydomonas as a model organism to study the biology of cilia, that is not where my relationship with this cell began.

I first met Chlamydomonas in 1988 when I was doing my Ph.D. dissertation research in genetics and biochemistry at the University of Connecticut. I was part of a team trying to understand how the leaves of the majestic Rain Tree fold up at night (to conserve water) and unfurl in the morning (to capture sunlight).[2]

At night the cells on the inside of each tiny elbow of the leaf shrivel while those on the outside expand, causing the elbow to bend and the leaves to fold. Each morning the process reverses, the elbows straighten and the leaves unfold. We were interested in how these cellular shape changes were controlled by a circadian clock.  Sapling trees kept in the dark for days at a time continue to fold and unfold their leaves in time with the changing light outside.


We were testing the hypothesis that a particular biochemical pathway was involved in coupling the cellular shape changes to the circadian clock. The work involved growing sapling trees in large light-controlled growth chambers, harvesting the tiny elbows and incubating them in small vials of radioactive fertilizer, where they would continue to bend and stretch even while detached from the plant. After the elbows had taken up and incorporated the radioactivity into their cells, we would carefully dissect the inside of the elbow away from the outside of the elbow, freezing each section of tissue on dry ice, grinding with a mortar and pedestal, and then conducting biochemical analysis of the material. It was slow, painstaking work and we were not getting clear answers.

At the time we didn’t even know whether the biochemical pathway of interest was used to regulate activity in cells in the plant lineage. I wasn’t familiar with the concept of model organisms, but as an oceanography student I had worked with single-celled algae.

I soon started growing my first Chlamydomonas cells and it was love at first sight – they are green, they are beautiful and using them for this project was a way of bringing together my long-time fascination with algae and my new interest in biochemistry.

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Getting To Know My Organism

Eventually I got the experiments working and determined that the biochemical pathway we were looking for was present in Chlamydomonas. I was getting to know my organism. After learning how to grow it and how to manipulate it for experiments, the next step was to see if our pathway controlled any of the behaviours of this tiny alga.

I surveyed three behaviours: phototaxis, mating and deflagellation. Phototaxis is directed movement in response to light:  Chlamydomonas cells swim towards dim light and away from bright light. Mating is, yes, sex. Chlamydomonas comes in two mating types, plus and minus – male and female, just like us (as it were). Flagella[3] on cells of opposite mating type stick to one another, bringing the cells together for fusion. The third behaviour, deflagellation, is a stress response wherein Chlamydomonas jettisons its flagella, to grow new ones later when the stress has passed.


Phototaxis and mating are both complex behaviours. I didn’t find any evidence that our biochemical pathway was involved in either, but then, I didn’t know the organism well enough to finesse the experiments. Thankfully, deflagellation was simple: shock the cells with a chemical treatment and the flagella would pop off.  I was lucky and discovered that our biochemical pathway kicked into high gear during deflagellation.

Excited by the biochemistry, I detoured into postdoctoral research at the University of Texas Southwestern Medical Center in Dallas where I studied the molecular pathways by which mammalian cells respond to hormones. But I pined for Chlamydomonas. Eventually I established my own lab at Emory University specifically focused on the problem of how and why Chlamydomonas cells deflagellate.

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Intimacy

One particular memory stands out from those early years in my own lab when I was getting to know my organism more intimately. It was late in the evening and no one else was around. While waiting for an experiment, I was occupying myself by sitting at the microscope watching Chlamydomonas.

Under the microscope you can see the cell wall for which Chlamydomonas is named. “Chlamys” is Greek for “a shoulder draped cloak.” That night I happened upon a mother cell wall containing the daughters from a recent cell division. I saw the evidence of three divisions in rapid succession: eight Chlamydomonas daughter cells still encased in their mother’s cell wall. Over the next hour and a half I watched as the daughters grew flagella and started waving them about within the confined womb. Eventually, they managed to rip a hole in the wall and one by one I watched the cells emerge and swim away.

The cilia that protrude from almost all of the cells in the human body are essentially the same as those of Chlamydomonas. Some of our cells, such as those lining our respiratory tracts and the ventricles of our brains, are topped with a cluster of motile cilia that serve to move fluids – mucus and cerebral-spinal fluid, respectively. Primarily because of experiments on Chlamydomonas scientists are beginning to understand the molecular machines that generate this beautiful form of motility.

Cilia of mouse brain ependymal cells maintaining flow of cerebrospinal fluid. Movie courtesy of Karl Lechtreck, University of Georgia.

The cells that make up most of our tissues – brain, liver, kidney, muscles, skin – have only one, very small and non-motile, cilium.  Until recently, scientists ignored these relatively pathetic looking little structures with no assigned function, considering them to be vestiges of our evolutionary past. A little over a decade ago, Chlamydomonas researchers seeking to understand how cilia are built made discoveries that have lead to a revolution in our thinking about ‘vestigial’ cilia.

Over the past dozen years we have learned that these tiny immotile cilia serve critical roles as cellular antennae, processing centres for the myriad signals that cells are tuned to detect. Signals from the environment and from other cells dictate differentiation into the various cell types that make up the organs of our body. Similar signals that maintain the physiological functioning of the adult. Both developmental and physiological signals are detected and integrated by cilia. Commensurate with the varied and important signals that cilia process, we are now discovering that defects in cilia cause a long list of diseases ranging from too many fingers and toes to obesity to Polycystic Kidney Disease and retinal degeneration.

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Flies and Worms

Research in both Chlamydomonas and yeast depends upon the study of heredity, or genetics, a tool that is available because of research on another model organism, the fruit fly. Thomas Hunt Morgan followed visible traits of Drosophila melanogaster to discover that genes carried on chromosomes are the basis of heredity. [4]

As with other model organisms, Drosophila became ever more useful to scientists the better they came to know it. Experiments in Drosophila revealed master control genes in charge of establishing whether a leg or an eye would develop and fly researchers were among the first to decipher the language used by cells in a multicellular organism to establish their division of labor.  Drosophila continues to be an important model organism for studies of developmental biology. Because Drosophila exhibits complex behaviours that are controlled by a nervous system and can be dissected genetically, it has also become an important model for behavioural neuroscience.

In his acceptance speech for the shared 2002 Nobel Prize in Physiology or Medicine, Sydney Brenner said, “Without doubt the fourth winner of the Nobel Prize this year is Caenohabditis elegans; it deserves all of the honor but, of course, it will not be able to share the monetary award.”[5] . Selected for the transparency of its embryo and the limited number of cells in the adult worm (fewer than 1,000) C. elegans is a premier organism for studying the how cells distinguish themselves from one another and live or die to serve the development of complex organ systems.

Crawling C. elegans courtesy of Bob Goldstein, University of North Carolina.
These are brief introductions to a few of my favorite model organisms, there are many more. Experiments with model organisms continue to help us understand the molecular interactions that underlie cell growth, division and differentiation, the development and physiology of organisms. Can life be distilled into molecular interactions whose chemical properties we can measure and ultimately predict?

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A Feeling For The Organism

Barbara McClintock (1902-1992) was a botanist and geneticist who studied corn. McClintock discovered genetic recombination, mobile genetic elements, centromeres, telomeres and genetic regulation decades in advance of our molecular understanding of these things. She was one of the most brilliant minds of the last century. Recognized with many awards, including the 1983 Nobel Prize in Physiology or Medicine, this woman of uncontested scientific acumen had something of a spiritual relationship with her organism.

“I start with the seedling, and I don’t want to leave it. I don’t feel I really know the story if I don’t watch the plant all the way along. So I know every plant in the field. I know them intimately, and I find it a real pleasure to know them.”[6]

The mysteries of life remain so numerous and profound that researchers pushing the edges of our understanding are prone to witness strange happenings. Perplexing new observations become new discoveries – after you make sense of them. On the report of some new cellular activity it is not uncommon to hear scientists say, “I saw that too. I just didn’t know what to make of it.” Those with an intimate knowledge of their organism are better equipped to discern important changes and to make the intuitive leaps that turn perplexing observations into new knowledge.

The intuitive knowing that arises from familiarity is entwined with an awareness of kinship, of common origin. We may lose ourselves in pursuit of the specific mysteries of our creature, yet always what we are doing is revealing who we are. From small and specific questions arise big answers.

We grow fond of these quirky distant cousins who at times can be quite disagreeable (ask any cell biology graduate student). And on those rare occasions when our model organisms reveal their secrets and provide us with discoveries, the fondness feels like love.

— Lynne Quarmby

Footnotes    (↵ returns to text)

  1. Lee, M. G. & Nurse, P. Complementation used to clone a human homologue of the fission yeast cell cycle control gene cdc2. Nature 327, 31-35 (1987). For this and other discoveries Nurse shared the 2001 Nobel Prize in Physiology or Medicine.
  2. The Rain Tree, native from the Yucatan Pennisula to Brazil, and naturalized around the tropical world, is known by many names: Monkey Pod; Mimosa; Saman; Coco, French, or Cow Tamarind.  To scientists it is Samanea saman.
  3. In Chlamydomonas the cilia are called flagella simply because way-back-when scientists did not appreciate that they were the same structure. Bacterial flagella are something entirely different.
  4. This discovery won Morgan the 1933 Nobel Prize for Physiology or Medicine.
  5. Sydney Brenner, Robert Horvitz, and John Sulston shared the prize “for their discoveries concerning genetic regulation of organ development and programmed cell death.”
  6. From A Feeling for the Organism: The Life and Work of Barbara McClintock by Evelyn Fox Keller, 1983. (p. 198)
Nov 302011
 

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The Answer I Found in a Fortune Cookie:

Toward a Digital Conception of Nonfiction

By John Proctor

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I don’t know whether this is an ancient Chinese proverb or a mass-manufactured brainchild of an underpaid copywriter somewhere in Chicago. I do know that it was inside my fortune cookie after I had lunch at Hunan Delight about a year ago, and it changed the way I look at nonfiction. Perhaps I shouldn’t be so quick to gather meaning from mass-produced slips of paper, but isn’t that what books are made of? I come from a family of electricians and mechanics, and though I can barely keep the oil changed in my car and frequently need my wife’s help to operate my MacBook, I know this much: Digital circuits work in bits of information, each bit working into the systematic logic of the circuit. If any bit doesn’t logically fit, the circuit will malfunction. Each bit, though, works in a continuous  strand, but has its own infinitely variable sequential order. I teach a class on convergent media, and one of the things we talk about is how digital online media have changed the way we read, and think. One of the ways we talk about this is by making a distinction between “analog reading,” in which a person reads something from beginning to end without stopping, and “digital reading,” in which a reader stops to analyze a piece of writing into interlocked units.  The first reading of anything is usually mostly analog; subsequent readings, if they happen, are usually digital.

Two years ago, I started writing creative nonfiction in earnest. My first and most looming problem was that I didn’t really know what creative nonfiction was. I’d spent most of my life writing journals, poetry, criticism, fiction, and some freelance journalism, in that basic order. When I applied to MFA programs, most were in fiction. I’d seen the term “creative nonfiction” in passing, and had mostly thought it an unjust term – if it’s creative, can it be truly called nonfiction? And if it’s nonfiction, where’s the room for creativity on the writer’s part? Nonetheless, I was finding myself drawn more and more to nonfiction – about my own life, but also the world I saw around me. In the movie Sideways, a man tells the main character, a novel writer, “I like nonfiction. There is so much to know about this world. I think you read something somebody just invented, waste of time.” I found myself agreeing with the nonfiction reader. But I still felt a bit justified in distrusting a genre that is younger than I am – Lee Gutkind, the “Godfather of CNF,” says he’s been using the term “creative nonfiction” loosely since the 1970s, and the National Endowment for the Arts made the term official in 1983 in order to justify handing out fellowships for it.

That’s where the fortune cookie comes in. If the nonfiction writer’s subject is the world, and his or her place in it, the first responsibility of the writer is to reduce the world into workable units. Much like a reader must read something numerous times to piece out the analog parts and then find the digital circuit at work, the nonfiction writer must find the story-units in the world and then fit them into a working digital circuit of the writing.  In telling the myriad stories the world and the self contain, one of the writer’s first steps is shaping and condensing systematic and narrative units. For our purposes here I’ll coin the term “digital nonfiction” for this process – if an essay or a memoir or a news story (and, universally, the world) can be thought of as a digital circuit, and if all the millions and millions of stories are the analog parts, then the creativity of the nonfiction writer is primarily on how the writer sorts – or lists – those analog stories.

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Nov 182011
 

Author photo by Don Greenfield

Herewith a collection of short essays (okay, call them aphorisms, extended aphorisms, epigrams, essays—delightful, meditative, exciting short thingies often constructed in balanced antitheses or with a Borgesian twist in the tail) by the award-winning novelist Mark Frutkin. These are from his forthcoming book Colourless Green Ideas Sleep Furiously: Short Essays and Alternative Versions (Quattro Books, Toronto, Spring 2012). Frutkin grew up in Cleveland before moving to Canada during the Vietnam War, settling there (he lives in Ottawa) and making his way as a writer. He is one of a brave band of American/Canadians of that era, many of whom had a profound influence on the development of a nascent Canadian literary brand in the 60s and 70s. For a lively recollection of his early years in the Great White North, read his 2008 memoir Erratic North, A Vietnam Draft Resister’s Life in the Canadian Bush (Dundurn).

His latest novel, Fabrizio’s Return (Knopf, 2006), won the Trillium and Sunburst Awards and was a finalist for the Commonwealth Writers’ Prize (Canada/Caribbean region). His most recent publication (September 2011) is a travel memoir, Walking Backwards: Grand Tours, Minor Visitations, Miraculous Journeys and a Few Good Meals. His 1988 novel, Atmospheres Apollinaire, was a finalist for the Governor General’s Award (fiction). Altogether he has published twelve books of fiction, poetry and non-fiction.

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From Colourless Green Ideas Sleep Furiously

Essays by Mark Frutkin

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Fragments of a story

Story is what we use to conjure order out of chaos.

We charm chaos into narratives that replicate and reflect established perceptions of reality.

Though it appears to be nothing but fragments, the world is in fact a unified field: of cities, thoughts, food, language, dreams, bodies, hopes, fears and passions. The unifying factor is story, the ongoing whisper we hear in our heads, the tale we tell ourselves, no more real than any other story, a play we imagine, a dream we dream.

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 Letters ubiquitous

We glimpse letters everywhere: the H in the ladder and the fence, the S-bend in river and road, the alphabet on the telephone keypad, in the tangled garden, in the limbs of bodies walking the crowded street. The taps pour out letters in foaming chaos, so too do letters fly from the banner whipping in the wind. The Tibetans believe prayer flags, when fluttering in the breeze, release over and over the prayers printed on them. Cars and buses release sounds that represent alphabetic nonsense. Every mouth has a balloon attached, a bubble filled with words. Another balloon stretches and swells inside our heads. The three electric wires passing over my back yard are a lined page waiting to be filled in. The city is a kind of text, Borges’ infinite library broken free of restraint and gone mad, as if the letters and words have been liberated and come pouring out of the neo-classical building like inmates released from an asylum. The letters are a kind of god: ubiquitous and omnipresent. Like a primal foundational energy, they magnetize themselves, gather, cluster, resonate, creating an ongoing story of infinite complexity.

Continue reading »

Nov 112011
 

The author skating two miles from the Lake Ontario shore.

This is a chapter from Steven Heighton‘s Workbook: memos & dispatches on writing (just published by ECW Press)—amazingly enough, a book of aphorisms (epigrams, whatever–short, pungent thingies). Many of you will recall that ages ago, when dg had the energy for such, NC used to have aphorism contests. It was mentioned then that, in fact, people, real writers, often wrote aphorisms and published them in books. It is an astonishing form, little taught in the creative writing schools, and here is living proof of its exuberant viability.

DG had the devil (yes) of a time picking from the book. Every section is deft, dry and delightful. There is a section in which Steven writes to himself as a younger writer.

Let failure be your workshop.  See it for what it is: the world walking you through a tough but necessary semester, free of tuition.

There is a gorgeous section on inspiration (& boredom).

(It’s the Buddhist teacher and writer Thich Naht Hahn who says instead, “Don’t just do something, sit there.” A small act of subversion in a society that has no use for stillness, silence, inward vision—that extols speed, productivity, the manic pursuit of things that by their nature can never be caught and retained.)

This book is an embarrassment of riches. In the end, dg chose the chapter of definitions (the definition is one of the ancient forms of the aphorism).

Steven Heighton’s most recent books are Workbook: memos & dispatches on writing and the novel Every Lost Country.  His 2005 novel, Afterlands, appeared in six countries; was a New York Times Book Review editors’ choice; was a best of year choice in ten publications in Canada, the USA, and the UK; and has been optioned for film.  His poems and stories have appeared in many publications—including London Review of Books, Poetry, Tin House, The Walrus, and Best English Stories—and have received four gold National Magazine Awards.  He has also been nominated for the Governor General’s Award and Britain’s W.H. Smith Award.  In 2012 Knopf Canada will publish The Dead Are More Visible, a collection of short stories including “A Right Like Yours,” which appeared in Numéro Cinq.

See also this little interview with the author. And Steven’s earlier appearances on these pages: A Right Like Yours, Four Approximations of Horace, from Every Lost Country, and Herself, Revised.

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If God is in the details, the Devil is in the definitions

AMBITIOUS: writer more successful than oneself.

BUZZ: ignorant consensus of readers who have not yet read the book in question and for the most part never will.

COMPLAINT: not actually a form of criticism, though often mistaken as such by reviewers.

DEADLINE: date by which writer must perfect excuses for not delivering in time.

FAILURE: phenomenon that allows writers to retain their friends.

FRIENDSHIPS, OF YOUNG WRITERS: akin to the urgent, insecure alliances of small countries in times of war.

GOOD FICTION: a collaborative confidence trick.

GOSSIP: weapon in the ancient, unconscious war waged by the group against the individual.

HIGH INFANT MORTALITY: problem endemic to literary novels, a low percentage of which survive their first two years.

HUMOUR, WIT: for some reason a proof to many readers, and critics, that a writer lacks aesthetic seriousness (hence, a failure to recognize the seriousness of play).

LITERATURE: an education in complexity.

MEMO: the musing of a harmless drudge.

NEGATIVE CRITICISM: art of creating, out of an instinctive hostility towards work that tests or spurns one’s vision, a calm, orderly argument.

Thus, NEGATIVE CRITIC:  writer in the business of disguising a club-wielding caveman in civilized tweed.

