Friday, October 31, 2008

Crisis Averted!



Mark was convinced he'd get to O'Hara before me, but his voicemail's not on, and I've been here at baggage claim for about forty minutes. My guess is that he's still in flight. I don't know the flight number. Just watch there be a communications meltdown.

I did get to work on a story while sitting here. I don't know why I write well in baggage claim zones. I actually wrote an entire short short story this past March while waiting to meet Mark at the Fort Lauderdale-Hollywood Airport.

(Lots of gay men passing by. These Chicago guys have one thing on their minds.)

A vibration in the pocket. My cellphone. It's Mark.

Howls and Silence


Greetings from the flight to Chicago. I'm in the blissful state of having a whole row to myself, so I've scooted over to the window. I can't tell what's down there: the Catskills? There's a knobby spine of mountain leading to a river, more substantial mountains in the distance. (All the rivers and lakes look mysteriously beryl, like the water in the Bahamas, though that could be these sunglasses.) Occasional frosting of snow. A lake surrounded by cul-de-sacs, cabins. So it is the Catskills, just confirmed by the pilot.

My observation of the afternoon: two types of behavior seem to be on display in the social sphere, at least here in NYC. Kindness and molten rage.

Example #1: I'm putting my hat, watch, coins, belt, and sunglasses in a tray, going through the traumatizing blender that is security. I take out my laptop. Through all the tumult, someone's making howls and yips. I stand at the x-ray contraption. The T.S.A. person on the other side gives me a disarming smile. So she's been howling, yipping away. I guess I should have mentioned that I'm wearing my Wolves for Obama T-shirt.

Example #2: I'm on the train to Newark International, a half hour before. I say, "Good Morning," to the conductor. A pointed silence as he punches my ticket. I feel him fuming, burning, though I know it's about something larger than me. Then the pink, molten man bangs down the aisle to shoot silence to the next passenger.

(Above: a photo of Ontario and Lake Erie, outside my plane window, over one of the engines.)

The Wolf That Lives in Lisicky


Another Halloween song, this one sunnier: "Halloween Song" from Evangelicals. I'm not sure this is Evangelicals at their best--you should check out "Stoned Again" and "Paperback Suicide"--but this is the one for today. Evangelicals, by the way, are from Norman, Oklahoma, so it's no surprise they've been compared to that other Norman band, The Flaming Lips. I wonder what Sarah Palin would make of their name.

Halloween Song - Evangelicals

Also, check out their cover of Bjork's "You've Been Flirting Again."

Youve Been Flirting Again - Evangelicals

I'm about to board a flight for Chicago. More from there, I hope.

Happy Halloween!

Thursday, October 30, 2008

Mischief Night: The Wolf That Lives in Lindsey

Of the darkness in men's minds:
what can you say
that wasn't marked by history
or the TV news today?


The night before Halloween. In South Jersey, Mischief Night. In Detroit, it's Devil's Night. Liverpool: Mizzy Night.

I've been looking for appropriately spooky music, and came up with this: Joni Mitchell's noirish "The Wolf That Lives in Lindsey" from 1979's Mingus album. Here she's working on the edges of the experiments that began with The Hissing of Summer Lawns. She reined herself in after this, at least harmonically. And never wrote anything as strange. The stab and glare and buckshot of the heavy, heavy snow...

(Note: listen to those wolves! Especially the lone wolf at the start of the fourth verse. Here's to wolves. Take that, Palin.)

Missed Connections





Well, I knew I'd screwed up royally when the taxi pulled up to the dock in Sayville and there wasn't a person in sight. I hadn't realized that the ferry schedule had changed two days before. Only two boats a day now from the mainland, 6:45 AM and 3:15 PM, and you can see why it would be difficult to have a second house in a place that's that hard to reach. (One of the reasons the house is up for sale.) I thought back to something I'd heard on the train. A man said, "The Great South Bay? If you stay out of the dredge channels, you can walk across it." Why does that make me think of Jesus? Well, I wasn't about to creep through six or seven miles of waist deep water. It wasn't possible to wait around for the 3:15 either; I'd have to spend the night, which would mean I'd miss my morning flight to Chicago from Newark. Feh.

I called Mark, and cried, "I'm an idiot! I'm a fucking idiot," and we laughed some, because, well, missed connections are not exactly foreign to the Doty-Lisicky household. (Mark mentioned that missed connections are pretty much the subject of the better part of our blog posts.) I walked the mile and a half back to the station, past the Carvel, past the health food and liquor stores, with my stupid rolling suitcase, aware that the people inside the passing cars were probably saying, "And that fool thought there was another morning boat?"

In any case, I did have a nice enough train ride on the way out. All the reds and coppers and golds of the trees; the Waldbaums and King Kullens speeding by. I picked up a stray copy of Newsday from the floor. Teacher Murders Wife in Bethpage! Husband Poisons Wife in Center Moriches! The endless opera that is Long Island. If you're ever at a loss for something to do, check out the Wall of Shame in Newsday's web edition. It's barbaric: anyone suspected of drunk driving on the island automatically gets photographed for the newspaper. I think it would be utterly reprehensible if the faces didn't look so human and vulnerable. Even the hard faces have a dignity about them--not that I'm making light of drunk driving.

On the lighter side, I often think of Long Island, at least the Suffolk County before you get to the Shinnecock Canal, as another version of the South Jersey in which I grew up. In that way, I can appreciate it with the detachment of someone who's not from there. The landscape's so similar, that meeting of barrier island, back bay, and Pine Barren; the grassy, sandy soil; all those subdivisions by Levitt and Birchwood Park.

Of course, when I got back on the train, I was seated across from two college-age sisters. One of them saw my MOOSE FOR OBAMA T-shirt and smirked. Which prompted them to talk about their pro-life stance. Not a minute later they were talking about some party in Coram, where one of them had five beers and four shots and passed out. Pro-life indeed!

Above: Fall Foliage, Levitt's Ardsley model in Strathmore at Stony Brook, My Moose for Obama T-shirt.