PROMISING YOUNG WRITER: middle-aged writer whose work is finally gaining notice.

PROMISING YOUNGER WRITER: late middle-aged writer whose work is finally etc.

ROYALTY: foreign celebrities who earn more in daily investment income than most writers earn in a lifetime.

WRITER: someone trying to extend childhood—its exuberant creativity, its capacity for timeless absorption—all the way to death, thus bypassing adulthood altogether.

WRITER’S WRITER: one who lives at or below the poverty line.

—Steven Heighton

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Oct 242011
 

 

Rational thought. Calm, reasonable, gentle persuasion.  It was this quality of moderation in his writing that most impressed me, for my own inclinations tended toward the opposite, the impatient, the radical, the violent.

That’s how Edward Abbey described Joseph Wood Krutch in an essay that appeared initially in the journal Sage and then featured in Abbey’s 1988 collection One Life at a Time, Please. The piece, called simply “Mr. Krutch” (that’s “krootch” if you’re reading aloud), recounts Abbey’s 1967 interview of Krutch—the last formal interview the latter granted before his death in 1970. The circumstances and content of the interview say much about both men: it took place in the desert burg of Tucson, it resulted from Krutch’s acceptance of Abbey’s simple cold call (Abbey admits to having simply looked up the well-known Krutch in the phone book), and it features a palpable tension as then-debutant Abbey tries to direct the conversation but is instead led along by Krutch.  It’s an excellent read.

Abbey, of course (as described in an earlier installment of this series), is known for his passionate defense of and writing about the desert.  Krutch, perhaps exactly because of that more “reasonable” voice, is far less well known—he is probably the least recognized name among those profiled here—but he also comes to mind mostly because of his desert writings.  That late 60’s interview brought together two men with similar loves at the very moment the environmental movement was in the midst of legislatively changing the world. It is a pivot point on the environmental timeline.

Moving forward, Abbey would publish Desert Solitaire less than a year later in 1968. Within two years, Edward Hoagland and Wendell Berry would be on the scene, the Clean Air and Environmental Policy Acts would become law, the elder desert sage would publish his life compendium, The Best Nature Writing of Joseph Wood Krutch, and Krutch would die, just two months after the first Earth Day. Moving backward, Krutch published books contemporaneously with Loren Eiseley (whom Krutch admires specifically in the Abbey interview), Rachel Carson, and Peter Mathiessen. Krutch was born in 1893 (the only major mid-century writer to see the turn of the last century), and in fact his writing should have been contemporary to Aldo Leopold (born in 1887), except that Krutch came to nature writing quite late.

Krutch began his writing career as a theater critic and professor at Columbia University.  He wrote biographies of Edgar Allen Poe (1926), Samuel Johnson (1944), and–who else–Thoreau (1948), as well as a book-length thesis critical of science and technology (The Modern Temper, 1929).  The Thoreau book, initially just another biography project, made Krutch take a closer look at environmental topics.  This is from his 1962 autobiography More Lives Than One:

One winter night shortly after I had finished Thoreau I was reading a “nature essay” which pleased me greatly and it suddenly occurred to me for the first time to wonder if I could do something of the sort. I cast about for a subject and decided upon the most conventional of all, namely Spring.

That first essay, “The Day of the Peepers,” led quickly to Krutch’s first nature-focused book, The Twelve Seasons (1949). He was 56 (by contrast Abbey published Desert Solitaire at 41 and had by then already written three novels). Krutch’s most famed volume The Desert Year came out in 1951 (the same year as Rachel Carson’s best-seller The Sea Around Us). The Voice of the Desert expanded on the earlier book in 1954, and travelogues on the Grand Canyon and the Baja Peninsula followed in 1957 and 1961, respectively. Other books, more philosophical in nature, alternated with these environmental tomes, making this an extremely prolific time for Krutch: including the Thoreau biography and his autobiography, 11 books in 14 years.  It was almost as if he was making up for lost time.

Abbey describes Krutch’s style exactly right. The quote above from More Lives Than One is a perfect example of the lilting, matter-of-fact, discover-as-you-go tone of Krutch’s nature writing. (How ironic it is, by the way, that Krutch’s autobiography is called More Lives Than One and Abbey’s last essay collection is called One Life At a Time, Please.) Though I think Krutch’s language matures a bit through his career, that by-golly sense of wonder is always present—tempered, though, by hints of the intelligentsia of which Krutch can easily be considered a member.

Some examples: first from “Don’t Expect Too Much from a Frog” (1953):

The whole philosophy of frogs, all the wisdom they have accumulated in millions of years of experience, is expressed in that urrr-unk uttered with an air which seems to suggest that the speaker feels it to be completely adequate. The comment does not seem very passionate or very aspiring, but it is contented and not cynical. Frogs have considered life and found it, if not exactly ecstatic, at least quite pleasant and satisfactory.

“Urrr-unk” and “feels it to be completely adequate” are delightfully opposing semantic poles.

And from “Journey in Time,” part of the 1958 Grand Canyon book:

As soon as nature has made a mountain, she seems to regret it and she begins to tear it down.  Then, once she has torn it down, she makes another—perhaps, as here, precisely where the former mountain had once towered.  Speed the action up as in those movies of an opening flower, and the landscape of the earth would seem as insubstantial and as phantasmagorical as the cloudscape of a thundery afternoon.

The first sentence here is decidedly low-brow, but then comes “phantasmagorical” and “cloudscape.” Even Krutch’s essay and book chapter titles are a little aw-shucks. The first four chapters of The Desert Year are “Why I Came,” “What It Looks Like, “How to See It,” and “How Some Others Live Here.”

To use a thrice removed quote, Mark Tredinnick, in his unique exploration of writers’ home landscapes, The Land’s Wild Music (Trinity University Press, 2005), pulls this Krutch gem from Frank Stewart’s A Natural History of Nature Writing (Island, 1995): “[Nature writing is] experience with the natural world, as opposed, for example, to science writing, which is knowledge about the natural world.” Krutch happily admits to being a novice. In the essay called “On Being an Amateur Naturalist” he says, tongue-in-cheek, “I think I know more about plant life than any other drama critic, and more about the theater than any botanist.” That humility is a refreshing departure, and one that lets the reader feel ignorant without shame. A recurring story in The Desert Year sees Krutch trying to discover why bats always spiral a certain direction when exiting a cave. He writes to scientists and even imagines himself gaining some recognition in scientific circles for raising this apparently never-before-asked question. He wonders if they go the other way in Australia. He envisions some non-verbal compact among the bats, to eliminate traffic accidents.

For to Krutch, the bats are sentient and are possessed of personalities. So are the spiders and the birds and even the saguaro cactus. This belief sets Krutch apart from the other writers of his time, hearkening back to a more romantic notion of nature found often in the writings of John James Audubon and, at times, John Muir.  Tredinnick in The Land’s Wild Music goes so far as to put Krutch in a box with Leopold, Henry Beston, and Carson, while the opposite box has Abbey, Annie Dillard, Barry Lopez, and “all the other Thoreaus of the baby boom” (ugh! a group Thoreau reference–see my rant about Hoagland, here).  This belief also set him against the prevailing science of his day, which relied on dissection to study living things and considered all plants and animals mere machines governed by instinct and natural selection.  Krutch’s writing believes in the real lives being lived in the natural world: the joy, the sorrow, the patience, the humor.

For instance, in The Desert Year, he watches courting lizards:

When I first noticed this pair the male had just made a direct, crude approach toward the female and she, quite properly resenting this matter-of-factness, scurried away as from an enemy about to devour her. The male stopped disappointed; shrugged his lizard shoulders; started off in the opposite direction; and was then obviously surprised to discover he was being followed at a discreet distance….

Besides the advances and retreats which are the essential features of all courtships, this one consisted principally of poetical speeches or amorous arias, though I could not be sure which since the sounds were completely inaudible to me, at least through the window…. [The] lady would listen intently, move a little closer, and then edge away again when her suitor approached to ask what effect his eloquence had produced.

Ahh, the rigors of flirtation, and life, for all creatures, not just we humans.

The other day I hiked with my youngest son Mason for the first time in a state park. He is six months old and was strapped to my chest, contentedly looking up at the silver maples.  A small woodpecker exploring along the trunks caught my eye. Soon the bird flew to different branch where another woodpecker was already tapping. As the first bird arrived, the resident woodpecker pecked aggressively in his direction, spread his own wings wide, and called out a series of shrill staccato tones. The interloper followed suit and the two danced on the branch, arms outstretched, beaks threatening.

I imagined what they might be saying to each other—or, rather, what Joseph Wood Krutch might imagine them saying to each other. I am sure he would have exactly the right dialog.

Proceed to the next essay, on Wendell Berry; or return to the Table of Contents.

—Adam Regn Arvidson

Sep 262011
 

I was almost finished reading Rachel Carson’s Silent Spring when I authorized the application of Garlon to 3300 square feet of vegetation surrounding a new commercial building. Garlon is an herbicide: a chemical officially called triclopyr—a cocktail of oxygen, nitrogen, hydrogen, and chlorine arranged in a particular structure that makes it fatal to broad-leaved plants.

I visited the application site after a few days and the plants had already started to wither. Garlon takes a little while to act, but over the course of a week or two, the lambs-quarters and creeping charlie browned and fell to the earth. The company I hired later arrived to mow the whole thing down.

Silent Spring spends an entire chapter (ominously called “Elixirs of Death”) on how exactly the various pesticides and herbicides work. Garlon is more recent, so it doesn’t appear, but it shares many of the chemical properties of the chlorinated hydrocarbons and organic phosphates Carson describes. “Elixirs of Death” occurs early in this seminal (some would say THE seminal) environmental work. Carson, an otherwise soft-spoken science writer, sets the book’s tone with the chapter’s title, and with stories like this:

On another occasion two small boys in Wisconsin, cousins, died on the same night. One had been playing in his yard when spray drifted in from an adjoining field where his father was spraying potatoes with parathion; the other had run playfully into the barn after his father and put his hand on the nozzle of the spray equipment.

Dwell on those words for a minute: “had run playfully into the barn after his father.”

Chemical diagram of triclopyr (Garlon)

I am a landscape architect, which means I typically come up with designs for parks, homes, and commercial properties, then leave the maintenance to others. At some level I suppose I understand that a broad array of synthetic fertilizers, pesticides, and herbicides are being sprayed on my idealistically created landscapes. But what they do is their business—out of sight, out of mind. On the particular commercial project I mention above, though, I was thrust into a management role due to some contract discrepancies. The responsibility of maintaining the native prairie grasses I had seeded along the building’s main walkway fell to me. I called a prairie expert who told me herbicide would be the best way to get the weeds under control and allow the little bluestem room to grow. I wavered. Then agreed.

Hanging up the phone I was wracked with guilt. Carson’s book has a way of making one feel that way, if one is in any way complicit in the use of pesticides or herbicides. Silent Spring is both fact-packed and heart-wrenching. It leaves a reader feeling emotionally spent, yet unable to find relief in the possibility that the stories are either exaggerated or untrue. And that, of course, was its intended effect.

It’s hard to know exactly where to start a new essay about Carson, since of all the environmental writers in American history, she has been more researched, praised, referenced, essayed, and reprinted than anyone but perhaps Thoreau and John Muir. Certainly of all the writers covered in this series, no one sold more books and no one had a more direct effect on legislation than she did—even though she only wrote four books and succumbed to cancer a mere 18 months after Silent Spring was published, at age 56. If you want biography, read Linda Lear’s excellent and honest Rachel Carson: Witness for Nature. If you want homage, go for Courage for the Earth, edited by the venerable Peter Matthiessen. You can find Rachel Carson children’s books and Rachel Carson school curricula. (I’m thinking of starting a line of “what would Rachel do?” bumper stickers and coffee mugs.)

It’s hard to know where to start with Carson because so much has been said already. What I will add is this: Silent Spring struck me in two ways. Foremost, I felt like a direct subject of criticism, because of the Garlon, and the book has made me rethink some of my professional practices, even though it is near 50 years old and wildly out of date factually. I also felt a deep admiration for Carson because she, I believe, deliberately altered her writing style in order to have the desired impact. Silent Spring, in tone, subject, and language choice, is markedly different from her earlier works about the ocean:  Under the Sea Wind (1941), The Sea Around Us (a 1951 bestseller), and The Edge of the Sea (1955). Though this earlier trilogy—completed a full seven years before Silent Spring—has notes of warning, it is above all a paean to the sea, in all its glory and poetry. I read The Sea Around Us immediately before delving into Silent Spring, and the contrast was stark.

Indulge me in a side-by-side comparison. To make it a little more apples-to-apples, I’ll look at the same subject: water. Here is Silent Spring:

Here and there we have dramatic evidence of the presence of these chemicals in our streams and even in public water supplies. For example, a sample of drinking water from an orchard area in Pennsylvania, when tested on fish in a laboratory, contained enough insecticide to kill all of the test fish in only four hours….

For the most part this pollution is unseen and invisible, making its presence known when hundreds of thousands of fish die, but more often never detected at all. The chemist who guards water purity has no routine tests for these organic pollutants and no way to remove them.

And The Sea Around Us:

Fish, amphibian, and reptile, warm-blooded bird and mammal—each of us carries in our veins a salty stream in which the elements sodium, potassium, and calcium are combined in almost the same proportions as in sea water. This is our inheritance from the day, untold millions of years ago, when a remote ancestor, having progressed from the one-celled to the many-celled stage, first developed a circulation system in which the fluid was merely the water of the sea.

You will of course have to give me the benefit of the doubt that I have selected representative samples. Yes, there are glimpses of the critical Carson in the sea trilogy and of the enraptured Carson in Silent Spring (“those woodland sprites the kinglets…the warblers, whose migrating hordes flow through the trees in spring in a multicolored tide of life”). But it’s not a stretch to say that the sea trilogy is poetic while Silent Spring is analytical.

I believe that difference is not just because of the passage of time between the works, nor is it because of the inherently negative subject matter of the later book. As Ann Zwinger writes in her introduction to the 2002 reprint of Silent Spring, after World War II “The public endowed chemists, at work in their starched white coats…with almost divine wisdom. The results of their labors were gilded with the presumption of beneficence. In postwar America, science was god, and science was male.”  Science also stood alone, in philosophical opposition to art and poetry. That dichotomy, which Loren Eiseley and others began to expose in the early 1960s, led to the intense social upheval that pitted “9-to-5-ers” and “hippies” against each other in the decades to come.

In order to have an affect on the science of the day, and on the general population, Carson needed to adopt an empirical rhetoric, mostly free of the soul-stirring prose that populates her earlier work but would be rapidly discredited in the context of her new subject. In fact, the chemical industry tried to do exactly that, launching a smear campaign that, among other things, labeled Carson a spinster and a madwoman—powerful and damning language in the late 50s. Carson buttoned Silent Spring up tight, leaving no space for the chemical establishment to set a hook and tear it apart.

However, if that had been Carson’s only trick, Silent Spring would stand as an excellent report to Congress, rather than as the “cornerstone of the new environmentalism,” as Peter Matthiessen calls it. Carson’s final book was embraced by an entire generation and many believe it led to not just the domestic ban on DDT application (for which it is best known), but also the Clean Air Act and the creation of the Environmental Protection Agency (EPA) in 1970 and the Clean Water Act in 1972—all of which directly address environmental pollutants like herbicides and pesticides.

The reason for Silent Spring’s longevity is that laced within the analysis are passages like this:

I know well a stretch of road where nature’s own landscaping has provided a border of alder, viburnum, sweet fern, and juniper with seasonally changing accents of bright flowers, or of fruits hanging in jeweled clusters in the fall…. But the sprayers took over and the miles along that road became something to be traversed quickly, a sight to be endured with one’s mind closed to thoughts of the sterile and hideous world we are letting our technicians make. But here and there authority had somehow faltered and…there were oases of beauty in the midst of austere and regimented control…. In such places my spirit lifted to the sight of the drifts of white clover or the clouds of purple vetch with here and there the flaming cup of a wood lily.

Or this, in reference to the “explosive power” of nature to reproduce and fill a void:

I think of shore rocks white with barnacles as far as the eye can see, or of the spectacle of passing through an immense school of jellyfish, mile after mile, with seemingly no end to the pulsing, ghostly forms scarcely more substantial than the water itself.

It has been more than a month now since I was complicit in the application of an herbicide. Today the site is a green swath of baby prairie grasses pushing their roots deep into the earth and covering the soil with their stems. Next spring there will be fewer broad-leaved plants and after another year this landscape will not need to be mowed, fertilized, watered, or treated with chemicals of any kind—ever.

My 3300 square feet is infinitesimal compared to the millions of square miles of neighborhoods, forests, and farms that used to be sprayed from airplanes with a mixture of DDT powder and fuel oil (can you imagine?!). And Carson’s last chapter gives me an out: perhaps surprisingly, she doesn’t call for outright bans, but rather a careful combination of biological control and chemical use applied where needed and for the right reasons.

She also calls for effective regulation and decision-making through sound science, and that sentiment became the foundation for the EPA and all the environmental legislation passed in the early 1970s.

So if you will indulge me in one more paragraph, I would be remiss in not mentioning current events.

I opened this series by referencing a January 25, 2012, speech by Newt Gingrich in which he proposed elimination of the EPA. He, the few remaining presidential hopefuls, and conservative members of the U.S. Congress have held that line for the past year. The standard phrase, crowed ad nauseum in debates and stump speeches, is that the EPA and the Clean Air and Water Acts are “job-killing” regulations. Gingrich and the other so-called advocates for business and jobs should take a moment to remember life before 1970: fuel oil dropped from airplanes on suburban neighborhoods, chemicals in general use so dangerous that children could die from touching a spray nozzle, Cleveland’s Cuyahoga River so polluted it actually caught fire (that was 1969), cities across the nation dumping untreated sewage into local waters (yes, the Clean Water Act regulates government in addition to private business). Conservatives are holding a ridiculous and untenable position that essentially suggests businesses would pay more taxes and hire more people–if only they could pollute.

Carson described the 1950s as “an era dominated by industry, in which the right to make a dollar at whatever cost is seldom challenged. When the public protests…it is fed little tranquilizing pills of half-truth.”

Silent Spring is 50 years old in 2012—election year. As I wrote in the introduction, it’s time for another reading.

Proceed to the next essay, on Joseph Wood Krutch; or return to the Table of Contents.

—Adam Regn Arvidson

Sep 242011
 

It probably doesn’t bear reminding, but I will remind you anyway. In the March/April issue of the AWP Writers’ Chronicle, Aleksander Hemon, in an interview with Jeanie Chung, contrasted fiction and memoir and found the latter wanting in some way, even cowardly. Sue William Silverman, my friend and colleague at Vermont College of Fine Arts and a famous practitioner of the art of memoir-writing, wrote a retort which appeared as a letter to the editor and was also reprinted under the title “In Defense of Memoir” on Dinty Moore’s Brevity. Suzanne Farrell Smith wrote a measured summary of the whole story (“Hemon, Silverman, and What Makes Good Writing“) on her blog and pointed out that just months after casting aspersions on the genre in the Chronicle, Hemon published a memoir of his daughter’s illness in The New Yorker. (In the nature of things, he probably did the interview long before he wrote the memoir, but the two came out in ironic proximity.)

Now Sue has contributed a call to the barricades, an inspirational rationale for memoir-writing which, yes, includes a small excursus into her own acts of memoir (and delightful photographs which are a memoir in themselves).

Sue William Silverman is the author of numerous books, essays, and works on craft, and she is a profound influence in the lives of her students (see the recent NC Childhood essay by Kim Aubrey as an example). Her memoir Love Sick: One Woman’s Journey through Sexual Addiction was made into Lifetime television movie. Her first memoir Because I Remember Terror, Father, I Remember You won the Association of Writers and Writing Programs award in creative nonfiction, while her craft book Fearless Confessions: A Writer’s Guide to Memoir was awarded Honorable Mention in ForeWord Review’s book-of-the-year award.

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The Courage to Write and Publish Your Story: Five Reasons Why it’s Important to Write Memoir

By Sue William Silverman

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I’m frequently asked why I write memoir. Why reveal intimate details about my life to total strangers? Why put myself, or my family, through the pain—some would even say shame—of telling family secrets? Why not just be quiet, keep personal information to myself?

Here is how I answer:

Growing up, I lived a double life. On the face of it, my family seemed normal, happy. My father had an important career. We lived in nice houses and wore expensive clothes. But all this seeming perfection was a veneer, masking the reality that my father sexually molested me, a reality never spoken aloud.

Later, as an adult, I continued to live a double life—this time as a sex addict. Again, in public, I appeared normal, with a professional career and a seemingly good marriage. No one knew that the shiny façade hid dark secrets: I cheated on my husband; I was close to emotional and spiritual death.

Before I began to write, I didn’t fully understand the effects of the past on the present. For years, the past appeared in my mind’s eye like faded black-and-white photographs in which no one, especially me, seemed fully alive.

Then I started putting words on the page. Finally, I chose to examine my past. Through this exploration, it was as if I slowly began to awake after living in a state of emotional suspension. I wrote my way into the darkness—not to dwell there—but to shed light on it. My entire life changed, all for the better. I no longer lived a lie.

I encourage you to explore, through writing, your life, as well. Whether your childhood was traumatic or not, whether your current life is in disarray, chances are you have a story to tell. Whether, say, you’re figuring out a divorce, finally coming to terms, perhaps, with an alcoholic mother or an absent father, struggling to repair a relationship with an estranged sibling or battling a physical disease, we write memoir to better understand ourselves, as well as to bring a reader with us on our journeys.

Here are five reasons why your life will be enhanced by writing a memoir, by telling your own story.

Continue reading »

Sep 142011
 

Read this as a lament, a keen. It was written, to start with, for Numéro Cinq’s series of “Childhood” essays. But this is no island idyll. It’s not even poignant; that’s too mild a word.  It is sad beyond sad. It is a trip to the heart of darkness. It is also beautiful and rich and generous to that which deserves generosity. In places it makes for nearly unbearable reading. And yet it demands to be read. Years ago, I took a chance on an unknown writer and included one of Kim’s stories in the annual anthology Best Canadian Stories which I edited at the time. In the intervening years she has proved out my intuition, growing deeper, more complex, more heartbreakingly open.

Kim lives in Saskatoon, Saskatchewan (she chronicled her move there from Toronto for NC with two lovely “What it’s like living here” pieces).  She is a writer and artist who grew up in Bermuda and earned an MFA in Writing from Vermont College of Fine Arts. Her watercolours have been exhibited in galleries, and her writing has appeared in Best Canadian Stories, The New Quarterly, Room, Event, upstreet and other journals. She recently completed a memoir, The Girl in the Blue Leotard. She is a Founding Member and Editor of Red Claw Press and leads an annual retreat to Bermuda for writers and artists. 

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I was born and grew up in Bermuda where my father was born and grew up, and a few generations of Aubreys before him. Photos show me as a baby, sitting in a laundry basket full of oranges, fruit as bright, round and juicy as the world must have seemed back then.

Next to the plump oranges, I looked pale and thin. My parents worried I wasn’t gaining enough weight. My father bought me goat’s milk and fussed over me, helping me to sleep by bouncing me in his arms every evening when he returned home from selling jewellery in his shop on Queen Street.

Kim in the orange grove

As a toddler, I was so slight that my mother had to cross the straps of my overalls twice—first on my back, then across my chest. When a big wind rushed in from the Atlantic, she held onto me so I wouldn’t blow away. I loved how the wind pushed against my face, pressing my mouth open, promising to take me someplace new. But I loved the island too—the oranges dangling from their leafy ceiling, the crabgrass tickling my feet, the warm Bermuda earth, red-orange with iron.

When I was six or seven, my parents rented “Rocky Ridge,” a blue bungalow on a cliff overlooking Harrington Sound, where my mother taught me and my brothers, E.R. and Mark, how to swim. We’d run across our backyard to the grey limestone steps, which led down to the sea through a hollowed-out cave, its sandy walls the colour of cream. We’d rub our fingers against the crumbling limestone, stare at the small holes that seemed drilled into it, looking for the creatures that had burrowed there. Sunlight filtered through the cave, cast arcing shadows over its bright surface, enticing us to follow it out into a world of light and water.

Aubrey house with the orange trees

The cave opened onto a long narrow dock stretching out over the blue-green sound. If you stared down from the end of the dock, you might see bright fish or dark sea rays. If you looked out across the sound, you’d notice that it was encircled by land, sheltered, enclosed. But we seldom looked out; we ran for the steps leading down into the clear water where purple sea urchins raised their spikes from the sandy bottom, and shiny sea cucumbers lay waiting for us to squeeze the water out of them.

My mother taught my father to swim too, even though he’d spent his whole life on an island surrounded by water and she’d grown up in a small town in Maine at least an hour from the coast. She’d learned to swim in the cool waters of Great Pond where her aunt and uncle had built a log cabin, while my father had avoided the beach, afraid of the bullying surf that could send you sprawling under, push water up your nose and salt into your eyes.

South Shore Bermuda

The sound could be calm and glassy, or gentle waves could hold you floating. Only in a storm did the water leap up and fly against the limestone cliff, swamping the dock and filling the cave, washing away more sand from its soft walls. Sometimes, the waves would blast up over our house, and once we found a trumpet fish stranded on the driveway out front. My mother flung it over the cliff, back into the water before it could begin to stink.

Trumpet fish are long and thin. They camouflage themselves by standing on their noses amongst strands of like-coloured coral, or swimming with schools of like-coloured smaller fish on which they prey.

Sometimes, my brothers and I fished off the dock. Once I caught a squirrelfish—orange-red with a big dark eye. Squirrelfish usually hide in the reef, emerging at night, protecting themselves by raising the spines on their backs and croaking when threatened. I don’t remember if my squirrelfish made any noise. I kept it in a pail of water for a while, then dumped it back into the sea.

On Good Friday, we flew kites. My father taught us to make them out of tissue paper and oleander or fennel sticks, starting with the traditional diamond shape formed from a cross of two sticks, its flight meant to reflect Christ’s rise to heaven. We nicked slots in the ends of the sticks with a penknife, and threaded twine through the nicks, pulling it tight and knotting it, then covered this skeleton of stick and twine with different shades of tissue paper. One year, my mother could find only white paper, so to brighten my kite, I pasted on oleander petals and cherry leaves. They fell off when the wind stole the kite into the sky.

The whole island flew kites. Good Friday afternoon, the sky filled with their bright shapes and colours. Every March, a radio and TV ad campaign reminded kite flyers about the dangers of power lines, and every Easter on our way to church, my brothers and I would lean out the car windows and laugh to see all the kites stuck in the lines, or on the branches of trees.

In our backyard with its fence marking the edge of the cliff, my father would hold up the kite while I clutched its ball of twine, waiting for the wind from the sound to rustle the taut tissue paper bound within its frame of sticks and string. “Now,” he’d call, and I’d rush forward across the lawn, my kite rising into the air behind me as I hurried to let out more string, the ball of twine flipping in my hand, the kite straining against its narrow lead. Its tail, made from torn-off bits of rag my mother had knotted together, gave it ballast, weighting the kite so the wind wouldn’t toss it around and crush it. I stopped running as the wind lifted the kite higher. Its tail streamed out behind, anchoring it to the clouds.

On Guy Fawkes’ night in November, my father and his younger brothers, Dennis and Peter, set off fireworks on our back lawn near the cliff’s edge. Rockets and fountains burst and shrieked into the night sky. My brothers and I ran around in circles laughing and shouting. When our uncles lit the Catherine’s Wheel, we stopped and clung to our mother, watching the great circle of fire spin and hiss, flinging sparks into the cool damp air.

In the distance, other people’s fireworks cast brief bright shapes against the dark as we waited for Dennis to bring out the Guy. It was made from an old jacket and pants stuffed with newspaper, its head a brown paper bag, also stuffed, topped with a straw hat. I stared at its face, drawn with black marker. Its slit eyes and wide grin leered back at me like a malicious Frankenstein’s monster. I half hoped half feared the fire might spark it into life.

My father, Dennis and Peter built a small bonfire from dry sticks and crumpled paper, lit with several matches. Once the fire caught, spreading through the kindling, they mounted the Guy on top, and we watched the flames burst out from inside his dark pants and shiny jacket, consume his mean face and feed on his crackling hat. Soon the guy was one enormous flame eating away at the dark, launching flakes of ash into the sky.

One night in September, I’d learned that my mind could float free of my body, flying up like a kite or a piece of ash. My parents had gone out to dinner to celebrate my mother’s birthday, leaving my brothers and me with our teen-aged uncle, Peter. Outside, the wind tapped tree branches against the living-room window. Inside, I practiced the pliés I’d learned in ballet class that afternoon, holding my back straight, bending my knees, then rising onto my toes. The reflection of my head bobbed up and down in the darkening window. I was not yet eight and had only begun learning ballet a couple of weeks ago. E.R. was six, and Mark, who had just started nursery school, was four.

For the past year, Peter had been molesting us in the basement of his house where our parents sent us to play on Sunday afternoons, while they sat and drank tea with our grandparents. In that shadowy basement, Peter terrified and shamed us into secrecy, keeping our parents ignorant of what was happening.

If they’d told us he would be baby-sitting, I’d probably have spent the day chewing my fingernails and getting a stomachache, even though I hadn’t believed that he would hurt us in our own house. The familiar ordinariness of the wood-encased TV set, the living-room carpet we sat on to watch cartoons, the purple couch where my parents usually relaxed in the evening seemed to offer a protective spell. Besides, a summer spent visiting our New England grandparents, swimming in cool dark lakes, and picking blueberries in the woods of Maine had already begun to wash out my memories of that basement, making them less vivid, as if those things had happened to three other children.

When Peter yelled, “Stop that jumping!” and lunged after me, I froze at first, then dashed towards the hallway where the bathroom door had a lock. The TV shouted ads from its corner, the wind rattled the windows, and the walls seemed to blur as if suddenly plunged under water. Peter grabbed my arm, clamped my legs between his, pushed my face against his belly. The fibers of his shirt scratched my eyelids. I tried to scream, tried to bite him through his shirt. He gripped my mouth with one hand, forcing me to breathe through my nose, while his other hand crept up my bare leg and into the bottom of my leotard. At first, his fingers tickled, making me feel warm and shivery, then they jabbed into my flesh, sending a sharp pain up through my whole body and into my head. I tried to scream again, tried to bite his hand, but it was pressed too tightly against my mouth. My head felt light and spinny, throat dry and empty.

I learned how to run while standing still, to run until I lifted from the ground and the wind carried me up, a ballast of fear anchoring me to the ceiling. I learned how to pretend something shameful wasn’t happening, and how to clean up the evidence afterwards. Sitting in the bathtub behind a locked door, I washed streaks of blood from my thighs, learned to let the water run until all the pink had swirled away.

The next day, my brothers told my mother that Peter had shown us his penis. I told her I didn’t want him to babysit ever again. I had no words for what had happened. When we visited our grandparents, my mother and father no longer sent us to the basement to play with Peter. My brothers and I forgot what he had done to us. Memory swirled away like a pink stain in water.

Every Good Friday, we flew kites, making them as bright and beautiful as we could, multi-hued hexagons or octagons, borrowing their colours from the hibiscus, the oranges, the cherry leaves, and the clear waters of the sound. We flew kites, cheered when we managed to launch them and they didn’t get caught on a shrub, or drag our spirits to the ground. We flew kites, watching them rise unblemished into the blue, their spokes like outstretched arms, watching them shrink into distant sparks of light, longing to follow, to lift off from the red earth and climb the sky.

—Kim Aubrey

Aug 072011
 

Illustration by Frank Fiorentino

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My Owls

Essay by Kathryn Kuitenbrouwer

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In the stories I’ve been writing lately, all set in and around my neighbourhood, a great many animals have arrived as if in the Eden of my mind, they are a necessity. They are not always kindly creatures. And they are there in the created neighbourhood of my stories even when they are not necessarily in my actual neighbourhood. And even when they are something like the animals that can be found in my actual neighbourhood, they are certainly not real in the way they enter the space of the stories, which can be both violent and inexplicable.

Yet, there are animals in my neighbourhood.

Over the May 24th weekend — a sacred Canadian long weekend — a Screech Owl was spotted in a Linden tree on my street.

It was neighbour # 82 who noticed the owl in his front yard tree and told me about it — actually, stupidly showed me the owl in his tree. He can be forgiven, as he did not know what havoc my imagination would play with this knowledge. The story should start here but this was, in fact, the second central problem, now I see, in retrospect.

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Jul 292011
 

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Steven Church is the author of The Guinness Book of Me, Theoretical Killings, and most recently The Day After The Day After: My Atomic Angst. His essays have been published widely and his piece, “Auscultation” was selected for the forthcoming 2011 Best American Essays.

His latest work of memoir/criticism/personal essay (we’ll get to the issue of genre in the interview), The Day After The Day After, delves deeply into Kansas culture, Cold War paranoia, and Church’s own psyche, primarily using the mostly-forgotten Eighties scare-flick The Day After, which was filmed in our shared hometown, Lawrence, Kansas.

We went to the same high school in Kansas – I was a sophomore when Church was a senior – but didn’t know each other. I later met Church through his writing when Patrick Madden introduced me to his work. I’d written my own piece that mentioned my own memories of The Day After, and Madden must have wondered what kind of hold this film had on an entire generation of Kansans.

The movie’s effects on the youth of Lawrence at the time were intense and twofold. First, anyone who remembers seeing the film will remember the sheer dread of watching the fictional town of Lawrence blown to smithereens and permanently irradiated in the movie. But second, the reality of the movie’s filming left a permanent impression on an entire generation of Lawrencians, as the entire town was involved. Children were dressed up as radiation victims, the downtown was temporarily “demolished,” and a college town that considers itself a shining light of progressive values in the nation’s most conservative state was asked by the film crew to act as downhome and traditional as possible to fit the fiction of the movie’s narrative.

The Day After The Day After is a meditation on this confluence of fiction and nonfiction, giving fictional characters from the film an almost mythical significance in his own understanding of the world. I began my interview with Church with this thin line between fiction and nonfiction in mind.

– John Proctor

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The Day After the Memoir: An Interview with Steven Church

By John Proctor

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JP – One paragraph from The Day After The Day After in particular gave me a deeper understanding of my relationship to Kansas and my relationship to my own work as a nonfiction writer:

“The Kansas I know is like a long novel I finished years ago, a novel of which I remember every word. It was a great story, filled with wonderful characters and compelling plotlines, but it was epic and psychologically cumbersome and, in many ways, mostly fiction.” (180)

SC – Glad you liked that. It took me a while to reach that understanding of home. I think those lines came pretty late in the writing/revision process. It probably took writing the book to realize what I wanted to say about Kansas. Some people in Lawrence didn’t appreciate my “negative” view of home, even questioning whether I’d made up stuff about the Days of Rage,  firebombings, etc. Thing is, I don’t see it as negative, just honest. Lawrence has an underbelly and if it’s going to be a character in my book, I have to make it a well-rounded character, have to expose that belly.

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JP – To me, at least if we’re speaking of the book on a macro level, Danny Dahlberg  seems a logical starting point, as his ghost permeates all four parts of the book, most notably in the “Dahlberg Variations” that serve as interludes from the main narrative and allow you to do some things outside the limitations of your own point of view and story. Perhaps I’ll allow you to describe who Danny Dahlberg is, and how you used him in the text.

SC – Interestingly enough those were some of the first sections I wrote for the book, long ago, mostly just playing around. He is, obviously, a significant character in the film, if only because of the metaphorical significance of his being blinded by the blast [Which can be seen at the 1:10 mark of the nuclear attack scene below – JP]. And he becomes for me both a kind of blind oracle, a Tiresias figure, and an alternate self. I used him initially as a kind of experiment, a fictional device designed to allow me to explore the extreme edges of one’s reactions to the film. And I guess that’s a big part of my process, at least in my first three books, that use of fiction to essay or explore certain ideas. Probably some of that comes from my training in fiction writing.

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http://www.youtube.com/watch?v=G2H1E02iMHg
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Jul 232011
 

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In the tradition of J. R. Ackerley”s My Dog Tulip and Christopher Smart’s “My Cat Jeoffry,” Patrick Keane’s “Rintrah” is a gorgeously jubilant, poignant, mysterious paean to the lifelong companionship of a pet. Patrick Keane is a great friend, a brilliant raconteur, an eminent scholar, and, yes, a lover of cats. This is his second contribution to the pages of Numéro Cinq; see his essay on the “lost” Waste Land manuscript here. But first, read “Rintrah.”