Here's a short passage from my pal David Hollander's novel, L.I.E., which is largely set in Medford, Bellport, and Patchogue. I don't know of anyone who writes better about that very particular portion of the world:

Out in the bay, maybe seventy-five yards from shore, there's a small floating platform. It bobs gently in the black current. It's been there for years. On hot days, Bellport residents will sometimes brave the thick, pungent water and paddle out to the platform, saturating themselves in the Long Island humidity. Diana stands and leans over the gazebo, inhaling the bay's sweet rot, the masts of sailboats improvising a rhythmless fugue as they clash with hooks and pulleys. Chain lightning shatters once again. Diana suddenly points out to the platform: "Oh my God, somebody's out there!" she says. Scott and Renee look up. "What?" Scott queries. Harlan adds: "What kind of fucking moron would be out there tonight?" The four of them wait, their bodies leaning seaward, the gazebo's wooden rail digging at their thighs.

Wednesday, October 29, 2008

Teachers, Students, Time

For the last few weeks, my high school friend Gwynne and I have been sending messages back and forth through Facebook. Actually, Gwynne and I didn't hang out together in high school, though we had at least one close friend in common. It's been great to compare notes about so many people we haven't seen in decades, people who have become more or less vessels of meaning and feeling, represented by a single encounter in memory. I especially like thinking about the kids who behaved brutally, routinely, only to become accomplished, generous citizens. One has made at least one important discovery related to a cure for Parkinson's Disease. Another, toward a cancer treatment. This fascinates me. It argues against everything we're supposed to believe about cause and effect, coherence of character. Not that that should be news.

Anyway, Gwynne was looking through my Facebook photo album last night and said that she couldn't connect the shy, geeky boy I was to the adult I'd become. She meant that in a good way. And I couldn't help but connect that observation to the stuff of our conversations. Arbitrariness, randomness, fate: what would I have become if I hadn't taken that undergraduate workshop where the teacher followed me down the hall after class to say that my Jane Bowles imitations--not that she called them that--were wonderful? I thought she might not have been a well woman, even though I found a way to let her encouragement in, finally, over the course of some weeks.

That teacher's been on my mind because one of my students came in to see me during office hours on Monday. He's a tremendous writer. He'd already applied to Harvard Law, Yale Law--the top ten law schools. We were just talking away, everything from semicolons (which he finds pretentious) to the water quality of Lake Erie, which he swims in every summer, even though he's seen the occasional hypodermic needle on the sand. It came up casually that he wanted to delay law school for an MFA in writing. I tried to remain calm, but inwardly I slapped the ceiling of my office in joy. We talked about a few programs. Then compared notes about the Shoot the Freak attraction on the Coney Island boardwalk.

The Copy Shop

Just back from the copy shop. I must like my students this semester if I'm taking time to make copies of two George Saunders pieces five days before the next workshop. Of course I am meeting Mark in Chicago this weekend, and of course I am going to Fire Island tomorrow, just to check on the house and bring things back. I'm about to be running around again. But still.

Anyway I've been going to this copy shop down the street for the last eight years. I don't believe it's changed in eight years. I don't believe the white tile floor's been cleaned in eight years. A very dusty sort of vine hangs there around the front window. There's a smell of coins, ink, copier fluid in the air. A beige metal table in the corner. The expected fluorescent tubes hum overhead. The heat of machines at work, making pffft sounds, in rhythm. Sample binders positioned on the window ledge; I don't think anyone's picked up one to look at in eight years. In the background, 1010 WINS, the all-news, all-the-time station, both soothing and agitating. I don't think an aesthetic notion has ever walked through that door. Actually, revise that: it's all reserved for the business cards, the wedding announcements, the bound manuscript, etc.

It didn't occur to me till today that I always leave the place with a good feeling. I don't ever have that feeling when I go to that major copying chain. You know which one: I walked up to their place on Seventh Avenue at West 24th on Sunday evening only to find all six b/w copiers unplugged, out-of-order signs in the feeder trays. I said aloud, "I fucking hate K----'s," just to see whether anyone would notice. They didn't. The practical and efficient chain is not designed to notice. Not that I exactly blame the underpaid people who work there.

I don't want to reach for a tired, obvious conclusion. All I say is that today, in the copy shop, I stood next to a woman who talked to the clerk about the fact that she never wastes paper. "In Japan, we have no trees, so we don't waste, so we don't have to buy from America." I smiled encouragingly in her direction. She went on. I had to pretend I was hearing impaired, finally, after she started praising herself a little too much for her own good sense. She left. The clerk, a guy about my age with braids close to his scalp, leaned forward on the counter to tell me, in slow, honeyed voice, how much he didn't want to get out of bed this morning, and how amazing it felt to be there, really amazing, under the comforter, with his dog and two cats pushed up against him. I smiled back, confused, not sure where we were going with this. Then one of us looked out the window to comment on the weather. Another worker came out from the back, and said, "is it raining?" "No," I said, "that's snow." "Fucked up weather," he said, smiling my way, in a tone that sounded like he thought it was great.

Outside our building a woman with fastidious face was fastidiously wiping the rear end of her Yorkshire terrier with a Kleenex. The Yorkshire put up with it, a slightly burdened expression around her mouth. Up the stairs, Annie, the theater person who lives on the second floor, practiced a show tune.

The Unthere There (Or: Slow Fat White Dudes)



The real story of yesterday did not end up in my posts. I had literally hundreds of pages of manuscripts to read through by afternoon--I'm on the jury for a writing fellowship--in order to send the binders back to the organization in charge of the grants. It's funny how something as mundane as getting a heavy box to FedEx becomes a massive ordeal here, especially when it's pouring, especially when your car is kept on a pier, two miles away, out into the Hudson. Somehow I managed by fitting the contents of the binders inside my rolling suitcase and carrying the emptied box in the free hand. I felt pleased with myself afterward, after protracted irritation, as if I'd taught myself how to crack open a safe.

So the eyes want to stay shut this morning, the brain wants anything but words. A little hard comedy to save things, from Joy Williams' The Quick and the Dead. Carter, the central character in this short passage, is talking with his late wife, the gloriously bitter Ginger, who makes regular appearances to him from an afterlife. Here Ginger's castigating Carter for lusting after Donald, a sexy gardener:

"Doesn't Donald like them?" she said venomously. "What's he doing tonight, out hand-pollinating something?"