—dg
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Rintrah

By Patrick J. Keane

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In researching a book I recently wrote on Emily Dickinson, I came across a letter, written in the autumn of 1858, which has become controversial. Overwhelmed by the world of mutability in which she found herself, she seemed to equate the death-by-frost of flowers in her garden with the death of a servant’s “little girl through scarlet fever.” I was reminded of Virginia Woolf’s Clarissa Dalloway, who imagines people saying of her, “she cared much more for her roses” than for human “victims of cruelty and injustice.” But the comparison was unfair. Emily wasn’t being insensitive or callous. In addressing “Democratic Death,” she was really expressing the communion and equality of all living things that come to dust.

The life and death memorialized here span a near quarter-century that began with the end of my marriage and includes the pain-filled final years and death of my mother. Along with the ending of another long relationship, these losses affected me deeply and, though they are not front-and-center in what follows, they are an implicit part of my recounting of the adventures of Rintrah. Since Rintrah was “just a cat,” the love, admiration, and sense of loss expressed may seem excessive. But love is not restricted to our human relationships. Emily Dickinson herself, who anguished over the loss of so many close to her, was devastated by the death in January 1866 of Carlo, her beloved dog and constant companion. Anyone who has had a similar experience with a cherished animal will understand both her love and her mourning for what can never return.

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I didn’t know then, and never found out afterward, where he came from. And, though I wish I could take the credit, I didn’t give him his wonderful name. One of my students did. We had just begun William Blake’s The Marriage of Heaven and Hell when the kitten walked into the classroom. I almost said “strode” because, from the first instant, he displayed complete self-assurance. For all his confidence, he was small, not much beyond weaning. But his front paws seemed large (I later discovered he had six claws on each); and he already possessed a kind of majesty and grace. He even seemed aware that he was beautifully colored: a white mask and underbelly, tawny coat and ears, with that same soft amber surrounding a white star-shape between his gold-green eyes.

He took the measure of the room, then proceeded to stroll among the desks. At the end of his tour, he returned to the front, looked me over, leapt effortlessly to the chair, then to the desk. A student filled a paper saucer with water and placed it near him. The kitten nosed it, then took a few diffident sips. I petted him and he permitted me, despite the affront to his dignity, to pick him up and display him, tummy exposed, to an appreciative audience. The work we had been reading prior to this mysterious visitation opens with a poem that begins, “Rintrah roars and shakes his fires in the burdened air.” The kitten’s boldness and color inspired one of the students to propose Rintrah for a name.

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Jul 192011
 

While salivating my way through the most recent issue of Creative Nonfiction (the “food issue”), I encountered a discussion (some might say THE discussion) that continues to define (plague?) creative nonfiction writing in general.  I am of course referring to the issue of accuracy.  The old argument goes like this: on one hand, this is NON-fiction, so everything must be accurate, wholly accurate, and verifiable.  On the other, this is CREATIVE, so bending, slanting, embellishing is just fine as long as the spirit of truth is upheld.

This debate is not engaged directly in the pages of issue 41, but rears its head in two places.  There is this, in an interview with Ruth Reichl, restaurant critic, former editor at Gourmet, and nonfiction writer:

You can’t [make things up in a memoir] but you can combine things… Certainly in “Tender at the Bone,” for instance, the best story is the one about my brother Bob’s engagement party.  It’s a wonderful story, all true, but it’s really two parties conflated into one….. Nothing in there is made up, but it makes a much better story put all together in one place.  I think one of the great things you get to do with memoir is selectively cherry-pick your memories.

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Jul 182011
 

Robert C. Byrd Green Bank Telescope (© Jarek Tuszynski / Wikimedia Commons)

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  Chatting with ET: Dialogue between The Actual and The Possible

By Lynne Quarmby

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Yet, while science attempts to describe nature and to distinguish between dream and reality, it should not be forgotten that human beings probably call as much for dream as for reality.

— François Jacob, The Possible and The Actual, 1982

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Ancient Greeks knew that unicorns were exotic animals observed in India. Even by 1600 it is unclear whether translators of the King James Version of the Bible were thinking of creatures real or allegorical when they wrote “God brought them out of Egypt; he hath as it were the strength of an unicorn” (Numbers 23:22).  Either way, while the translators were writing about unicorns, Giordano Bruno was burned at the stake for, among other transgressions, his belief in extraterrestrials.

In 1967, Roger Patterson filmed a female Sasquatch walking across a clearing in a northern California forest. The 16 mm footage remains the only evidence we have of this presumed intelligent and elusive ape, all other reports of sightings have proved to be hoaxes. Patterson toured Sasquatch country, from northern California to British Columbia, showing the film and telling his story. I was ten years old when my father and I sat in those folding chairs, believers.

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The other day I called my father to ask him if he still believed in Sasquatch. “No,” he said. “I think if they were real we would have more evidence by now.” That is pretty much how I feel too, but we could be wrong.

The B.C. Scientific Cryptozoology Club lists 212 “cryptid” mammals – the Sasquatch is one of 36 putative primates. Club founder Paul LeBlond is a respected scientist and a Fellow of the Royal Society of Canada – he was also one of my professors when I was an Oceanography student. Paul’s avocation is the search for scientific evidence of cryptids and when it comes to Sasquatch, he remains open to the possibility of their existence.

What of extraterrestrials? The soul-stirring wonder and awe of a clear, dark star-filled sky has fuelled the creation of a fantastic diversity of fictional extraterrestrials. Might there actually be something out there?  In the race to be real, one thing ET has over Sasquatch is more room to hide.

Beyond the vastness of space and the depth of our desire for company, there are growing scientific reasons to be optimistic about finding extraterrestrial life. Ongoing work on the emergence of life on Earth indicates that life may be a common phenomenon in our universe. Last month NASA announced unexpected observations of a potential new cradle of life in our solar system. Data from the Kepler space telescope has begun to arrive and as summer progresses we are discovering that our universe is littered with planets.  These are exciting times. Living generations may witness the discovery of extraterrestrial life – are we ready for that?

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Jun 292011
 

This is an essay about rakes—human and otherwise—about words, definitions, art, 18th century London, paper, printmaking and William Hogarth. It’s an essay that shows what you can do via the simple art of meditation (with a little repetition thrown in), or it demonstrates how a word has tentacles that stretch far and wide into the culture at large, into history, into the inner reaches of human existence. It has a lovely zen feel AND it has pictures.

Susan Olding is the author of Pathologies: A Life in Essays, which won the 2010 Creative Nonfiction Collective’s Readers’ Choice Award and was longlisted for the BC National Award for Nonfiction. Her writing has appeared in numerous magazines and literary journals in Canada and the U.S., including The New Quarterly, Prairie Fire, and The Utne Reader. A two-time winner of the Event creative nonfiction contest, she also won the inaugural Edna Award for Nonfiction from TNQ and the Brenda Ueland Prose Prize for Literary Nonfiction from Water~Stone (Minnesota).  She lives in Kingston, Ontario.

“A Rake’s Progress” is slated to appear in Slice Me Some Truth: An Anthology of Canadian Nonfiction, edited by Luanne Armstrong and Zoe Landale (to be published by Wolsak and Wynn later this summer).

dg

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A Rake’s Progress

By Susan Olding

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As a child, I hated the rake. I hated the way its tines caught the long grass. I hated the blisters it raised on my hands. I hated bagging. The leaves clumped in slimy piles. The piles hid fallen apples, pocked with wormholes, soft with rot. Why did I have to rake, while my friends’ voices rang in some happy outdoor game, or while my book lay open near the fireplace? Was it my idea to plant so many trees? The rake was taller than I was. We made ungainly dance partners. Reluctant to lead, I wrenched the thing around; stiff and obtuse, it stuttered behind or scraped against my shoes. If I complained enough, my mother might relieve me of my duties. I’d slink away, guilty in the knowledge that I’d bought my sloth at the expense of her sore back.

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I used a fan rake. The kind whose tines spread wide as a peacock’s tail. But rakes come in dozens of varieties. There are rakes made of steel, aluminium, bamboo, and rubber. Adjustable rakes, crescent-shaped rakes, snaggle-tooth rakes, thatch-removing rakes, rock rakes that look like pitchforks, double-fans that hinge like jaws. There are rakes designed to smooth, rakes designed to gather, rakes designed to disturb the dirt.

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British printmaker William Hogarth didn’t have to dig to discover the dirt of 18th century London. His satirical eye raked the city, gathering its sins at a glance. The streets of the poor and the parlours of the wealthy alike provided compost for his imagination. Often described as the father of sequential art, Hogarth called his pictures his “stage,” and he loved to dramatize the moral issues of his day. His most famous series, “A Rake’s Progress,” depicts the rise, decline, and fall of one Tom Rakewell, n’er-do-well son of a miserly merchant. The thought of a parent’s sore back would never have stopped profligate Tom. In the series’ first plate, he is fitted for fine clothes before the earth has been raked smooth across his father’s burial plot.

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Jun 242011
 

The Immortality of the Crab

By John Proctor

 

…and in a real dark night of the soul it is always three o’clock
in the morning, day after day. At that hour the tendency
is to refuse to face things as long as possible
by retiring into an infantile dream…
—F. Scott Fitzgerald, “The Crack-Up”

It’s 3AM, I must be lonely.
—Matchbox 20

Two days a week between mid-June and mid-October, I wake up at 3:00am without an alarm clock, thinking about crabs. I get dressed in the dark while my wife sleeps and feel my heart beating, hands twitching, mouth grinning involuntarily. I walk out to my car, where my traps, handlines, and bucket are already packed, and I head out to the sea, thinking about blue crabs. I drive toward the end of the earth and then walk out with my equipment, where the sea meets me at the edge of the pier. Sometimes a lighthouse searches in the distance; most times I see black islands shadow the water in the twilight; a few times I notice the dockside lights of boats whose captains beat me to the water. The morning mistral’s brisk song chills even the hottest midsummer night. On the pier I am all alone with the sea, surrounded by millions of ravenous blue crabs.

From November to June, I dream about blue crabs. Sometimes I’m back in Kansas fishing for catfish in the Wakarusa River where I spent so much time as a kid. I’m walking along the cliff overlooking the river, with the wild heather and cattails up to my armpits. I look down into the water from the edge where the grass meets the red clay, and I can see everything. Below the surface, huge flatheads are curled up in their red clay mudholes, or in the hollows of submerged tree stumps. And all along the edge of the river I see thousands of turquoise claws, all busy at work – good little members of the working poor, snapping up stray shiners, collecting detritus in the mud, and building fortresses from everything they find. Sometimes I’m so far up that I can see the Wakarusa River flowing into the sea, disregarding – and this is the great thing about dreams – that crabs and catfish generally don’t coexist, especially in Kansas. What’s important is the work they do, the order they make from the chaos. I don’t even try to catch them – I just watch, as the crabs and the catfish build their homes in the muddy water.

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In  one of my favorite scenes from the ‘90s sitcom Mad About You, Helen Hunt walks in on Paul Reiser, and he’s sitting comfortably in his chair, doing – well, nothing.  He’s staring off into space, and she asks him for help with some random chore. “I’m busy,” he tells her. She does a double take, and then asks incredulously what he’s busy doing. “I’m working,” he replies. She asks him what he’s working on. “I’m thinking.” He’s a filmmaker, a profession only slightly less physically lazy than writing, if only because of the heavy equipment. In this scene, Paul’s thinking is rather heavy. “I’m developing ideas,” he says. “The less it looks like I’m doing, the harder I’m actually working.”

There is a Spanish expression for Paul’s labor – pensando en la inmortalidad del cangrejo, or thinking about the immortality of the crab. Basically, if you’re standing around doing nothing and someone asks you what you’re doing, instead of admitting you’re not doing much of anything, simply tell that person you’re thinking about the immortality of the crab. And thinking, done well, is hard work.

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Jun 162011
 

Editor’s Note: Melissa Fisher’s “My First Job” essay won the 2012 3 Quarks Daily Arts & Literature Prize competition judged by Gish Jen. Gish Jen wrote: “This memoir of growing up in Vermont begs to be turned into a book. At once deeply universal and deeply strange, it is wonderfully unpretentious, completely appalling, and appealingly clear-of-heart.”

 

Melissa Fisher, already “a person of interest,” as the police say, for her satirical photo essay “And the Sign Said” now offers us a “My First Job” in which she manages to insert blood, mayhem, drunkenness (not the author), underage driving, romance (the brown-haired boy) and a gorgeously hilarious picture of growing up a girl in rural Vermont. Nothing more to be said. Read it.

dg

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Out There

Growing up with eight older brothers, I had a feeling that I could do anything.  I was keeper at soccer (not afraid to get kicked in the head if it meant making a save) and played first base, feeling pride in the shocking sting across my palm whenever anyone fired one in my direction.  It was the Fishers vs. anyone else in the neighborhood, and I was always the only girl on the field.

When we moved to Vermont, expanding our summer camp into a home, we traded neighborhood friends for trees. Thousands of trees. Our nearest neighbor was a mile south down a single-lane dirt road that was often impassable in the winter.  From our house-in-progress on Cram Hill going west, it was two and a half miles to asphalt, and the first house that way, a log home belonging to the Potters (their name spelled out in stones at the end of the driveway), appeared in the last half-mile.  We had a quiet view of Granville Notch to the west without a structure or speck of light in sight for miles across the panorama.  When weather shifted, a gray sheet of rain would spread across the valley toward us providing a 90-second warning to get the laundry off the line.  Some days the only hint of civilization was a distant loon-like call of the train whistle twice a day, southbound in the morning, northbound at night.

The electric and phone lines didn’t reach us, and cell phones didn’t yet exist.  We had a CB radio for emergencies.  In summers when humidity was high, a skip allowed my father (his handle was Preacher Ed) to talk on the squawk box to southern drawl truckers hundreds of miles away. These were our only conversations with the outside world. We were out there. .

First Babysitting Job, Starts with the Pig Blood in the Yard

So when I was 10, perhaps out of boredom or arrogance, I didn’t see any reason to say no when I was asked to babysit two kids of a couple I didn’t know well (they also lived in a house without electricity).  Later, I saw many reasons why this was a terrible idea, and I also questioned my parents’ judgment in letting me go. But the lure of two dollars an hour trumped any good sense I might have held.

My mother dropped me off in the driveway and backed around leaving me to walk to the house alone along a stone path that led by a stump steeped in blood with fresh blood lying in pools all around. Perhaps, I thought, I should have asked more questions, but how to prepare for this?  When the father, John, opened the door, I turned back to wave and watch my mother’s car head down the driveway back home, realizing suddenly that I was a bit homesick, scared, or both. John explained the blood—I had just missed the pig slaughter.  I wondered if I’d been expected earlier to help out.

The boys, blond-haired and shy, watched me suspiciously.  This was our first meeting so I reached out to them slowly, the way I had with the stray before he became Snowflake, my mother’s favorite cat. It didn’t work with the boys as well as with the cat. Their mistrust lasted long after the parents left for the wedding, and we spent the afternoon only half-playing, half-wondering when the parents would reappear.

I was ten. I didn’t know what a babysitter did. I fed them peanut butter and jelly sandwiches, and we went outside and threw rocks. Boys like throwing rocks. When they’re not eating them they’re throwing them. We stayed well away from the front yard, the stump, the blood.  I didn’t ask about the pig.

The afternoon dragged on. I only wanted to go home but had no idea when that might happen.  I hadn’t been forward enough to ask exactly when John and his wife would return. They were vague. I had the impression it was going to be just a few hours. In my mind, they were coming home at two or three in the afternoon.

The boys moped, grieving abandonment.  “Do you want to read a book?” I asked.  “I want Mommy to read it to me!” “Do you want to go outside with the trucks?” I asked.  “Mommy take me outside!”

By hour five, I had started to watch the driveway incessantly.  I couldn’t call home, of course—in my world calling home wasn’t an option to consider–and I wondered why my parents hadn’t come looking for me.  The boys weren’t the only ones feeling abandoned.

The boys refused to nap. I wondered if I should I walk them half a mile to the closest neighbor?  I didn’t want to get the parents in trouble.  Were they in trouble?

After 10 really, really long hours, and long after dark, headlights finally haphazardly probed up the driveway. When the boys’ parents came stumbling in, I was already at the door ready to go home. The mother drunkenly waved her arm (really her elbow) in the air and disappeared to bed. John’s head drooped. His eyes stared out without focus..

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Heading Home, the Body in the Backseat

When we finally got into the beat up Toyota wagon, he mumbled something about watching my feet.  At first, I didn’t know what he meant, it was dark, but soon I realized there was a hole as big as my foot in the floorboards.  We didn’t talk.  Something kept clunking in the back.  Turn left, clunk right.

When we hit the pavement, I suddenly could see light at my feet.  I watched a blur of the road between my heels.  Lines would appear, some double yellow, some white.  Back on the dirt road to my house, the clunking returned. Turn right, clunk left.

The driveway ended at the garage, but John drove across the lawn to the front steps. At last, with the dome light on, I could see a large mass in the back seat. I had been afraid to look. I had no idea it was a person. A toolbox maybe. When you live on the back roads things always clunk and roll around, but this was a big clunk.

“My brother-in-law,” John growled.  “He’s a waste of oxygen.”

John walked me to the door—I was only ten. And all I remember after that is going straight to bed, climbing the wooden ladder to the curtained loft room that was mine. But my parents must have seen John’s condition because they invited him in and made coffee. At some point, the brother-in-law wandered in, disoriented either from the repeated head trauma or the unfamiliar surroundings..

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Aftermath, More Babysitting, Animal Attacks, I Scar a Child for Life

Afterwards, my parents never said anything about that night, whether they wondered if I was okay.  They rarely said what they felt.  They seemed to accept John’s drunkenness without judgment. Oh, that’s just John… Somehow I can’t imagine parents being that open-minded today. And a few years later, when my 17-year-old brother arrived home late after school completely bombed on strawberry daiquiris, my father expressed his disappointment by grounding my brother for a month—a month alone out in nowhere without a phone; it was like solitary confinement.

It didn’t strike me odd that we’d have a drunk or two in the house. Rod, a neighbor well-known for his hundreds of junk parts cars in various stages of impermanence, would wander down the “thrown up” road (now more of a path) from his trailer a few times a year. He refused all food, lived simply on 16 oz. Budweisers or whatever other version of beer was handy.  He was friendly, smelled of urine, booze and cigarettes, and said Jesus Christ more often than my father ever did in the pulpit. Rod had a bony chest and his Dickies hung belted at the waist, cinched around fumes.  Rod’s granddaughter, Belinda, once bit me on the arm because I was using the bathroom. I wasn’t babysitting her.  She was just visiting.

What does (did) surprise me is that my parents ever let me baby-sit again.  But they did, many times.  Through trial and error I learned valuable tips such as Kool-Aid is more complex than Tang and requires infinite scoops of sugar.  And sugarless Kool-Aid on a picnic will destroy a child’s day and will ultimately be tattooed to his or her memory for the next 20 years. (I know because 20 years later I saw this person on the streets of Montpelier and his first words were, “Remember when you (tonal implication of ‘you moron’) forgot to put the sugar in the Kool-Aid?”)

B-Bet (short for Elizabeth) fast became one of my favorite watches and not just because I got to saddle up her mother’s tar-colored brute of a horse, Mischief, from time to time.  Mischief tried to buck me off more than once and would very reluctantly go for halting walks. On the way home he’d gallop if given the chance.  In my limited riding lessons I had only made it as far as a delicate posting trot on a pony. I was afraid even to canter, but I’d learned to hold on like hell.

B-Bet always had to come out to the car when I arrived to save me from Gus and Geezer, the geese watchdogs.  Gus was one-legged and cranky. Geezer was particularly vicious and would make a spear of his body, aggressively flap his wings and repeatedly stab my legs with his beak. I’d yell to no avail.  Two-year-old B-Bet would shake her finger at him, scolding, and he’d ashamedly retreat.

My best friend/rival Beth also babysat and we had our regulars.   One of her families had a cute rhythmic ditty that the father sang to lighten moods:  “Me-lis-sa-Fi-sher, ate-her-ki-tties.  Me-lis-sa-Fi-sher, ate-her-ki-tties.”  I have no idea where this came from.  I had never spoken with this gnomish furniture-maker, though I knew he crafted beautiful stuff. Understandably, his kids never spoke or made eye contact with me, either..

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Crossing the Line into Criminal Behavior with Accomplice and Small Children

The family I babysat for most often had two charming girls, one of whom once fondly asked me, “Why are you so fat?” At first, I’d put Meredith to sleep in the crib and then read to two-year-old Stephanie.  She would make me read every single book at least once and instantly scream if I stopped for the briefest moment, threatening to wake the baby.

After they were both in bed, I’d engage in battle with the wood cook-stove. I never understood the drafts.  My two options were to keep it wide open, meaning the temperature in the old schoolhouse would quickly escalate to 95 degrees, or damp it down and fill the house with smoke until the fire choked out. Either way, I’d end up opening all the windows and doors.

I loved their parents, Steve and Jude.  At nights on the drive back to my parents’ house, Steve would holler out, “ENGLAND!”then swerve and drive for half a mile on the left side of the empty road, a great belly laugh shaking out of him.

Stephanie and Meredith were terrible secret-keepers.  Once, when I was 14, their parents left me the car keys for the day—for emergencies.  Or perhaps so I could run to the Roxbury General Store for milk.  Along with milk, the store had two well-stocked coolers of cheap beer, gas, a dome-covered cheese wheel, flies, penny Swedish Fish, Charleston Chews—best after being stuck in a snow bank and frozen solid—more flies and Atomic Fireballs but not much else.

I didn’t drive to the store, not at first anyway. Instead I called a brown-haired boy.  Technically, he lived in the opposite direction from the store, but that’s fine. I just figured this would catch his attention.  I loaded the girls in the car, popped in the Genesis Land of Confusion tape I found in the glove compartment, and headed for his house—choruses of “Where are WE GOING?” rising from the backseat.

I was actually a pretty good driver with three years of experience.  My father had taught me to drive his Jeep when I was 12. Given where we lived, he’d been careful to explain about driving on washboards, how to do a hill start on loose gravel, and where to pick up the firewood he’d cut up down the road that needed to get stacked in the shed.

The truck I learned to drive in.

When he handed me the keys, Steve, the girls’ father, had pointed out that the car’s low gas light was on. But he was pretty sure there was enough to get to town and back if we had to.  So when we picked up the brown-haired boy—and not wanting to get stranded—we carefully poured in some gas from a red can in the barn. Then, a bit horrified (a sinking, Oh shit! moment when the gas warning light FAILED to come on), we realized it was too much and proceeded to spend the afternoon driving every dirt road in town until the yellow dot on the dash reappeared. (Okay, it WAS a nice realization that we would sneak around all afternoon, driving unlicensed and free. And 14!)

We weren’t worried about cops. I had never heard of the Roxbury town constable doing anything more than grudgingly volunteering for the position at town meeting.  Also I had heard and fully believed that regular laws didn’t apply to dirt roads (I think my father the minister was the one who told me this questionable fact).  The locals who usually hung out on the store’s porch were in and out of jail for various bits of misconduct—we were known as an outlaw town—but I was never sure how they got incarcerated (this reminds me that my friend Anna used to call jail “Three Hots and a Cot”). When my mother and the planning commission tried to clean up the village, Dave Santee, who lived next to the store, fired up the “Uglification Committee” and promptly hauled a toilet, two rotting dormers, and a one-wheeled tractor to his front yard.

I was aware, yes, that I was taking advantage of the situation, and, being a respectful minister’s daughter down deep (very deep), I was really afraid of being caught. Steve, the father, was a playful and irreverent ex-hippie. He loved it when I was a little bad—he’d say, “Oh, I bet that pissed off Ed and Ellie” and laugh. I adored him and looked up to him, and I hated the idea of losing his esteem. Not to mention the fact that my father might have had some feelings on this one, too (though, clearly, he TAUGHT me to drive at the age of twelve and, if the truth be known, wasn’t averse to a bit of rule-bending now and then either).

Late in the afternoon, when it finally occurred to me that Steve and Jude would be appearing in the driveway any second, we headed for home. I threw the brown-haired boy out of the car at his mailbox, barely stopping. Then I casually, airily (and very carefully) discussed with the girls the fact that what we had done all afternoon was perfectly fine, normal, unremarkable and not worth mentioning to ANYONE. There was no reason to say anything about it to their parents, and besides, their parents wouldn’t care.

We pulled into the empty driveway, unloaded, and were lingering on the lawn when Steve and Jude arrived moments later.  I was in a panic, the hood of the car was still hot, but ALL was well.

Then, suddenly, the girls were dashing toward their parents, screaming, ”Mommy, Daddy, Melissa drove THE CAR! We drove EVERYWHERE and finally the light came BACK ON! She told us not to tell you.”

I thought, Oh shit.

Steve said, “Is that right?” He looked right at me and laughed.

—Melissa Fisher

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Melissa Fisher is a writer and college administrator still living in Vermont.

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Jun 112011
 


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Numéro Cinq is fighting a guerrilla war against a culture that is determined to forget the beauty, grace and precision of well-written words. In this essay, Anna Maria Johnson goes to the barricades with a lovely meditation on a tiny point—James Agee’s unconventional use of colons in his great book Let Us Now Praise Famous Men. A small, small point, but the inspiration is prodigious for beauty of prose (and poetry) begins with attention to small details of correct (or eccentrically creative) technique.

dg

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James Agee’s Unconventional Colons in Let Us Now Praise Famous Men

By Anna Maria Johnson

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Ernest Hemingway, in a letter to Horace Liveright dated May 22, 1925, advised,  “My attitude toward punctuation is that it ought to be as conventional as possible . . . You ought to be able to show that you can do it a good deal better than anyone else with the regular tools before you have a license to bring in your own improvements.”   James Agee, unlike Ernest Hemingway, apparently had no compunction against experimenting with punctuation.  Agee’s Let Us Now Praise Famous Men makes both conventional and experimental use of the colon, which appears a grand total of 1,530 times in 424 pages, for an average of ~3.608 colons per page.

Agee’s text is most heavily colon-saturated throughout the more experimental portions of the book (those passages most descriptive, lyrical, and expressive), while his more reportage-styled passages (those with direct quotations, facts and figures, literal information, and directly conveyed scenes) use few colons.

Agee’s Use of Colons

In Let Us Now Praise Famous Men, the colon draws attention to itself most when it appears at the end of paragraphs, and when it is used rhetorical purposes rather than according to syntactical sense. Agee was surely aware of his significant reliance on the colon, even titling one section of the book, “Colon,” as if the whole section were a thoughtful pause or breath, like the Bible’s use of “Selah” in the Psalms.   Agee consistently controls the colon use, using it to different effect in different passages of his book, according to the tone and sense he wishes to convey.

Why did Agee choose to employ the colon so prodigiously in this book, and toward what ends? Let’s explore some of the ways, both conventional and experimental, in which he used the colon, and examine why he may have chosen to do so.

Agee often uses the colon in conventionally acceptable ways.  For example, shortly after the Preface, Agee uses the colon conventionally when he lists the “Persons and Places” of the book as if they are a cast of characters for a play (“FRED GARVRIN RICKETTS: a two-mule tenant farmer, aged fifty-four”).  In the Table of Contents, colons separate section titles from their subtitles, as in “Part One: A Country Letter” (Agee 2).  He also, in the expected way, places a colon before a list, as when he writes in his Preface of the project’s components, “The immediate instruments are two: the motionless camera, and the printed word” (Agee x). Of course, it is allowable to place a colon before a direct quotation, as Agee does on page 13, “By my memory, he [Beethoven] said: ‘He who understands my music can never know unhappiness again.’ I believe it.”  These are inarguably appropriate and conventional instances of colon usage.

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May 192011
 

Volvox, first described by van Leeuwenhoek in 1700, is a close relative of Chlamydomonas.

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Reasons to Rejoice in Green Algae
By Lynne Quarmby

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Every once in awhile you get shown the light
In the strangest of places if you look at it right
– The Grateful Dead

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We’ve had three hundred years of microscopy and some of us are still fascinated with the beautiful creatures that swim in pond water. To the naked eye, to the unpracticed observer, they look like cloudy, icky scum and we don’t want to swim with them. But they are also delightfully alive, they congregate, they swim (and wouldn’t care if we swam with them), they even “see” or at least sense light. And under the microscope, in the lab, in experiment after experiment, these tiny green algae are yielding discoveries that are important to you and me, in terms of health and the environment and, yes, in the revelations they bring of the wondrous reality of the molecular world.

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May 182011
 

Stanley Fogel’s ¿Que Coño Pasa? Snapshots of my Wonderful Cuban Life is the first book-length text ever published on Numéro Cinq, another first, another huge milestone in our adventure in digital publishing. I am calling it a “What it’s like living here” because, in fact, it tells us what it’s like living in Cuba today. But, of course, it doesn’t fit the pattern: it’s a book. The first chapter, the introduction, takes the lesson of Edward Said’s Orientalism and applies it to the West’s construction of the so-called Cuban historical fact. The next three chapters are very much a memoir of the years Stanley Fogel has spent living and teaching in Cuba, the personal facts behind the wall of words. Snapshots is thus a blend of the critical and the personal (with a dash of Fidel Castro’s own rhetoric added for flavour). Stanley Fogel is in a good position to see what he sees. A Canadian scholar with a yen to be “displaced,” he has spent about four months a year since the early 1990s in Cuba. He is a quirky, perceptive, thoughtful (critical in the best sense) guide to that other world. He tells a story different from the received wisdom, he fills his story with people and anecdote—our Virgil.

dg

Me: I spent 36 years at the University of Waterloo/St. Jerome’s University where I was overcome by deconstruction and taught critical theory. A travel book, Gringo Star, ECW Press, only partly captures my desire to be displaced in the world. In 1999 I was awarded an honorary degree from Instituto Superior de Arte in Havana. Re. the opus at hand: I have spent c. 4 months per year since 1991 living in Havana, discovering the richness and distinctiveness of Cuban life–culture and politics transformed by the Cuban Revolution. I am retiring there shortly. (Do come visit if you’d like an ‘insider’s’ sense of Havana.) —Stanley Fogel

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¿QUE COÑO PASA?

SNAPSHOTS OF MY WONDERFUL CUBAN LIFE

By Stanley Fogel

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A mi hermano, Mario Masvidal, y la revolución cubana

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Thanks to Elizabeth Effinger and Trieneke Gastmeier
for typing and grooming the manuscript.
Thanks, also, to St. Jerome’s University for grants
towards the preparation of the manuscript.
The photos, man with libreta and man with eggs,
were taken by Giorgio Viera.

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Chapter 1: ¿COÑO, QUE PASA? An Introduction

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A loose translation of “¿Coño, Que Pasa?” is “Jeez, whazzup?” “¿Que Coño Pasa?” is a grammatically skewed version of the first phrase. Its speaker is betraying more bewilderment and/or astonishment at what s/he has witnessed or heard than in that initial formulation. Both, though, transmit the effusive, gestural nature of Cubans’ speech and flamboyant responses to what is happening locally or beyond. Indeed, to absorb the import of the remark most fully, it is best to hear it uttered by someone, steeped in Cubans’ idiomatic lexicon and delivery, who shortens the noun to “’ño,” confident its meaning will survive. If you’re planning on spending time in Cuba and want to sound authentic, work on your “’ño”; remember, the shorter the syllable the better: taking the first, small bite out of the word “gnocchi” will suffice. Despite the possibly sexist dimensions (coño=cunt) of the formulations, no offense, feminist or otherwise, should necessarily be taken by the addressee of either remark, given that both men and women have been heard to repeat them, most often in gender-free contexts.

Too often, however, the voices of individual Cubans have been muffled or overwhelmed, most noxiously, of course, by pervasive U.S. media disseminating their political leaders’ rabid and hawkish views regarding the island. “A Caribbean gulag” is the mantra incessantly uttered, one which erases any sense of the lively, polyphonic voices existing there. Much more persuasive and compelling than dogmatic right-wing comments, to my ear at any rate, are Fidel Castro’s speeches which offer the vision of utopian and egalitarian possibilities for Cuba’s inhabitants and, indeed, for the world. That impressive voice, however, has come to represent, metonymically and univocally, the diverse people who live in Cuba. In addition, it often offers idealized visions that can by no means always or easily be translated into quotidian life. Nonetheless, not least because Fidel’s speeches have been so influential in shaping Cuban government policy and because they have not had the widespread reach of American anti-Cuban material, excerpts from some of those speeches are presented here, interspersed with my own commentary. They are meant to act more as a parallel discourse than as a countervailing commentary. While it is true, that they can draw attention to a discrepancy between the ideal and the real, they also point to genuine achievements as well as noble aspirations.

These pages, it is hoped, give some hint of the richness of Cuban life, a fecundity jammed, again, to a significant extent by American efforts to isolate the country and to caricature its unique political, cultural and social dimensions. While the U.S. bombards Cuba with messages, threatening, hectoring and proselytizing, Cuban versions of itself and its interpretations of world events and tendencies don’t get a hearing of any kind in North America, unless one subscribes to Granma International or accesses granma.cu on the web. With globalization of an American-capitalist kind that has produced homogenization in much of the rest of the world, the idiosyncratic qualities of Cuba since the Revolution are even more worthy of examination, respect and transmission. In Orientalism, his groundbreaking work that in many ways launched postcolonial studies and strove to articulate a postcolonial sensibility, Edward Said pronounced on the dangers and distortions inherent in a Western imposition of meaning on the East. Surely, U.S. constructions of Cuba are no less pernicious; they may, in fact, be more deleterious given Cuba’s size, its proximity to the belligerent presence immediately to the north and its pre-revolutionary interconnectedness with the U.S.A. To that list, one could add the current constellation of political forces in Florida which dictates, in large measure, the direction of Washington’s policies towards Cuba.

I have lived in Havana for approximately three months a year since 1992, the epicentre of the “periodo especial” [special period], when, after the fall of the Berlin Wall and the collapse of the Soviet Union, then Cuba’s sponsor and ally, food, gasoline and electricity all but disappeared for a time from the lives of ordinary Cubans. I witnessed the seismic shift firsthand when, early in my time spent in Havana, I happened to be passing by the University of Havana Library. Just outside the doors was a large, unsightly pile of Russian language books dumped there unceremoniously by the staff. The special period’s duress may have begun; at least, though, there was the satisfaction of jettisoning a Soviet presence that many felt was joyless, arrogant, oppressive and, possibly even, racist. Traces of that occupation do remain, principally in the numerous Ivans, Liubas and Vladimirs registered in Cuba’s census. Freed from naming their children from such imperialist sources, many parents opt for such freewheeling monikers as Misleidys (my lady) or Roelvis (you’re Elvis) that augment the sense, readily apparent, of Cuban expressiveness and buoyancy. Not that politically-based nomenclatures are passé; there is always the chance of encountering a Usnavi (U.S. Navy) or, more in line with official Cuban sympathies, a Hanoi. Famously, a kid with that latter name in the early 1970s was a “one hit wonder,” singing a song demanding the release of American dissident, Angela Davis, then in a U.S. jail. When she was freed, one of her first stops was Havana where she appeared at a huge rally in her honour.

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May 132011
 

Keith Maillard2

Because he had a difficult time pronouncing “Keith” when he was a child, Keith Maillard called himself “Keats.” Because he was sick a lot, he made up stories; he drew stories on the bathroom tiles and his grandmother cleaned them off every day so he could do more the next. Because he was a kid during the Second World War, he thought Kilroy was a magical, ubiquitous person. Herewith is a second excerpt from Keith Maillard’s memoir Fatherless (NC published “Richland” in March). It goes straight to the heart of childhood, that gorgeous, magical moment in time when adults are mythic creatures, the night holds unspeakable terrors, words are mysterious and difficult to control, illness visits and strange medicines applied, and the self applies itself fiercely and joyously to the task of understanding. Keith Maillard was born and raised in West Virginia. Currently the Chair of the Creative Writing Program at the University of British Columbia, he is the author of thirteen extraordinary novels and one poetry collection.

dg

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I’ve always had the impulse to tell stories. It must have started with wanting to hear stories. When I was little, my mother put me to bed by telling me the adventures of Bucky the Bug, a tale that she made up on the spot, that evolved day to day. I was so little that I had to go to bed before it was dark. “You never minded,” my mother told me. “You always wanted to hear the next part of the story.” Those summer nights, as they settled down on me, felt as huge as continents. The light would be fading out at the windows; I’d be tucked into bed but not sleepy yet, and my mother would be telling me what was happening to Bucky the Bug right now. I don’t remember the stories, but I do remember the sense of living inside them. When my mother stopped telling me stories, I begin to tell them to myself. As soon as I could, I notated them—first with stick figures, then, much later, with words.