The thought of Donald fluffed Carter up a bit. "Donald--" he began.

"Oh, I don't want to talk about him," Ginger said. "I want to talk about me, about us, Carter, about the potential we still have together."

"There's no need to be jealous of Donald, darling," Carter said. "He's a caring and serious boy, a student of Buddhism. I actually think he could help you, Ginger."

"Slow fat white dudes studying Buddhism make me sick."

"Donald isn't fat," Carter protested. Ginger had always been overly conscious of weight.

"I can just hear him. 'It's only death, Ginger. Everything is fine.' I wish people like that would shut up. Does he say, 'Thank you, Illusion,' every time he manages to overcome some piddling obstacle in his silly life? Thank you, Illusion, thank you...'" she minced.

Had she been eavesdropping on Donald? Or were Buddhists--WASP Buddhists, in any case--wandering around in the unthere there just as unfulfilled as Ginger?

Tuesday, October 28, 2008

Clowne Towne

I know Xiu Xiu's gotten plenty of play here this week, but I couldn't resist putting up this live performance of "Clowne Towne." If Evan from Lawnboy had been born 15 years later, this is what he'd be listening to. And he'd probably have a terrible, terrible crush on Jamie Stewart. Not that I'd blame him, exactly.

Nose Shots






These are courtesy of Zach Matteson, the poet who's in these photos with me. They were taken after the reading at Outwrite Books in Atlanta on October 16th.

Two Versions of Night

Well, the streetlights are on outside; the lights want to be on in the apartment. I don't think it's going to get fully day here. So, why not: two versions of night. The river scene from Charles Laughton's The Night of the Hunter and C. Dale Young's "Night Air" from The Second Person.

I. THE NIGHT OF THE HUNTER



II. NIGHT AIR
C. Dale Young

"If God is Art, then what do we make
of Jasper Johns?" One never knows
what sort of question a patient will pose,

or how exactly one should answer.
Outside the window, snow on snow
began to answer the ground below

with nothing more than foolish questions.
We were no different. I asked again:
"Professor, have we eased the pain?"

Eventually, he'd answer me with:
"Tell me, young man, whom do you love?"
"E," I'd say, "None of the Above,"

and laugh for lack of something more
to add. For days he had played that game,
and day after day I avoided your name

by instinct. I never told him how
we often wear each other's clothes—
we aren't what many presuppose.

Call it an act of omission, my love.
Tonight, while walking to the car,
I said your name to the evening star,

clearly pronouncing the syllables
to see your name dissipate
in the air, evaporate.

Only the night air carries your words
up to the dead (the ancients wrote):
I watched them rise, become remote.

North to South



Stormy out there: high winds, thunder, dark clouds rushing north to south. The London plane tree outside the window thrashes its leaves away. The furnace inside hisses and knocks. And believe it or not, it's snowing in Mount Pocono, sixty miles west. It's probably too early in the season to be thinking winter here, but I have our friend Marie Howe's "The Snow Storm" on my mind. It's from her brilliant collection The Kingdom of Ordinary Time, one of my favorite books, ever.

(Above, moody sky at 7:00 AM outside the kitchen window. And, below, Marie and her daughter, Inan, from 2004, when we spent Christmas Day together. Also, Inan and two writer guys.)

Note: html is doing violence to line breaks here. I will try to fix.

THE SNOW STORM
Marie Howe

I walked down towards the river, and the deer had left tracks
deep as half my arm, that ended in a perfect hoof
and the shump shump sound my boots made walking made the silence loud.

And when I turned back towards the great house
I walked beside the deer tracks again.
And when I came near the feeder: little tracks of the birds on the
surface of the snow I'd broken through.

Put your finger here and see my hands, then bring your hand and put it in my side.

I put my hand down into the deer track
and touched the bottom of an invisible hoof.
Then my finger in the little mark of the jay.


Monday, October 27, 2008

Trees and Leaves and Owls


Just back from dinner, where on my walk home down Sixth Avenue, I couldn't but notice the emptied stores and restaurants. A clerk or two, looking out toward the door, bored. A waiter leaning against a post with aloof face and crossed arms. I know a coastal storm is in the forecast, and I know there's baseball on tonight for those who care about such things, but--what happened? The whole Carrie Bradshaw fantasy--which was being played out right and left by tourists in our neighborhood for years--looks so wrong when you see it these days that it feels painful.

At least on a Monday night.

Anyhow, Mark has one more full day in London, so I am thinking London myself tonight. London: extraordinary city. This is one of my favorite passages in literature, from Virginia Woolf's essay, "Street Haunting." Has there ever been a more pastoral reading of urban life? Trees and leaves and owls. It doesn't get any better than this.

How beautiful a London street is then, with its islands of light, and its long groves of darkness, and on one side of it perhaps some tree-sprinkled, grass-grown space where night is folding herself to sleep naturally and, as one passes the iron railing, one hears those little cracklings and stirrings of leaf and twig which seem to suppose the silence of fields all round them, an owl hooting, and far away the rattle of a train in the valley. But this is London, we are reminded; high among the bare trees are hung oblong frames of reddish yellow light--windows; there are points of brilliance burning steadily like low stars--lamps; this empty ground, which golds the country in it and its peace, is only a London square, set about by offices and houses where at this hour fierce lights burn over maps, over documents, over desks where clerks sit turning with wetted forefinger the files of endless correspondences; or more suffusedly the firelight wavers and the lamplight falls upon the privacy of some drawing-room, its easy chairs, its papers, its china, its inlaid table, and the figure of a woman, accurately measuring out the precise number of spoons of tea which-- She looks at the door as if she heard a ring downstairs and somebody asking, is she in?

The Everything Hater



I'm looking forward to class today, where, among other things, we're going to talk about a story by Leni Zumas, whom I teach with at the Juniper Institute (see recent post). I'm excited about this one, as I spotted a few of my students already reading passages of it during break last week. It's from Leni's devastating and funny first book, Farewell Navigator, which has received praise from none other than the great Joy Williams, who says, "Leni Zumas's writing is fearless and swift, sassy and sensational." Below are the first two paragraphs from "The Everything Hater," one of the ten stories in the collection. How could you stop after an opening like that?