The lower half of our bathroom walls was tiled. Each tile—cream-colored and blank—looked to me like the panel of a comic strip. I’d sit on the bathroom floor and draw on the tiles with a soft lead pencil, filling in each one with the drawing that went with the story I was telling myself, working my way around the bathroom walls until I had filled all of the tiles as high as I could reach. Every evening my grandmother would scrub them clean with Ajax Cleanser so I could start over the next day and do it again. I felt no sense of loss when my comic strips were wiped away. I loved waking up in the morning knowing that I had all those shining blank tiles to fill—more than I could count—unending rows of cartoon squares where I could tell myself stories.

When I got older, I moved from bathroom tiles to paper. I was sick so much as a child that they bought me a bed table and a special wedge-shaped pillow so I could sit up and draw. Whenever I got sick, I had to take unbelievably nasty blue pills called “pyrobenzamine.” My grandmother would smear my chest with Vicks Vaporub, cover it with a layer of cotton, then a layer of cloth—thin t-shirt material. She’d set the vaporizer going in the corner of my bedroom; it hissed quietly, making everything steamy and scented of camphor. She turned on the radio for me—a box made of Bakelite with a green dial. Voices from the radio told me stories as I drew my own stories. The first two fingers of my right hand became callused from holding pencils and crayons. Sometimes I had fever dreams as thick with images as wallpaper. In my earliest years I had visitations that were worse than nightmares.

Night terrors occur in the early part of the sleep cycle when there’s no rapid eye movement. They afflict toddlers and young children, can be deeply frightening to adults if they don’t know what’s happening—as my mother and grandmother didn’t. Adults often describe the children as looking possessed. They cry out. They’re obviously deeply distressed, and sometimes stare fixedly at something just beyond their field of vision. Most children, when they have night terrors, don’t remember them, but I remembered mine. My mother and grandmother kept saying, “Look at his eyes, look at his eyes, look at his eyes.” I don’t know what my version of “Oh, my God!” would have been, but that’s what I was feeling. My mother and grandmother’s voices sounded rumbly, echoey, as though they were in another room, a huge one with stone walls. I couldn’t move a muscle—Wrong with my eyes, wrong with my eyes, what could be wrong with my eyes?—heard them saying over and over again, “Look at his eyes.” My eyes, my eyes?

Another time it was a shower of pins that were many different colors. They weren’t nice colors, like rainbow colors; they were sharp nasty colors—blue and black and red—and they were falling in a thick cloud of little pins all lined up together, not dispersed, coming down all together. From the way I was seeing them, they were above me and to the left—a countless number, millions of tiny pins raining down on me, trying to do something pitiless to me. I don’t know how long I had night terrors, but they made the night dangerous. I tried to keep them out by pushing on the front door to hold it shut. I might have sleepwalked there; I was not fully awake—I know that—and the radiating glow of that awful yellow light, threatening, disgusting, smeared through the curtain on the door, on our door that led outside to where there were things. I drew that shower of pins. “Like that, like that. It looked like that.”

When I’d first been learning to talk, Keith had been hard to say, so I had become Keats. That’s how I thought of myself, and for years that’s how I signed the cards I gave my mother and grandmother at Christmas and on their birthdays. While I was still inside that eternity of “not-in-school-yet,” I consumed comic books like peanuts, and the classic, iconic pop-culture images from the late Forties flowed into my own stories. Like Batman, I drove a sleek, murderously fast car jammed with amazing modern gadgets; mine was called “the Keatsmobile.” My headquarters was a complex series of interlinking caves deep underground beneath our apartment; the walls were lined with jewels—diamonds and rubies and emeralds and sapphires—and I could see them in my mind, fabulously glittering, as I strode down the corridors. This wondrous place, my home inside myself, was called “the Keats Cave of Splendor.” I lived there with a dozen or so of my friends, and I was the ruler of that world, the fearless hero in charge of the whole works. Like Superman, I wore a uniform with a cape; the letter K was emblazoned on my chest. My best friend and constant companion, my advisor, my right hand man in the Keats Cave of Splendor, was Kilroy.

In the war that was just ending—the terrible exciting war I saw in movies and newsreels and magazine photographs—Kilroy had been everywhere. Wherever our soldiers had gone—even into the most dangerous, bombed-out, desolate, death-ridden cities of Europe—Kilroy had always been there ahead of them. He left drawings of himself, two little dots for eyes, his big nose hanging over a fence, and his eternal message: “Kilroy was here.” The GIs kept trying to find some place, any place at all, where Kilroy had not been there ahead of them, but they’d never been able to find it. That’s the story of Kilroy as my mother had told it to me, and I was lucky to have Kilroy as my best friend. Because he’d always been there first, he understood everything. If I was ever confused or upset, Kilroy would come and explain to me what was going on and why things were happening the way they were. He was a magician, a shaman—my tutelary deity, my guide, my mentor—and these are all adult words. In my childhood he was simply my pal. He was a wise man who knew everything, who could tell me everything I needed to know. He was—and it’s taken me sixty years to see this—someone like a father.

My first work of fiction, written in my head and notated in stick figures that were wiped away every evening, was entitled “Kilroy and Keats.” What we did in the Keats Cave of Splendor was fight against evil. I knew what evil was because I had stared at it when no one else could see it, because it had rained down on me like pins. I knew that evil sometimes sniffed around outside our front door. Evil is what the Japs and the Nazis had done to people—the worst things that anybody could imagine—and they’d done it happily and laughing like the villains in Superman and Batman stories. There were things called “concentration camps” where the Nazis had done really evil things, but Kilroy had been there, and he could explain it to me—how people could have done things like that.

I can remember—just barely—when the War was still going on, imagining it on the other side of the river, but I can’t remember it ending. I told my mother that I wanted to build a fort in our back yard. She said she’d help me do it, but that we’d better put little American flags on it so that when our planes came over, they wouldn’t bomb it. I was terrified. If there was even the faintest possibility that our planes would bomb my fort, then I simply would not build a fort, and I never did. Later—how much later, I don’t know—it came to me in a flash: Nobody would bomb a little fort in our back yard. My mother had lied to me. Kilroy would never lie to me.

We were Americans, and we’d won the war. We’d beat the evil Japs and Nazis. We’d beat them with the bombs that I saw in newsreels, atom bombs brighter than a thousand suns. Kilroy knew all about them. He’d been in Hiroshima and Nagasaki and watched them fall.

—Keith Maillard

 

 

May 112011
 

photograph by Jessica Pezalla

When he was young (in the last century), dg had a thing for that 1936 (definitely before dg was born) Clark Gable movie San Francisco (with Spencer Tracy and Jeanette MacDonald). DG actually used to want to be Clark Gable when he grew up. Unfortunately, things turned out otherwise. But he did go around for a number of years humming that song to himself even though he lived in Ontario and did not see San Francisco until, um, 1969. But enough about dg. Here’s a lovely “What it’s like living here” piece from Danielle Frandina who actually lives in San Francisco and perhaps never even saw that ancient movie (forever twined in dg’s mind with SF)—a pleasant and striking contrast to the economic doom-sayers and the plate geologists who all see the state sliding into the Pacific figuratively or actually pretty soon. After reading Danielle’s words, I think we should all join Jeanette MacDonald for a rousing chorus or two of “San Francisco!”

dg

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What it’s like living here

From Danielle Frandina in San Francisco

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I grew up in Colorado, and if you’re from the West, but not the West Coast, you’re born with an innate suspicion and resentment of Californians.  Back in high school, my boyfriend wanted us to move there after graduation, but I refused, choosing the deserts of New Mexico instead.  During the mudslides and fires that plagued the Golden State in the mid-Nineties, I remember thinking some very insensitive thoughts about Californians, something along the lines of, “They’re getting what they deserve.”  In my mind, California was Los Angeles, and Los Angeles represented all that was despicable and embarrassingly indulgent about Americans.  But eight years ago, I loaded up a borrowed car with little more than my clothes, books and music and headed to the Bay Area for the sweet shelter of my two best friends, the debris of my former life smoldering in the rear view mirror.

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The Apartment

photograph by Joe Frandina

I live in a lemon-yellow building on Dearborn Street in the heart of San Francisco’s Mission District.  It was built in 1910.  This date matters.  It means it was constructed after the 1906 earthquake, so I can’t gauge how the structure will hold up when another one of that magnitude hits. The Bay windows of my studio apartment face street-side onto three palm trees that guard a locally famous community garden, the oldest in the city.  During a storm, the palms sway and shake so violently that it’s easy to imagine I’m witnessing a tropical storm.  This sight always sends me back to the beach town of Mui Ne in Vietnam, where, as a lone backpacker, I was once bedridden for three days.  In my fevered state, all I had the energy to do was watch the palm trees dance through the glassless windows of my bungalow as monsoon season really took root.  Strangely, this is a soothing memory.  I recall feeling no fear, no resistance, just letting the illness course through my body, being completely at ease with my surroundings and circumstances.  I rarely feel that way.  At ease.

My apartment is around the corner from what is now called the Gourmet Ghetto.  Slow Foods Movement and Farm to Table restaurants line 18th Street.  To explain to San Franciscans where I live, I just tell them my street is catty corner to Tartine, arguably the best artisan bakery in the city.  On any given day, at any given time, there is a line around the block to get in and order a Morning Bun or Croque Monsieur.  And it’s worth the wait.

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Apr 112011
 

Joe David Bellamy is the legendary founding editor of the magazine Fiction International, at one time champion of all that was new and bold in American writing. He is also a former president of both the AWP and the Coordinating Council of Literary Magazines, and he served as Director of the Literature Program of the National Endowment for the Arts in the early 1990s. A prolific author in his own right, Bellamy won the Editors’ Book Award for his novel Suzi Sinzinnati,and his collection of short fiction, Atomic Love, was an AWP Award Series Selection. His other books includeAtomic Love, Literary Luxuries, and The New Fiction. His essays, fiction and poetry have been published in: The Atlantic, The Nation, Harper’s, Narrative, Paris Review, Saturday Review, The New York Times Book Review, The Washington Post Book World, and some seventy others. It’s a pleasure and privilege to present here the opening chapters of his just published family memoir Kindred Spirits.

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Beulah Pearl Bellamy

 

The Most Beautiful Woman in the World

After the death of my mother made me an orphan in middle age—my father had died twenty-four years earlier—I developed a sudden interest in genealogy that was close to an obsession. I realized, fairly quickly, that this obsession was probably a certain form of bereavement, but that did not lessen its intensity. Suddenly I was overwhelmed with the feeling that my mother’s life and the immediate past of my whole extended family was in danger of being lost forever, as the far past was already lost. I was perhaps the first person in my lineage, a lineage that was undoubtedly ancient—as ancient as everyone else who is alive today—with the opportunity to discover whatever past was there, and I felt I had to take a stand about it. In spite of all the usual distractions, I was simply going to do it. I felt it as an important responsibility.

I was not interested in genealogy in order to prove that I was somebody, the legitimate heir to the English throne perhaps, or a descendant of the Pilgrims. The fact is I had come from a rather large extended family, and now—with the death of my mother—most of them were gone. I remembered them all vividly, mostly with affection, but no doubt I was feeling lonely. I had had children of my own, a daughter and a son, but they were out of the nest starting their own families now, living far away. I wanted to reclaim the sense of having a family once again.

Who were we anyway? We were, I supposed, an ordinary middle class family from the American Midwest, a family of white people, vaguely English (or Irish, I thought) with a little bit of German and Swiss from my mother’s side. We were basically standard whitebread Americans, just plain folks, people somehow without ethnicity or real history, yet people who had been lucky and privileged enough that, in the latter part of the twentieth century, we had been taught to feel a little bit guilty about being so white and so bland, so lacking in any specific cultural identity, as if we had reached whatever middling level of economic security we had attained through almost no effort at all, simply because we were white and ordinary.

In a tangible sense, I didn’t know who we were. I felt we needed to identify ourselves more clearly and fully, find out where we came from, when and under what circumstances we arrived in the places we called home, and pass this information on to future generations of descendants. This information was perishable, after all—some of it had surely perished already. It would be ignorant and careless of me not to do what I could to find out what was left and make it permanent, if possible—put it on a CD or bury it somewhere deep in the bowels of the Library of Congress—so that it might survive. Of course, I wouldn’t have minded if my ancestors all turned out to be decent and accomplished. But if there were horse thieves or worse, I wanted to know that too. I was determined to be ruthless—I wanted to know the truth, even if it might be unpleasant.

The last time I saw my mother, about two months before she died suddenly from a heart attack in 1998, we had spent an afternoon going through boxes of old photographs from her attic, many of which she had inherited from her own mother. She had pictures of herself as a child that I had never seen before—she was an adorable little girl—and as a ravishingly beautiful young woman, or so she seemed to me. At one point, marveling at the pictures, I blurted out something about her having been “the most beautiful woman in the world,” and I felt at the time that I probably should not have said it in spite of the fact that she seemed pleased and I felt it was true. It seemed a little silly and self-indulgent saying something like that to this sweet, wizened 79-year-old woman with age-spots on her forehead who was hardly a beauty of any kind at the time. What immoderately well-loved son does not believe his mother is beautiful? Still, after she died, I was more grateful that I had made that one rash statement than anything else I may have said that day.

She showed me pictures that afternoon that amazed me. For the first time in my life, I saw a photograph of my great grandmother, Hannah Siple, my mother’s mother’s mother. She was so far away in time; she had died long before I was born, and her life had been tragically sad. But I felt so close to her at that moment. Her life had made my life possible. I was certain we would have been close friends, if only because she resembled my mother so completely. I don’t quite know how to express this, but I wanted to speak to Hannah Siple. I wanted to be able to tell her that her misery had not been entirely in vain, that life she had set in motion had gone on and was going on still. That photograph of Hannah Siple was a revelation for me and led to a search for many other photographs—as many as I could find of all my missing family members.

Why did it take me so long to learn about Hannah Siple’s life and to come to a point in my own life that I could focus on her and come to include her in my idea of the family I had inherited? My family, like so many others, seemed to accept the tacit conviction that there was no way to know, finally, who our ancestors were. If our immediate relatives could not tell us about them, we assumed we would never know. When they did try to tell us what little they remembered, perhaps we were too young and preoccupied to listen.

Perhaps our ancestors had been so engaged in simply living their lives, of hacking their way through the wilderness, they forgot their history—or they never knew it—or they died before they could pass it on. It takes only one lost generation to engender oblivion. Perhaps because so many of them were living on the very edge of civilization, without the resources of civilization—including, in some cases, literacy itself—and perhaps suffering too from a kind of permanent homesickness, having left behind their own extended families—they let it slide away. Americans are, after all, the offspring of banished peoples—revolutionaries, renegades, rebels, and rabble-rousers—nonconformists, adventurers, indentured servants, slaves, religious fanatics, the offspring of murdered martyrs, and opportunists—the dispossessed from every corner of the world. Certainly my ancestors were exactly that sort of people—people, in some cases, who might have wanted to forget their pasts.

Or—as in the case of Rolla and Harriet, my mother’s parents—each inherited lovely, thick family histories, Rolla Zutavern for his mother’s family, the Spaldings, Harriet for her father’s family, the Kagys. There is evidence that they did read these genealogies. But perhaps, for them, the contents of these volumes seemed a little abstract and musty, something very far away. And the family histories they did inherit, though valuable, were hardly perfect. The Kagy genealogy listed my grandmother (the owner of the book when I discovered it) as dying when she was nine days old! Actually, she lived to be 89. The Spalding genealogy listed Mercy Mary Adams as if she were just any little Adams hausfrau who happened to marry a Spalding, and it said nothing about her incredible lineage (more about that to come)—because her lineage was not known to the collator (or to anyone else in the family).

Perhaps there are any number of plausible excuses for the muddle we had gotten into as a people apparently without a knowable past. But now all that has changed.

What I didn’t know at the time was that my sudden interest in genealogy coincided with a revolution, and that revolution is even bigger than the popular phenomenon that struck in the late seventies with Alex Haley’s Roots. Twenty years after Roots, family history hit the internet. All over the world, websites were launching, and they still are. The Mormons, with their enormous repository of genealogical data kept safe inside the Granite Mountain Vault in Utah—nuclear-bomb-proof and climate-controlled—were about to go on-line. Then they did!

Suddenly, through the Church of the Latter Day Saints (LDS) at familysearch.org, it was possible to access information on more than a billion-and-a-half of the seven to eight billion humans who ever lived on the planet and who left names or records behind. Suddenly there was the U.S. Genweb Project, which made it possible to access a great many county birth/death/marriage/ probate/land and court records from almost any county in the U.S. in the comfort of your home via the internet. Suddenly there was Ancestry.com for census information and for archived family histories on-line. Suddenly the vast record holdings of the New England Historic Genealogical Society were available on the internet.

Suddenly it was possible to join a user group on-line where everyone involved was a cousin you never knew you had and the avowed purpose was to discover more about your common ancestors. Suddenly everyone and his uncle had a family history site on the web that listed the several trees within that family—with regular updates as new information was discovered and recorded. According to several sources, genealogy is now the second most popular subject area on the internet after pornography!—and if you try to access the LDS site on a Sunday afternoon, you will find out just how true this is. You can almost feel their huge servers straining under the torrent of hits.

With the help of the access to multiple worlds of knowledge made possible by the internet and the computer, genealogy might become the human equivalent of the genome project or constructing the first replica of the DNA molecule. Instead of looking at the two or three immediate generations of a family or a person—only those living or those whom the living remember—what if we could stand back at some greater distance from the teeming, then lost, lives within a family and examine ten generations or twenty generations or thirty generations? Not just one line of twenty or thirty generations but multiple lines or every single line—the whole picture. What giant patterns might emerge? What genetic tendencies might become clearer? If one could accomplish such a study within one’s own family, what better path to greater self-knowledge could one possibly find? What better way to understand one’s own inclinations and aptitudes?

What I am here to report is that such a thing is now possible, and I have done it—with unexpected results. It is a humbling experience to uncover and then to understand and to come to terms with the hundreds, the thousands, whose lives preceded one’s own. I started out by wondering how I could have made the choices I did that defined my modest life in my peculiar field, given that my immediate ancestors seemed so unlikely—and so unlike me. I ended up seeing exactly why I had made so many of the decisions that defined my life. I wish I had known sooner just where I came from. It might have made the choices easier.

Of course, it is one thing to find out and prove the names of one’s ancestors, and quite another to learn something worth knowing about the lives they lived. The names themselves seem valuable to me, and I still want to find more of them; but the names have little interest to anyone not in the immediate family, and sometimes not even to them. But the lives—if they can be learned—can be revelations. To discover the lives, if possible, became my goal; and what an enormous effort it took.