To read an excerpt from "Dragons May Be the Way Forward," another story in the collection, click here.

And to check out Leni's playlist for the book, see Largehearted Boy.

THE EVERYTHING HATER
Leni Zumas

My brother has enrolled in a writing class at the community center and says the other students make him want to kill himself and one day soon, he warns us, he probably will. Our mother laughs, but tells me to keep an eye peeled. My duties as the non-suicidal child include frequent phone calls and unannounced visits. I call frequently, and if he doesn't answer I call back until he does. I drive over to his apartment and stay an hour or two, coughing on his smoke, listening to crackly records whose brilliance he says I don't appreciate.

There is often a pile of dishes crusting next to the sink. Not in the sink, because Horace needs the sink for watering and draining his large pots of decorative nightshade. You don't have to, he might say feebly, as I turn the taps, to which I reply, It's not a big deal, because it isn't, after all, a big deal to soap and rinse a few cups. So why doesn't he wash them himself? I accuse my mother of raising a boy who can't do his own dishes and of raising a girl who feels obliged to do them. Don't give me that, she says, did you check the bathroom? and I nod and say, Just mouthwash! because it would not ease her mind to tell her what is in my brother's medicine cabinet.

Sunday, October 26, 2008

Coney Island P.S.

I've been wearing these old gray corduroys from the far left side of my closet. Yesterday, at the Starbucks on Eighth Avenue, I felt a funny breezy feeling in the area of the rear end when I reached around for my wallet. I couldn't figure out what it was exactly. A good feeling, but it confused me. I wore the pants again today. When I crouched in the kitchen to pick up a fork I'd dropped, I heard a rip. I felt back there but it felt like pants. Later, though, when I took the pants off after coming home from Coney Island, I noticed a huge rip all the way down the back seam. I've been walking around the past two days with my butt showing!

No wonder I've been in a good mood.

Okay, one more picture from Coney Island. Another view of Childs. (Or, if you prefer, Lola Staars Dreamland.)

A Visit to Coney Island





I had a tonnage of school prep to take care of, so I did what I've done in the past when I need to get work done: go to Coney Island.

I don't know what it is about boardwalks this time of year. Maybe we're close enough to summer where we can feel the pulse of good times still in the atmosphere. Maybe it's the fact that we're not surrounded by crowds and can actually take pleasure in looking at the sea, while listening to the clunk of shoes hitting the wood. We were here last for the Mermaid Parade, at the end of June. We went with our friends Michael and Luis; we had a great day, but it was hard not to feel a little beaten down by the throng. We actually found an escape route: if we hopped on the line to the Cyclone we'd be able to get to the boardwalk, where we could breathe and move at least. Well, we really hadn't prepared ourselves for how rough the ride was. After all, the Cyclone was built in the twenties, long before shock absorbers and the like were built into the design of such things. Actually, I think people in the 20s might have wanted to be shaken awake, and there I was, 80 years later, pressing the soles of my sneakers against the bottom of the car, bewildered. I felt every jump of the thing in my back. The ride was sublime, especially before we dashed down the first slope (that view of the ocean!), but who knew I'd barely be able to walk two days later, when I was teaching a writing workshop in Amherst?

Anyway, some of my happiest times have been solitary trips to empty beach resorts in the fall. Wildwood a few years ago. Brighton in the U.K. a few years before that. Atlantic City. Ocean City. Today turned out to be one of those trips, and it was made even better by the fact that my students are writing amazing work. They're clearly trying to knock each other out. There was something immensely satisfying and calming about sitting on one of the boardwalk benches, story in hand, feet up on the railing, the beach and sea ahead of me. Tankers in the near distance. Autumn sun. And that smell in the air: fish and ions and minerals.

The photos above: The old Child's Restaurant, at West 21st Street and the Boardwalk, now a skating rink in summer: Lola Staar's Dreamland. Fabers Fascination on Surf Avenue. The Polar Bears, who swim every Sunday, a little after noon, all year long, whatever the weather. The Parachute Ride, which plays an indescribably mournful chord when the wind blows through it in winter. (Or is that from Deno's Wonder Wheel?)

I finished marking up the second student story on the subway ride from Stillwell Avenue to Union Square, and there I was in the happy park, buying my Moose for Obama and Wolves for Obama T-shirts.

I loved New York today.

Yallah (Or: Remarkable, Pulsating Creature)

Every now and then The New York Times gives us one of those obituaries in which the writer takes clear delight in reporting on the rich, complicated life of its subject. I'm always a sucker for that kind of piece. You might not be a fan of priests or nuns (not that I'd exactly blame you), but France's Sister Emmanuelle looks like she'd have been on our side. I'm yoking this to a video of Xiu Xiu's FTW. I'd like to think that the worldly Sister Emmanuelle would have liked this one. At the very least she'd have been interested.

From the obituary:

In 1996, Sister Emmanuelle appeared on the popular television program "Bouillon de Culture,” on which she was asked by the host, Bernard Pivot, to name her favorite word. (Mr. Pivot’s interview technique was borrowed by James Lipton for “Inside the Actors Studio.”) She replied with the Arabic word that, idiomatically translated, means “Let’s go.”

“Yallah,” she said.

Then he asked for a word she hated, and she replied in English.

“Stop,” she said.


To read the full article, click here.

Xiu Xiu's video:

Saturday, October 25, 2008

Melville & Xiu Xiu


Mark is in London; my brother, Michael, who'd planned to visit today, canceled his trip; and it's raining, raining outside. I've been reading fellowship applications since three. My eyes hurt. I'm taking a break, entertaining myself with a question: what band would Herman Melville have listened to if he were young-ish today? This is what I've come up with, the San Francisco-based band Xiu Xiu (pronounced Shu Shu). See what you think.

Fabulous muscles - Xiu Xiu

Pox - Xiu Xiu

Melville on the City (& Ishmael on the Iceberg)




Later in his life, Herman Melville supposedly stopped in at the desk of the Hotel Gansevoort in what is now the Meatpacking District. I'm not talking about the current Hotel Gansevoort, with its splashy, open rooftop--more L.A. and Miami than old school New York--but its gritty, unpretentious namesake. Melville asked something like, Do you know the Gansevoorts, or do you know why the hotel is named what it is? And the clerk said no, indicating no interest. What the clerk didn't know was that Melville's mother was a Gansevoort. And the clerk's disinterest seemed to be a mark of what Melville needed to have reaffirmed about NYC: the city that's always transforming itself has little, if any, interest in history. Over the course of his life, Melville had seen the city change from a filthy, chaotic mess where sewage ran down dirt roads to something resembling the metropolis we know today.

I was thinking about that story in relationship to what I was writing about yesterday, which assumes that the city is run by a coherent set of fixed rules and norms that don't change over time. I think too about my assumption that life's supposed to be difficult, but rewarding here. I'm not sure many of the people here at this point in time expect that difficulty. And why should they, really? I wonder whether the romance of the difficult just comes from being younger in another era, when NYC was infinitely more dangerous and glamorous than it is in the spiffed up, but, let's face it, bland state it's in right now.

This brings me back to Melville who seemed to truly understand the rewards and punishments of living here, simultaneously. This post is probably just a long excuse to post a picture of the plaque on Melville's former house, which I needed to find back in May, when I was reading both Elizabeth Hardwick's and Andrew Delbanco's biographies. I should note that the plaque isn't exactly fixed to the brownstone where Melville spent his final years, but on a sort of forbidding, industrial facility in its place. The irony of that would not have been lost on old Herman.

Here's just a little passage from Moby Dick. Talk about the force of the made world upon nature--at least through Ishmael's perception:

Some days elapsed, and ice and icebergs all astern, the Pequod now went rolling through the bright Quito spring, which, at sea, almost perpetually reigns on the threshold of the eternal August of the Tropic. The warmly cool, clear, ringing, perfumed, overflowing, redundant days, were as crystal goblets of Persian sherbet, neaped up--flaked up, with rose-water snow. The starred and stately nights seemed haughty dames in jewelled velvets, nursing at home in lonely pride, the memory of their absent conquering Earls, the golden helmeted suns! For sleeping man, 'twas hard to choose between such winsome days and such seducing nights. But all the witcheries of that unwanting weather did not merely lend new spells and potencies to the outward world. Inward they turned upon the soul, especially when the still mild hours of eve came on; then, memory shot her crystals as the clear ice most forms of noiseless twilights. And all these subtle agencies, more and more they wrought on Ahab's texture.

Friday, October 24, 2008

The Enormous, Morphing Cell



To my surprise, I just finished, more or less, a new short piece, and I decided to walk out to Union Square to think about it. I should be taking care of any number of other things but I don't feel bad about procrastinating if I'm writing.

Just outside of Urban Outfitters, a young woman, stylishly put together, stuck out her hand toward me with the words, Hello, sir, my name is Kristine. I nodded, smiled, kept moving. I glanced over and saw Kristine's associate leaning against the wall with the clipboard. I think she was surprised that I didn't take her hand. Okay, she said with slight huff, clearly undeterred, on to the next. Obviously they were both soliciting donations for a cause I'm sure I believe in. But I couldn't quite put a finger on why I was put off. Maybe something about keeping the clipboard under wraps. Also, the slight aura of a game about it: let's see if we can pull this one in.

More and more, there's an assumption that everyone in Manhattan is just passing through, a tourist, someone who doesn't actually conduct mundane, everyday life here. Why else would solicitors set up shop on Seventh Avenue, around the corner, if they thought they were only talking to the people on our block. And still we're asked the same questions day after day: "Sir, do you believe in gay rights?" "Are you trying to make me feel like crap?" I want to say in response, as I run off to some errand. How does one answer that?

I'm afraid I might be clouding my point here. It goes without saying that it's important, especially at this point in time, to give money to the necessary causes. I'm fiercely grateful to the people who do the tough work of phone calls. At the same time, though, I worry about the city losing--or at least taking for granted--a fact that's central to urban life. Manhattan would be unbearable if we weren't paying attention together, collectively, physically, to the moment right there. I think about the profound pact we make with city life: the anonymity of it, the agreement to be speck inside the enormous, morphing cell. It takes lots of work to make that happen, a commitment that feels like religion to me. An awareness of others' bodies and personal space and clock time--all that. It's probably what Laura Nyro was thinking about when she was singing about the Tendaberry, her made-up name for the cold unknowable soul of the city.

Anyway, my walk turned out to be lovely after that little interruption, which was over almost before it even happened, the way of things here. It's mild out, high clouds in the air. It felt like there was a sense of happiness about so many people surging forward. I don't think I'm making that up. Change on the way, we hope, we hope.

And now to donate on-line to the Obama campaign and the Anti Prop 8 measures.

(Oh, above, a shot of the Union Square dog park at about 9 PM, on Tuesday of this week.)

Sublimed

A late-ish start this morning, and I want to get ahead with a new piece of writing before the day runs away from me. But, first, a wondrous thing from our friend, Alice Fulton, who just gave an incredible reading at Houston's Rothko Chapel according to Mark. I wish I'd been there to hear it. In this poem, I can't even begin to speak to how much I'm swept by that moment of sound and release, evoked by strings and frets, after the asterisks. Just say I sublimed.

BY HER OWN HAND
Alice Fulton

If you believe you would have caressed every lash
and freckle that I was
but for decorum, I appreciate the thought.
Have you ever been embarrassed
by a frugal kiss? It is embarrassing to live.

My love for my husband was all balled up
with mothering. I had compassion for any flesh
trying that hard to be iron. Imagine
living with his bluster and hiss
for forty years. Have you ever been embarrassed
by a frugal kiss? I died of it. Just say I sublimed.
Snowflakes do this all the time. Say I was tired
of eating beige, for heaven's sake. Of
molestations imposed by my own body.
Let's see. I wasn't stoical enough for me.

You might say I've eased into the trees
and the autistic fields: eyes like forget-me-
nots. "Desire." All that business you admire.
The human yen for angels is depraved.
It decorates death with heaven, longing
for the note I never left.

***

My last sound was like the small release
of strings and frets you sense
when a guitarist changes chords.
Enough to let you know the music's made by hand.