It’s true—one of the pleasures of genealogy is in solving mysteries—in finding where all the bodies are buried—and another is the purely clerical enjoyment in the working out of a gigantic crossword puzzle, filling in all the little boxes. But these are boxes that count for all time once you get them right, and the satisfaction of resurrecting some long forgotten soul, whose life was absolutely necessary to your own, and restoring them to their rightful place in the historical record, is gratifying.

Of course, some of what one finds out there is not all it seems—even the Mormon researchers are fallible. Their belief in the importance of the family and the sheer grandeur of their vision is admirable, and the work they have done to preserve records is an incalculable service to humankind. But their genealogy program is, after all, an arm of their missionary effort. Each church member is admonished to seek out his ancestors in order to perform various religious rites that will assure all can meet again in the Celestial Kingdom. Such motives coupled with the fact that even the uneducated among them must perform the same rituals may not be the best prescription for accuracy. Some observers are simply suspicious of any motivation that is not purely scientific.

Genealogical research is like any other research—its quality depends upon the experience, intelligence, care, and unbiased attitude of the researchers.

There are other good reasons why, up until now, genealogy has had a dubious reputation—somewhere between pseudo-science and fanaticism. In the early part of the 20th century in America many fraudulent genealogies were prepared for the nouveau riche who wished to prove they were descended from European aristocracy. If you could afford to pay a “genealogist,” you could receive impressive “proof” of such descent, and the Mormons had nothing at all to do with it. Unfortunately, some of these fictitious trees are still in circulation, and their presence, like bad science, mucks up the whole and sullies the reputation of the enterprise

Also, there is the age-old problem of paternal descent. Even if one finds good evidence from the record that so-in-so’s parents were Mr. and Mrs. So-in-So, how could anyone ever know with certainty it was true? You could be relatively certain that the child’s mother was actually the correct mother—if the record said so. But what about the father? Certainly you could never know that part with scientific exactitude. Therefore, why bother? Genealogy seemed to its detractors nothing more than an excuse for self-deception, wishful thinking, or self-aggrandizement. But now we have DNA testing! A father’s link to the next generation can be proven scientifically.

Even with the immense resources the internet makes possible—and the many breakthroughs and leads it may generate—there comes a time when there are no new sites to find, no one with good information you haven’t already talked to, and every new FamilyTreeMaker CD is just another dead end. You are in terra incognita, and that is when you are on your own and you have to start doing the original research yourself—traveling long days to distant courthouses and libraries, filling out National Archives forms and waiting for weeks for some tiny tidbit, making dopey phone calls to bewildered elderly cousins residing in nursing homes. And that is when you find out just how full of holes, lies, and not-so-inspired suppositions everything else you have found up until then may have been. It turns out there is an incredible lot of junk on the internet too—and sometimes in people’s recollections.

Nevertheless, in a few short years of working in the new world of information access and internet genealogy—plus taking my research to several remote courthouses in Virginia, to the LDS Library in Salt Lake City and the Daughters of the American Revolution Library in Washington, DC, to family reunions, to Jamestown, to Plymouth Rock, to the New York Public Library, to FamilyTreeDNA.com, to ancient houses and graveyards, including the site of the oldest brick house in America—I can now say with absolute surety: I know more than I ever thought I would know about my family and its history. In fact, I know more about my family than any member of my family has ever known before in the history of the world—and more than all but a handful of contemporaries have ever known about any family. I’ve located over 2000 direct ancestors and tens of thousands of others, and I know their names and, for some, I know about their lives.

This book is a family saga, and the saga of many, many families. It is not just about finding one’s great grandmother. It’s also about finding her great grandmother, and hers, and hers, and hers—back into time farther than you could have imagined—and grandfathers and great great great grandfathers too—with a degree of accuracy never before achieved. The acquisition and salvage of these lost generations is now attainable.

 

A Magical Relationship

My parents near the time of their elopement in 1938

Sometimes the barest genealogical details seem to suggest a story. I started to appreciate that when I first came across my relation to the Bulkeley family in 16th-century England.

Frances Bulkeley, born in 1568, had died in 1610 at age 42, and her sister Sarah Bulkeley, born in 1580, had died a year later at age 31. Yet both had lived long enough, according to the record, to bear children who outlived them, who carried on and bore children of their own. I immediately started to wonder what might have caused these sisters to die so young; perhaps they had died in childbirth or from the plague. I imagined that Sarah, the younger sister, who was my father’s ancestor, must have been devastated when Frances died and probably had no inkling that she would be dead herself within a year.

I imagined the sisters as very close—I imagined that Frances, who was twelve years older than Sarah, had been like a mother to her; and I imagined Sarah grieving for her, in particular, for that reason, grieving more than the others and grieving for a longer time.

I felt lucky to have scraped by myself, because if Sarah had not married Mr. Oliver St. John in 1597 and given birth to a son in London in 1604, I would not be here today to tell about it. I felt astonished to realize that I had had ancestors who were contemporaries of Shakespeare. But, of course, everyone who is alive today had ancestors who were contemporaries of Shakespeare. Of course they did.

The day I discovered the Bulkeley sisters was a red letter day at the LDS site. The line I was following went all the way back to 1300 with incredibly detailed documentation. The Bulkeley sisters were descendants of William De Bulkeley, born after 1300, and Maude Davenport, daughter of Sir John Davenport and Margery Brereton. Sir John Davenport and Lady Margery sounded like the kind of people I wouldn’t mind claiming as members of my family, even if they did live seven hundred years ago.

In 1938, my father, a direct descendant of Sir John Davenport and, later, of Sarah Bulkeley, turned down a humped back country road near Bloomville, Ohio. He was a lonely, divorced 30-year-old vacuum cleaner salesman from the Ohio River town of Portsmouth, a branch manager with a new car and a rakish reddish mustache. He turned in the driveway at my grandmother’s farm and knocked on the door. While he was attempting to sell my grandmother an Airway vacuum cleaner, he noticed my mother’s picture in a gilt frame on top of the piano and he said, without hesitation, that she was the most beautiful woman he had ever seen.

My grandmother informed him that the woman was not a woman at all but only her eldest daughter Beulah, who was not yet twenty years old. My father replied that her daughter had the loveliest eyes he had ever seen on a human face, including any movie star she would care to name. She might not realize it yet, he said, but her daughter was indeed a woman. Half an hour later, my grandmother bought the vacuum cleaner.

My father was an affable, persuasive man who was not above flattery, but he seldom lied about his true feelings. A few weeks later he stopped by unexpectedly at the Zutavern farm—to see how the vacuum cleaner was performing, he said. My 19-year-old mother, who had returned from college in the meantime, was on the phone when he walked into the room, accepting a blind date. After she hung up, he said spontaneously: “It’s really too bad you accepted that date because I was going to ask you out myself.”

“Oh, that’s all right,” she said. “I can break it.” There was a kind of instant recognition between them that the attraction they felt for each other was serious.

After they had been out a few times, my father tried to coax my mother to return with him to his hotel room. But she wouldn’t go. My father said it was very discouraging to him that she didn’t trust him. My mother said: “Oh, I trust you, Jim, but my mother always told me that I should never do anything that might have the appearance of evil.” (I never heard her say anything even faintly like this again.) Two weeks later, they eloped!

My parents were deeply, romantically, in love their whole lives together; and they stayed in love for the better part of four decades—until my father died—and, of course she never stopped loving him after he was gone. They held hands in public like teenagers, even in their sixties.

Now here comes the scary part of the story. One day while I was working on my mother’s Spalding line, I found that Benjamin Spalding, her gggggg grandfather had married a woman named Olive Farwell, born in 1647 in Concord, Massachusetts. Olive’s father was Henry Farwell, an Englishman, and her mother was named Olive Welby, born in 1604 in England. Olive Welby was the daughter of Richard Welby and Frances Bulkeley.

When I hit upon the name Frances Bulkeley, it didn’t register at first. I had been plowing through hundreds of names, and I remembered that I had seen the name Bulkeley, a possible precursor of “Buckley,” before. But it had been a while since I had been working on my father’s line, and I was not sure where I had seen it.

The truth came to me in the middle of the night, and I got out of bed to compare the genealogical lines on my various print-outs. The connection caused the hair to stand up on my arms and on the back of my neck as if a chilly wind had blown in through an open window. My father was a direct descendant of Sarah Bulkeley, who died in 1611. My mother was a direct descendant of her sister Frances Bulkeley, who died in 1610, and who, I imagined, had been so deeply mourned by her younger sister Sarah.

In other words, roughly 400 years earlier, two daughters of Rev. Edward Bulkeley and Olive Irby, Frances (1568-1610) and Sarah (1580-1611), married, gave birth, and died in England. Their respective descendants were born, grew up, moved from place to place, married into several different families, had children, and died. Roughly 375 years after their births, my father (Sarah’s gggggggggg grandson) married my mother (Frances’ ggggggggg granddaughter). Need I add that, during their lifetimes, my parents had absolutely no idea about this connection, though, had they known, I think it would have delighted them.

If it is true that—in some respects—we are born to fulfill the unrealized dreams of our ancestors, then was there something of Sarah’s longing to be reunited with her departed sister Frances in my father’s love of my mother? and something of Frances’ almost maternal love for Sarah in her love for him? Who can say?

—Joe David Bellamy

Praise for Kindred Spirits

 

“It’s easy to understand the temptations of genealogy, the apparent promise of being able to locate oneself in space and time, acquiring, if one is lucky, a bona fide sliver of something like divine perspective. What’s remarkable about Kindred Spirits is Joe David Bellamy’s ability to make a private quest into a work of fascination and suspense for his readers.”

—Kathryn Harrison, New York Times Bestselling author

“Kindred Spirits is a wise, wild ride, written with wit and energy and charm, and packed with stories that read like fiction. By the last page you’ll have read a surprising history of America, and you’ll have a new notion of just how eerily connected we all are.”

—Josephine  Humphreys, author of Nowhere Else on Earth

“I really enjoyed this book! Joe David Bellamy’s Kindred Spirits is so engaging, charmingly inclusive, and skillfully and tenderly spooned out, there is real comfort here in the universal message that many of us may quite possibly be at least cousins.

An exceptional and compelling new breed of memoir, history lesson, genealogy tutorial, Ripley’s Believe It or Not, personal meditation, and fireside seat-gripper, Kindred Spirits is rich with stunners and head-spinners that both entertain and leave the reader pondering the nature of chance and destiny that inform all of our origin tales. It will be hard to read this and not decide you are related to Joe David Bellamy.”

—Steve Amick, author of The Lake, the River & the Other Lake and Nothing But a Smile

Mar 302011
 

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A foolish consistency is the hobgoblin of little minds, adored by statesmen and philosophers and divines.  If you would be a man, speak today what you think today in words as hard as cannon-balls, and tomorrow speak what tomorrow thinks in hard words again, though it contradict everything you said today.

-Ralph Waldo Emerson

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My car has a factory-installed blind spot detector, a system that the manufacturer, Volvo, calls BLIS, or Blind Spot Illumination System.  (The actual device, fortunately, works better than the acronym.) It consists of a camera mounted below the mirror that is wired to a tiny orange light inside the car.  The dime-sized, triangular light illuminates when another vehicle is moving somewhere in my car’s blind spot.  I’ve grown quite fond of BLIS, quite accustomed to the orange glow, especially in the dizzying commutes on Southern California freeways.  It’s a helpful aid.  A cheat, if you will, a machine doing the vigilant work that the driver is supposed to do. With only a quick glance at the side mirrors, my peripheral vision catches the orange light and I know that something lurks in those hidden spaces.

I wonder what it would be like to install an automated blind spot detector on myself, BLIS for the soul, illuminating the parts I fail to see.  What would such a device show?  Would it light up when my hot temper flares, or when I’m impatient with my kids or insincere with my wife?   Perhaps it would reveal  buried things about my desires, expose my snap judgments toward other people, or render visible my hidden fears and anxieties.  How embarrassing it would be to have at a party, in a room full of strangers, glowing as a boorish lawyer droned on about his wonderful job, or lighting up like Rudolph’s nose on Christmas Eve as a pretty woman crossed the room. But if I’m already aware of these shortcomings, even in brief, then maybe that’s not what this blind spot detector would do at all. Maybe it would only flash on when least expected, revealing aspects of myself I can’t see, or don’t want to.  How often would that little orange light glow?

For a good portion of my adult life, I’ve turned to Ralph Waldo Emerson, the great nineteenth century American transcendentalist writer, whenever my vision gets cluttered .  When I wonder about the world and my place in it, his writings have a restorative effect on me. I own this wonderful, worn paperback book, Self Reliance: The Writings of Ralph Waldo Emerson as Inspiration for Daily Living.    It’s a condensed version of Emerson’s essays edited by Richard Whelan.  My copy is almost twenty years old, the cover worn to a sun-bleached smoothness, the pages gently yellowed. A small part of me is ashamed that I turn to this much-abridged, ‘best-of’ version of Emerson’s work rather than reading the whole text, but the Whelan book has been with me since I was a young man more prone to short cuts and self-help aisles in the bookstore. I’ve underlined and starred dozens of the pages. In many ways, the book has been a trusted companion for most of my adulthood.

The voices which we hear in solitude grow faint and inaudible as we enter the world. Society everywhere is in conspiracy against the manhood of every one of its members, Emerson writes, always speaking directly to my heart, always illuminating the dark corners of my introverted being.  He may ignore the danger of his philosophy, that tendency toward self-righteous solitude and mild paranoia that self-reliance can engender, but he reassures me.  This world can be a transcendent place.

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Mar 292011
 

Keith Maillard

Here’s a gorgeous yet chilling excerpt from Keith Maillard’s creative nonfiction book, Fatherless. Keith was five when his father went to work at the Hanford nuclear plant in Richland, Washington, on the Columbia River. Originally part of the Manhattan Project (nuclear material for the bombs Fat Man and Little Boy dropped on Japan came from its reactors), Hanford grew rapidly during the Cold War. Now it is mostly “decommissioned” although vast environmental damage remains. Keith’s memoir is chilling in part because of the very ordinariness of domestic life within the immense and hugely dangerous nuclear manufacturing community but also because, to a large extent, not much has changed—the illustration of the fast breeder reactor bearing Keith’s father’s signature below is eerily like the many plant drawings the press has been using to explain the current nuclear plant disaster in Japan. All of this is aside from the poignant recreation herein of Keith’s search, as a grown man many years later, for the estranged father he never knew. Keith Maillard was born and raised in West Virginia. Currently the Chair of the Creative Writing Program at the University of British Columbia, he is the author of thirteen extraordinary novels and one poetry collection. Many thanks to our mutual  friend, Lynne Quarmby, for bringing Keith to the NC fold.

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Richland

My father began working at the Hanford nuclear plant in 1947, the year I turned five. He pasted into his scrapbook only one reference to his official work—a pen and ink drawing so anomalous that it jumped right off the page. He’d made a clear, simple, easy-to-understand drawing of a “LIQUID METAL FAST BREEDER REACTOR (LMFBR),” labeled all of its parts, and signed it “E. C. Maillard.”

breeder-reactor

Within his first year in Richland, Gene Maillard had clearly established himself as the number one song-and-dance man in town. In 1948, while living in a dormitory room and composing on a “collapsible” organ, he wrote “Our Richland,” a song that told the story of the building of the “atomic city,” a song approved by the General Electric Company suggestion department.

The Richland Junior Chamber of Commerce produced a brochure to accompany the “Atomic Frontier Days” that were held during the first week in September of 1948. Celebrity guests Roddy MacDowell, the Cisco Kid, and John Wayne entertained, with Rudy Vallee as the Master of Ceremonies. The cover of the brochure is illustrated with a crude silhouette-style drawing in red and black—the skyline of a booming town with smoke rising from smokestacks, a great flair of white-out at the center, the whole works crowned with an atom, its neutrons zipping in orbit around the dot of the nucleus. The white nothingness that represented nuclear power is firing straight lines of white in all directions and hangs over rolling hills where a chuck wagon and three men on horseback are making their way across an empty desert spotted with sagebrush.

Under the heading of “Let’s Look Back,” the Junior Chamber of Commerce presents its version of Richland’s history.

In the year 1943 a group of men sitting around a table in Washington, D. C. seriously watched as one of their number pointed to a tiny spot on a large-scale map of the Pacific Northwest. Richland! Here, they decided, was the place! Thus was sown the seed from which sprouted a great plant and a thriving community.

Within a few months the pastoral quiet of this agricultural region was no more. Giant bulldozers leveled great tracts of ground, massive trucks roared day and night along erstwhile country lanes, new roads appeared and factories exploded into being from the desert sands. The fantastic barracks town of Hanford materialized to house thousands of construction workers. The nucleus of a vast, secret plant, born of wartime necessity, had been created.

The old farming center of Richland was evacuated and transformed into a modern community designed to eventually house thousands of production workers and their families.

Erection of plant and village ended; production of plutonium began. Only a handful knew “What”, and they were not talking. The village kept its secret well, so well that the nation and the world first learned of its existence only after the announcement of the A-bomb.

The Second Annual Atomic Frontier Days was held in August of 1949. The accompanying brochure was no longer free but now cost twenty-five cents; the cover had changed from red to blue, from hand-drawn illustration to photography, and featured “hard hats and assault masks in the northwestern desert.” Gene has pasted a clipping to the front of the brochure—a picture of close harmony being sung by the “Atom City Four” and a shot of himself with the caption: “A soft shoe tap in black face was an Atomic Frontier Days variety show headliner as done by Jean Millard.”

The Richland Chamber of Commerce expressed its gratitude to the people who made the 1949 Frontier Days a success, and one of them was my father. Once again, we are given Richland’s proud account of itself.

Scattered deep within this natural isolation are this nation’s most modern industrial plants. The vaunted American mass production, the assembly line method by which we lead the world in motor cars, in refrigerators, in turbines and egg beaters and pots and pans, is merely a fumbling dress rehearsal compared to the engineering know-how, the construction skill, the unusual operational methods required in this plutonium manufacturing plant.

The product itself, plutonium, is a man-made element which will be usable a thousand years from now for either war or peace. It is a packed power which will not deteriorate with time, which is a million times more powerful than any known fuel. Its manufacturing raises problems of production, storage, worker protection, national security, and world-power-plays, as no other American made package has ever done. It is owned by a free people; it bears a union label.

At the August, 1950, Atomic Frontier Days, thirty-five booths were set up in Riverside Park, offering “fun and refreshment.” Professional wrestlers went at each other in two exciting matches, and there was a fireworks display with “more than a dozen set ground pieces and bursts of two and three aerial displays at the same time.” The Queen of Atomic Frontier Days was crowned, along with her four princesses. And, of course, there was a free variety show—with twenty-three acts that included a comedy routine starring “Tony the Atomic Clown, Little Atom, and Koko, Hydrogen (H20) Bomb.” The night ended with the entire cast doing “Baked a Cake.”

Gene is listed as one of the directors and appears a number of times in the program, dancing twice with his fifteen-year-old student, Gail Muller. He’s a year away from turning fifty but in the pictures looks younger than that—a lean, fit, grinning showman in two-tone oxfords and a theatrical suit. Two shots catch each of them at the height of a “wing”—balanced in the air with arms flung outward, one foot kicking and the other striking the floor with a toe tap. We can almost hear the laughter and shouting voices egging them on, feel the electrifying exuberance of their performance.

The last photograph in the sequence shows Gene and Gail acting out the story of “Chattanooga Shoe Shine Boy.” The image is so crisp that we can see every detail of Gene’s hairline moustache. Gail has one foot resting on the top of a folding chair. Gene is polishing her classic black patent tap shoe with a rectangle of cloth. On the bottom of this photo, Gail has written in a schoolgirl’s careful hand—“To the nicest and best dancing teacher anyone ever had.”

When my father was working there, Hanford’s only business was the manufacturing of plutonium for nuclear weapons. Not until 1963—when the N-Reactor added its bit to the Washington Public Power Supply System—would Hanford’s nuclear energy ever be used for any peaceful purpose whatsoever. Hanford officials constantly reassured those employed at the plant, or living near it, that they were perfectly safe, that “not an atom” escaped, but Hanford is the most contaminated nuclear site in North America. It had always discharged radioactive material into the Columbia River and continued to do so until its reactors were decommissioned. It fouled not only the river but the groundwater beneath it and left behind fifty-three-million gallons of radioactive waste stored in underground tanks that are leaking. Radioactivity from Hanford has been detected as far away as Oregon, northern California, and southern British Columbia. By 1951, the plant had sent more than 700,000 curies up its smokestacks, most of it in the form of iodine-131. For the sake of comparison, the 1979 Three Mile Island accident released less than 25 curies.

On December 2, 1949—in an exercise called “the Green Run”—the Hanford Works intentionally released radiation into the atmosphere so that scientists could monitor the resulting radioactive plume and apply that knowledge to the monitoring of Soviet nuclear production. My father—and anyone else living near the Hanford site—was exposed to twenty times more radiation than the limit allowed by the lax standards of the day. Readings on vegetation afterward were nearly a thousand times over that limit. The Green Run was conducted in absolute secrecy. No one was warned. The public would not know a thing about it for years.  By the time that Gene could have first read a newspaper account of the incident, he would have been eighty-five years old.

On July 31, 1997, I interviewed my father’s old friend, “Brink,” and a younger man, Carl, in the Travel Lodge in Delta, British Columbia. The notes I took are sketchy, cursive. Most of what I heard about my father, I wrote down, but large chunks of the interview didn’t make it onto the page.

We sat in the room as the daylight faded away and no one bothered to light a light. The TV was on, a bunch of pros playing a game of something, somewhere—baseball? The volume was low. Carl—along with a possible shadowy fourth presence—was watching the game, but Brink wasn’t. He was talking to me. In the distorting glass of my memory, the scene is set in twilight, lit with the flickering pixels of the TV screen. Brink was friendly enough, helpful enough, but as blunt and straight as a hammer handle. Initially, I read him as a man who had reached an age from which he figured that there was no reason to speak anything other than the plain truth, and I liked him for that.

I see from my notes that Brink had been an engineer. He and his family moved to Richland in February, 1948. Brink originally worked for DuPont, but his employer kept changing names. DuPont morphed into General Electric, and there were several others—United Nuclear, Martin Marietta, Isocan Rockwell. The word “Hanford” must never have been spoken because it doesn’t appear in my notes at all.

When Brink first arrived in Richland, Gene was already there working as a draftsman. He lived alone and avoided crowds because he didn’t want to “get a bug.” Later he bought a little two-story apartment building in Kennewick, lived upstairs, called it “the Maillard building.” Brink laughed at that—at Gene’s seemingly boundless ego—and so did I.

Gene “performed tap dancing”—yes, that’s exactly what I wrote down, so that’s how Brink must have put it. He’d told Brink a story from his early days on stage. Gene was in a comic role, so he used pecan shells to make himself look cross-eyed, but the effect was too realistic. Instead of finding him funny, the audience felt sorry for him. There was nothing worse, he said, than trying to be funny and not getting any laughs, so he worked out another gag. When he made his exit, he was supposed to tip his derby. He lifted it up, and there was another derby under it. He lifted that derby, and there was another one yet—and then another one. He got a big laugh for that one.

Brink told me that he’d built a little studio in his basement for his daughter, Kippy. He had to dig out the basement first because it was only half dug when they’d moved in. He finished it and tiled it, and that’s where Gene gave Kippy her tap lessons. Gene came every Tuesday night. He charged $2.50 for an hour. Then he’d stay and eat supper with them. As Kippy got older, she gave lessons to other kids in that basement studio.

Carl joined the conversation, and for awhile the two men reminisced about Kippy. Carl was a talkative guy. He’d known my father too, had seen him dance lots of times. Richland had been packed with remarkable people like my father—interesting, talented people. It was a nice little town, a great place to grow up. I’d read a lot about Richland by then, and I agreed with him—it must have been a nice little town. Carl said that he couldn’t imagine any other high school anywhere in America that would have had as many PhDs teaching in it. Yeah, he said, it was a nice little conservative town—making sure I got the point. He didn’t need to do that; I’d got the point awhile back.

“When I was growing up,” I told him, “I imagined my father dancing like Fred Astaire.”

Carl laughed at that. “Oh, no. He wasn’t like Fred Astaire at all. He did fast tap dancing, really athletic stuff… definitely athletic. If you had to compare him to somebody, he was more the Gene Kelly type.”
I wanted to bring Brink back in. “Did Gene talk about his wives?” I asked him.

“Well, he had three wives. He didn’t talk about them too much. One couldn’t be without her mother. She wrote to her mother every day. If she didn’t get a letter from her mother every day, she’d get upset. She’d say, ‘I didn’t get a letter. I have to call her.’ Gene asked her, ‘Do you want to live with me, or do you want to live with your mother?’ She said, ‘I want to live with my mother.’ ”

That was my mother—I’d recognized her instantly. I waited to hear the rest of the story, but there was no rest of the story. Could my mother have actually said something like that—made that admission? If she did say it, maybe it had been on the day she’d left him.

“Gene knew you were a writer,” Brink said.

“Oh?… Did he ever talk about reading anything I’d written?”

“No, he didn’t.”

Before I could find another question, Brink said, “Gene had the impression you didn’t want to see him.”

“That’s not true. I did want to see him.”

“Well, that’s not the impression he had.”

I’d known right from the beginning that there was something going on below the surface, and I couldn’t ignore it any longer. I kept coming up against a hard edge in this man. Gene and Brink had worked together, had known each other for years. They’d been friends. I now read Brink as very much on Gene’s team, so what did that make me? Some unknown guy who’d arrived too late, appearing out of nowhere to ask a lot of dumb questions? It was as though Brink felt it was his duty to present Gene’s point of view as clearly and firmly as possible. “He thought your mother had poisoned you against him,” Brink said.

“Maybe she did,” I said. “I know she tried to do that, but…” I made an expansive gesture. “Here I am.”

“He had cancer, you know… testicular cancer. He had a testicle removed. The day he got out of the hospital, he got into his car and drove into the desert. His car broke down. He got stuck in the desert. He had to walk back. It was right after the operation.”

I didn’t know what to say.

“We could never figure out why he’d done it,” Brink said. “It seems like an odd thing to do… to drive off into the desert the day you get out of the hospital.”

We must have talked about other things after that, but I can’t remember them. The last entry in my notebook might have been the last thing Brink said—“Gene always talked low. I never heard him raise his voice.”

Talking to Brink was as close I was going to get to talking to Gene, and it badly shook me. For days afterward, I woke up feeling not right—a particularly nasty variety of not-right that was like waking up sickened by the stench of bad breath and realizing that it’s your own. I felt as though I had received a message directly from my father—one that predated the “fuck you” he’d sent me in his will when he’d disinherited me. If I was going to continue the conversation, what was I going to say back to him? I’m sorry about the surly letter I wrote to you when I was twenty?  Gene would have been sixty-one when he got it—if he got it. He was still working at Hanford then. He might have talked to Brink about it. I hated the thought, but maybe that had been my only chance to connect with my father.

I knew why Gene had driven into the desert the day he’d got out of the hospital. I couldn’t have explained it to anyone, but I understood it because I could have done the same thing. Walking in the desert with one ball, Gene had been thinking about me, I was certain of that. How the hell do you get testicular cancer? I didn’t have a clue, but I suspected that being dosed with several hundred thousand curies of radioactive iodine probably didn’t help.

—Keith Maillard

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Mar 252011
 

Here’s a Julian Barnes essay on memoirs by Joyce Carol Oates and Joan Didion, both widows mourning the loss of a partner. They are a study in contrasts, and the contrasts illuminate the art of the memoir and personal tragedy.

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“Yet Oates’s A Widow’s Story and Didion’s The Year of Magical Thinking could not be more different. Though Didion’s opening lines (the fourth of which is “The question of self-pity”) were jotted down a day or two after Dunne’s death, she waited eight months before beginning to write. Oates’s book is largely based on diary entries, most from the earliest part of her year: so in a 415-page book, we find that by page 125 we have covered just a week of her widowhood, and by page 325 are still only at week eight. While both books are autobiographies, Didion is essayistic and concise, seeking external points of comparison, trying to set her case in some wider context. Oates is novelistic and expansive, switching between first and third persons, seeking (not with unfailing success) to objectify herself as “the widow”; and though she occasionally reaches for the handholds of Pascal, Nietzsche, Emily Dickinson, Richard Crashaw, and William Carlos Williams, she is mainly focused on the dark interiors, the psycho-chaos of grief. Each writer, in other words, is playing to her strengths.”

via ‘For Sorrow There Is No Remedy’ by Julian Barnes | The New York Review of Books.

Mar 192011
 

Christy Clothier is one of my former students and a dual-genre graduate from Vermont College of Fine Arts in fiction and nonfiction. A small, feisty woman,  Christy taught me more about the nature of the military, returned soldiers, trauma and its aftermath and life than perhaps I wanted to know. Her memoir is riddled with sadness, injustice and  innocence betrayed.  Just to give you a taste: there is an incredibly telling moment in an early chapter when she realizes she feels safe amid the horrors of boot camp because no one is allowed to hit her. The chapter I selected is perhaps one of the most benign. Another chapter, the one dealing with her near-rape by a Navy Seal, has been published elsewhere (see below) and turned into a play. Christy served in the US Navy from 1997-2003 as an air traffic control tower supervisor. She writes short stories, research articles and essays that connect childhood abuse with military service and trauma. Christy’s writing has appeared in Inquiry and Powder: Writing by Women in the Ranks, from Vietnam to Iraq, from which her essay “The Controller” was adapted for the play Coming in Hot, currently touring the United States through 2011. Christy lives in Colorado with her dog, Jauss, named after a famous author.

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Excerpt from Trail of Breadcrumbs:

Why I Joined and Left the US Navy

A Memoir by Christy Clothier

From the air, Naval Air Station San Clemente Island resembles a malignant mole on the skin of an ocean freckled with small islands. Twenty-five sinewy miles of salt and rock, San Clemente rose nearly 2000 feet above the sea after tectonic shifts deformed the region. The sea continuously feeds on the island’s borders and leaves behind erosion’s bite marks. Large sections of earth are left to hover over the water like a ship’s plank before breaking off daily into the sea.

A small military community works on top of this unstable foundation. Where untouched sand dunes named Castle Field once lied, the Navy took over. First, they covered the area with white rocks and small shells and used the makeshift airstrip for emergency landings only. Today, the runway sits on land renamed Sherman Field and paved over with a 9,300 foot concrete runway capable of supporting the heaviest warcraft. That was where I was headed.

A one-way flight from the Naval Air Station North Island, Coronado, California, to Naval Air Station San Clemente Island takes approximately 30 minutes. The refitted Orion P-3 levels just above the first cloud layer, skimming the frothy blue-white haze as though it were riding the crest of a wave. I do not peek out the oval windows. I shut the plastic screen. The familiar scent of industrial fabric on the seat back in front of me lulls me into an uncomfortable sleep, until the P-3 plunges into the froth of clouds on final descent. I ride the white rush until I land with a hard screech on the rocky surface below.

On the tarmac, the view gets only flatter. Aluminum buildings still look as they would from the window seat on a plane, all sides and roof. The island is the shape of a landfill. Dust settles in thin coats on the World War II relics, tanks that mark the fields like billboards.  Macadam Road snakes six miles along sharp cliffs and deep canyons from the airfield down to the pier at Wilson’s Cove. The remainder of the island is sectioned off, either unused by the military or inaccessible to individuals without prior authorization. The entire island sits beneath an invisible barrier, airspace designated as Warning Area 237. Dangerous flight activity occurs from the surface of San Clemente Island up to 5000 feet in the sky and for 10 nautical miles in every direction. Without authority, no one flies in or out of San Clemente’s airspace.

I had been in the Navy for a year and a half, all of that time spent at Chicago’s boot camp and Pensacola’s Air Traffic Control School. I was an E-1, the lowest rank in the military. I knew my official title was Air Traffic Controller Airman Recruit (ACAR). I knew to dress properly in my uniform, how to pass military inspections and ATC exams. I knew not to do anything without being told. I stood alone outside the airport terminal and waited for someone to claim me.

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Mar 112011
 

Sydney Lea gave the best poetry reading I have ever had the pleasure to attend—this was in the Noble Lounge at Vermont College way back in my first teaching residency, yea, these many years ago, mid-1990s. It was a long poem about a chainsaw accident that nearly cost him a leg. But it was also about friendship, the passing of the generations, the loss of the old north woods culture, about death and memory. It was the dead of winter outside, hot in the room, the chairs packed, people standing along the walls, damp condensing and dripping down the windows. Syd gripped the podium as the emotion rose. He began stamping his foot rhythmically, partly for the poem and partly, it seemed, to keep his own rising emotion in check. There were tears in the audience. The mood was electric. And when he was done there was a spontaneous ovation, people ran up, crowded up the aisles to embrace him, clap him on the back, make contact. I remember that, of course, and, of course, Tang Night: every residency the male faculty would adjourn one evening to the House of Tang for the All-You-Can-Eat buffet. Mostly this involved Syd and the other senior faculty, all VC veterans, regaling the newcomer with ribald tales of legendary teachers and students, also the famous Florida residencies when (long ago) we fled Vermont winters en masse. Which is to say, that I remember Sydney Lea and my early days at Vermont College with vast affection and nostalgia.

Besides being a wonderful poet and fiction-writer, Syd is a master of the personal essay, often combining his love of the woods, dogs and hunting with a passion for the laconic wisdom of northeastern oldtimers in a way that puts him among the best nature writers in American today.

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Sydney Lea’s ninth collection of poems, Young of the Year, has just been published by Four Way Books, which will issue his tenth, I Was Thinking of Beauty, in 2013. Lea founded and for thirteen years edited New England Review. He has just retired from Dartmouth College, after four decades as a professor there and at several other colleges and universities. The current essay is part of a collection he has all but completed, celebrating the men and woman of pre-power tool times in a logging community in northern Maine.  Lea is a trustee and capital campaign manager for the local land trust there, which has conserved 350,000 acres of woods and waters.

 

Weathers and Places

By Sydney Lea

— in mem. Creston MacArthur (1919-76)

 

Wherever you may be, if you are capable of memory there, can you fetch that dawn on Freeze-to-Death Island, the sleet slamming at our faces like some archaic dentist’s tool? A flock of geese drops in among the decoys, and without so much as a word between us, we let them paddle around unharmed on the riddled surface. There’s something so elegant about the birds that we just can’t fire on them. At length you rise from behind the rock we use for cover to shout, unaccountably, “Off to Cuba, baby ducks!” You pronounce it Cuber, like JFK. October of ‘62. The geese flush in a tumult of sound.

What elegy can there be?

As a young man, I had a real knack for remembering weather like that, or any. I can still tell you, say, that the winter of ‘81 brought virtually no snow to the northcountry. Several days in April of ‘73 were unseasonable, to put it gently; they got hot as a flatiron. My son, your namesake, was two, and I still see that chocolate Easter bunny liquefying in his tiny hand as we stood together in the dooryard. That seems sad now, which is odd. He wasn’t the least bothered himself. The sweetness remained; he simply licked the dark streaks from fist and forearm.

That power of recalling a day’s or season’s conditions, along with a few other endowments, is about gone. I am apter to summon the elements from a morning fifty years back, like that one on Freeze-to-Death, than from fifty hours. But whatever gifts I own or lack, I’ll never forget how the day shaped up at your funeral: it was very like that hour of the geese, but this time the perverse conditions, rather than seeming apt to a moment of glory, seemed equally fit for an opposite one. The day for me marked the end of a crucial discipleship, friendship, even sonship. I watched the frosty, wet earth close over all that.

The old saw claims that time heals our wounds, but it’s not so much that we’re healed by its passage as that the wounds become parts of us, along with the joys and frustrations and pleasures of any life. They sink deep inside, components now of what people describe as our characters.

What or whom, really, might I have elegized then? What or whom now?

In some sense, the day of that service in ‘76 seems a perennial today, all full of sideways sleet and wind. We mourners dodge strips of shingle and bright can torn by the gale from roofs of the Passamaquoddy shacks. Sand and salt blow off the road and sting our eyes as we file into the reservation’s small Catholic chapel. The congregation is about half tribal, half white.

It’s February, but Big Lake is pocked with open water. A strange winter thaw: whitecaps show in the gaps, sloshing up and over the ice. Skinny dogs hunker against the leeward wall of a maintenance shed, from which a poster flaps. I can’t read it in the blow, but I know what it says: KEEP MAINE’S FORESTS GREEN. It doesn’t seem possible they’ll ever be that again.

The power has failed clear to the coast.

Though I don’t know her, an old Native woman limps to my side and tells me she can’t remember anything like this in late winter. She grimaces, sneaking a tea bag under her lip against the pain in a dark tooth, which she keeps touching, as if she had a tic. It’s just that she’s nervous, as we all must be, at least in some measure.

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