I am not without regrets,
picayune as they may seem or plain
grotesque. I do regret the writing.
I wanted to be self-reliant.
I wanted to reach up and shut
my own eyes just before I died.

Thursday, October 23, 2008

Limp Wrist Scholarship: Juniper Summer Writing Institute

This from Dustin Brookshire's website I was Born Doing Reference Work in Sin.

As many of you know, in April 2008, I started Limp Wrist, and I am proud to promote Limp Wrist as an e-zine with queer sensibility. I am also proud to announce that Limp Wrist is offering a small scholarship to a LGBT High School Junior or Senior via a poetry contest. Even more exciting than the small scholarship is that the scholarship recipient wins a spot at the 2009 Juniper Summer Writing Institute. A huge thanks to the talented Dara Wier for making Juniper possible.

You can read more about the scholarship here.

Please pass this link around. Mark and I are both on the 09 faculty of the Juniper Institute, which takes places at the University of Massachusetts in Amherst in late June. This will be our third conference, and I honestly don't think there's a better summer workshop around, and I've been to a few in my day.

Thanks, Dustin and Dara, for your good work.

Enjoy

A big thanks to those who came to the reading last night. The crowd was small, but the generosity and attention were huge. There's nothing better than reading for people who get what you do, who are with you for every sentence. So many excellent friends from different places, many of whom I hadn't seen in a while. I especially loved the tranquil Village Zendo space and the people who are a part of its culture. Koshin Paley Ellison, the curator, couldn't have been sweeter. They have a terrific line-up planned for the remainder of this season's series: Marie Ponsot, Kazim Ali, Mark Wunderlich, Major Jackson, Marty Moran, Rick Moody. Mark is also reading with Fanny Howe at some point in the spring so you should definitely come back for that. Click here for the Village Zendo website.

So I didn't mention yesterday that I'd bought some new shoes especially for the reading, very boxy and sleek and nightclubby, a little out of my usual vocabulary. I picked them up for a song at the DSW on Union Square the night before. (One byproduct of the recession is that there are startling finds in DSW and Filene's Basement, places I hadn't checked out in years.) Well, wouldn't you know that shoes are to be taken off in the Village Zendo. The fact of that made me laugh at myself.

Here's a list of what I read last night:

--Lawnboy, excerpt from Chapter 1
--The Burning House, excerpt
--"This is the Day"
--"Irreverence"
--"Lighten Up, It's Summer!"
--"The Boy and His Mother Are Stuck!"
--"The Didache"

So a present for today: Pattern is Movement's sublime cover of Bjork's "Enjoy," which is about the most gorgeous, inventive thing I've ever heard. I'm still taking it in. I want to write the way these guys compose and play!

In their words:

Björk's music informs nearly every one of Pattern is Movement's songs. We've always been completely enamored with her ability to combine universe-sized grandness with the intimacy of lips on your ear. We are thrilled to be a part of this love letter to her. Our approach was to substitute the density of the percussion with harmonic and melodious density, all the while maintaining the exotic-groove-with-steamy-organ motif. To us, the end result wound up sounding like Perry Como in the Congo.

Enjoy - Pattern Is Movement

You can download the track for free here.

Wednesday, October 22, 2008

Department of Eagles (Or: Smokings and Dead Leaves and Warm Hands)

Details about the Village Zendo event in the morning. I enjoyed myself immensely, even if my sinuses staged a revolt, early on in the reading, against the incense in the air.

In the meantime, I thought I'd pass along a link to some unreleased Department of Eagles tracks, which you can download for free. Legally. I'm pretty much head-over-heels about "What is your Deal?" and that expansive, suspended, anxiety-ridden chord at the center of the song.

Have a great night!

Department of Eagles.

Jericho

Let all these dogs go running free,
the wild and gentle dogs
kenneled in me.


Is it possible to have a favorite song? Is that even a good idea when there's so much music in the world? Why pin yourself down like that?

If it came down to making a choice, I think I'd have to go with Joni Mitchell's "Jericho," from 1977's Don Juan's Reckless Daughter. Joni's doubled guitar tracks, the weird choral bursts, Jaco Pastorius' chiming harmonics, Wayne Shorter's soprano saxophone bleeding into human voice... I couldn't imagine the world without this tender, witty, sophisticated song in it.

Reading in NYC Tonight

I'm reading tonight at the Village Zendo Reading Series, curated by Koshin Paley Ellis. Please come by if you can.

I expected to be more focused this morning, and I'm sure things would be different if I didn't have a couple of hours today to obsess about what I'm reading--and wearing. For the first time ever, I'm donning a sport coat to give a reading. I never give so much thought to appropriateness of dress anywhere else but in Manhattan. This time, I suspect I'm going to be too dressed--Koshin tells me it's a pretty casual affair--but better to be too dressed in NYC than not. The problem is that I have nothing in the middle--it's mostly polo shirts and a very few things at the other end of the spectrum, and I wonder if that says more about the last eight years than anything else. The state of our troubled country reflected in my closest!

As of this hour, I'm planning on a big old collage: some new work from Unbuilt Projects and at least a part of a chapter from The Burning House, the newly retitled, newly finished novel. Perhaps also the shortest bit from Lawnboy.

Here's something funny: it just occurred to me this morning that a lot of my newest work revolves around the loss of self, and the anxieties of all that. And here I am reading at a Zen center.

Time to get over it, I'd say.

Tuesday, October 21, 2008

Myfanwy on Famous Builder



I don't know when it started exactly, but I've developed, over time, a resistance to looking at the Amazon sites for my books. Part of it's about the irrational fear of coming across the one thing that's going to hurt my feelings--though I can only think of one or two instances when that's been the case. Part of it's about being fixed on sales rankings, which inevitably dip to the lower rungs of the ladder after a literary book's been out in the world for some years. Maybe it's also because I'm not the greatest lover of Amazon, but that's a story for another time. Lately I've been ordering books from bn.com, or better yet, directly from the publisher.

But who knew what I'd missed? My brother Bobby (who's known to practically everyone else in the world as either Rob or Robert) sent me the loveliest customer review of Famous Builder by Myfanwy Collins, whose own work I've come to admire and seek out in literary magazines. I'm reprinting it below. How rare it is when someone gets what you do, and says it so succinctly and convincingly, in generous voice. I especially love what she has to say about home pulling out of your reach just as you know it's there. Thank you, Myfanwy!

I should note that Bobby, while quite the fan of the book, was especially impressed that Myfanwy referenced Mrs. Fox, our childhood next door neighbor. The late Mrs. Fox's sense of style continues to influence Bobby, who works as both an interior designer and architect. Above are a few pictures of Bobby's apartment on Belle Isle, in Miami Beach, featuring Mrs. Fox's rescued swag light over the dining room table.

I guess in more ways than one Famous Builder wants to be my version of Bobby's apartment.

Here's Myfanwy's review. You can check out her blog at read by myfanwy.

If I press a book into your hand and beg you to read it, you will know that I am doing so because I love the book and I want to share that love with you. When you examine the beloved book, you will note how many pages I've dog eared. The more dog ears, the deeper my love.

Paul Lisicky's gorgeous, tender book of essays, Famous Builder, has a dog ear about every other page. I loved it that much.

If you start off your book, very first thing, having to spell your name in a classroom--you've got me. Right there. Welcome to every first day of my life.

But then if you carry on with wonderful, evocative, empathetic renderings of your family and childhood neighbors and relatives (Mrs. Fox! I picture her as Anne Bancroft playing Mrs. Robinson) and your own place within this world and your own childhood longings (to become a famous builder of all the wondrous and geeky things), you've got me even further.

Lisicky pages through his life and opens old wounds and examines them, but never once paints himself or his family the victim. His parents are human beings and he is a son who tries hard and sometimes fails and sometimes lets go. He is a son who yearns, just as they want him to yearn.

While this is partly a book of coming of age, mostly this is a book of home, and what Lisicky (and his brothers) knows is that home is moving away from you just as you know it is there--home could be a department store on its way out or waterfront homes built on dredge and fill or a hotel room.

Home is in the moment:

"I turn back toward the room. If it were mine to do such a thing, I'd secure this moment with the heaviest anchor: Arden taking up all the space he needs; Beau resting a thick paw on Mark's forearm; Mark touching my leg as I walk by, just to let me know he's thinking of me."

A beautiful, touching book. Read it.

"I Am Barack Obama"



In a recent TV appearance, John McCain asked incredulously, “Who is Barack Obama?” And smirked.

Here's a lovely video in response to that question.

I Am Barack Obama.

Exploding Sun



I just walked downstairs to get some errands taken care of, and someone in our building had taped HarperCollins' announcement of Mark's National Book Award nomination in today's New York Times to the inside of the front door. Too bad he's on his way to Victoria, Texas, to give a reading, so he's not around to see it. Thank God in this case for iPhones.

The suggestion of exploding sun seems especially appropriate to the title.

Black Bear Cubs




I don't think I can face talking about the black bear cub found near the campus of Western Carolina University yesterday. You've probably already read about it by now, though I'm not even sure the story's been picked up by national media. Instead, two pictures of black bear cubs, whose curiosity, intelligence, and dignity are all right here. (Photos from Daily Kos.)

To read more about black bear cubs, click here: Defenders of Wildlife.

Monday, October 20, 2008

Nattura (Or: Bjork-Yorke)



Bjork put out her new single, "Nattura," today, with backing vocals by Radiohead's Thom Yorke. It's initially being released as an iTunes exclusive but will be available everywhere else on October 27. All proceeds from the track go towards the Nattura Campaign.

From the press release on Bjork.com:

The single was composed specifically to encourage active support for the Nattura campaign, which aims at collating and providing sustainable and eco-friendly options suitable for Iceland, and generating alternative ways to utilize its natural resources. People will be able to submit their ideas on the website for sustainable green workplaces for Icelanders. According to Björk, “It is now more important than ever before to emphasize a respect for nature…I believe that profits, technological advances and working together with nature can all go hand in hand. None need to be sacrificed at the expense of the others.”

Here's another meeting of Bjork and Thom Yorke: Radiohead's cover of Bjork's "Unravel," recorded last year as part of series of covers.

Unravel - Radiohead

And a Bjork-less live performance of "Knives Out."

Knives Out - Radiohead

Lost Things

A teaching day, and I still have to write one student's feedback letter. So, brief for now: Lydia Davis' story "Lost Things" which students always care about. I have it on the syllabus for the last workshop in December when we're going to talk about short short fiction, including work by Kim Chinquee, Deb Olen Unferth, and Diane Williams.

LOST THINGS
Lydia Davis

They are lost, but also not lost but somewhere in the world. Most of them are small, though two are larger, one a coat and one a dog. Of the small things, one is a valuable ring, one a valuable button. They are lost from me and where I am, but they are also not gone. They are somewhere else, and they are there in someone else, it may be. But if not there to someone else, the ring is, still, not lost to itself, but there, only not where I am, and the button, too, there, still, only not where I am.

Sunday, October 19, 2008

Two Things to Love About the Former Hometown:

1) Pauline Fisher's MAP, which will always be my favorite place to buy clothes. Here's Pauline and her band of fellow workers dressed up for Carnival this past August. (Photo by Mark Adams)



2) The paintings of Polly Burnell. Below "Dream," which hangs on our living room wall. (1997, oil on wood, 5 by 5")

The Magic Kingdom: Kathleen Graber

Today, we heard from our dear friend, Kathy Graber, who's the Amy Lowell Travel Fellow for 08-09. She's spending the rest of her fellowship year in Cornwall, where she's working on a second manuscript. I wanted to post one of her extraordinary new poems, "The Magic Kingdom," which appeared in the New Yorker earlier this year.

To check out Correspondence, Kathy's first book, click here.

THE MAGIC KINGDOM
Kathleen Graber

And as in the daily casualties of life every man is, as it were, threatened with numberless deaths, so long as it remains uncertain which of them is his fate, I would ask whether it is not better to suffer one and die, than to live in fear of all? —St. Augustine, “City of God.”

This morning, I found on a slip of paper tucked into a book
a list of questions I’d written down years ago to ask the doctor.
What if it has spread? Is it possible I’m crazy? I’ve just returned
from Florida, from visiting my mother’s last sister, who is eighty
& doing fine. At the airport, my flight grounded by a storm,
I bought a magazine, which fell open to a photograph
of three roseate spoonbills tossing down their elegant shadows
on a chartreuse field of fertilizer-production waste.
Two little girls emptied their Ziplocs of Pepperidge Farm Goldfish
onto the carpet & picked them up, one by one, with great delicacy,
before popping them into their mouths. Their mother, outside
smoking, kept an eye on them through the glass. After my cousin died,
my father died & then my brother. Next, my father’s older brother
& his wife. And, finally, after my mother died, I expected
to die myself. And because this happened very quickly
& because these were, really, almost all the people I knew,
I spent each day smashing dishes with one of my uncle’s hammers
& gluing them back together in new ways. It was strange work
& dangerous, even though I tried to protect myself—
wearing a quilted bathrobe & goggles & leather work gloves
& opening all the windows, even in snow, against the vapors
of the industrial adhesives. Most days now I get up late
& brew coffee & the smell rises from the old enamel pot
I’ve had to balance under the dark drip ever since the carafe
that came with the machine shattered in the dishwasher last month.

One morning I found a lump in my breast & my vision narrowed
to a small dot & I began to sweat. My legs & arms felt weak,
& my heart thrashed behind its bars. We were not written
to be safe. In the old tales, the woodcutter’s daughter’s path
takes her, each time, through the dark forest. There are new words
for all of this: a shot of panic becomes the rustle of glucocorticoid
signalling the sympathetic nervous system into a response
regulated by the sensitivity of the hypothalamic-pituitary-adrenal axis.
And, as I go along, these freshly minted charms clatter together
in the tender doeskin of the throat as though the larynx
were nothing if not a sack of amulets tied with a cord & worn
around the neck. But I tell you I sat on the bathroom floor for hours,
trembling. And I can tell you this because the lump was just a lump
& some days now I don’t even dread the end although I know
it will arrive. The garage is filled with buckets of broken china.
The girls chased each other & waved their arms, casting spells,
the trim of their matching gingham dresses the electric pink
of the birds’ wings. They turned each other into princesses
& super-girls & then they pretended to change back.
Oh, no. You forgot to say forever—they took turns repeating
with dramatic dismay, melting into puddles of themselves
their sandals & sunburned keens vanishing beneath their hems.

Saturday, October 18, 2008

Like Having One Body With Two Limbs Missing


To Levi Stubbs, of the husky, vulnerable voice, who died yesterday, at 72, in Detroit.

According to the New York Times, the original members of the Four Tops--Levi Stubbs, Obie Benson, Abdul Fakir, Lawrence Payton--played together for more than forty years, unlike the Temptations, whose members shifted over time. They began their singing career in 1953, ten years before joining Motown.

Before he died in 2005, Obie Benson spoke of what it was like to perform without Stubbs and Payton. He said, "It's like having one body with two limbs missing."

Here's a lesser known Four Tops number, "It's the Way Nature Planned It." I can imagine its mixture of desperation and charm making Laura Nyro squirm with delight.

Its the Way Nature Planned It - The Four Tops

Sigur Ros Saves the Day

Storms delayed my flight home yesterday, and I found myself at the airport in the all-too-familiar predicament of being cornered by businesspeople broadcasting their importance into their cellphones. A TV monitor over our heads broadcasted Sarah Palin's latest speech. Panic. I needed to stay put, lest I miss my flight. I guess I shouldn't have been surprised when the businesspeople started bonding, vocally, over their loyalty to Palin, McCain, and the Republican party. I don't know if it was about the gap closing in the polls, or whether they felt charged up by their underdog status, but I'd be lying to you if it didn't take real work to control the exasperation from my face. If I were a different sort of person, I'd have said a thing or two about the issues at stake, but that's not really what this was about. This was about bonding: hey, I'm a member of that team, too. (Sigh.)

All I can say is that from now till Election Day, I'm wearing an Obama T-shirt whenever I leave the city.

(It should be noted that the businesspeople were not from Georgia, but from New Jersey, state of my youth. It should also be noted that I didn't see one McPain sign or bumper sticker during my two days in Atlanta.)

Luckily, I had my iPod in my backpack. Without giving it thought, I put my headphones on and played Sigur Ros' "Gobbledigook." And played it over and over.

On the plane, everyone fell promptly asleep, as if stressed out and wearied by the state of things and what's to come, regardless of political persuasion. No wonder so many people are coughing and sneezing right now.

Here's the "Gobbledigook" video, which already makes me feel sweetly nostalgic for the beginning of the summer when it came out.

Warning: don't even give a thought to playing it if you hate nudity, fun, and trees.

Gobbledigook - Sigur Ros

Friday, October 17, 2008

Fugue State

Greetings from Atlanta Hartsfield, where I just said so long to Mark, who's flying off to Tulsa (joy!) for another literary festival. My flight doesn't leave for another two hours at least, so I'm sitting at my gate, in a fugue state--or trying to shake myself out of my fugue state. The cold's still taken up shop in my sinuses, but I'm in far better shape than I was 24 hours ago when I began to convince myself that this wasn't any run of the mill thing. That didn't stop me from taking a mile walk to Little Five Points while Mark taught a memoir workshop at Emory. I ate at a sushi restaurant that wasn't very good--I imagined that the packaged California rolls from Publix down the street were probably fresher, and more flavorful--but I nevertheless had a good time. I know Atlanta doesn't think of itself as a smaller city, but I've come to appreciate the virtues of smaller cities after spending so many years in global, money-driven, hyper-polished Manhattan. Little Five Points reminded me a bit of Austin, with its trees, arts and crafts houses, coffee bars, and totally stoned young people hanging out. Who would have thought?

The reading took place at my friend Philip Rafshoon's Outwrite Books. I had an unexpectedly great time, no small feat when one is feeling like crap. Some friends from different eras in my life (Provincetown, Houston) showed up, and it was a complete delight to see them. I shared the stage with Sister Soami, Dan Vera, and Alex Sanchez. Then Mark read a brand new poem, "Immanence," and introduced me. (No easy task: introducing one's partner; I don't think either of us were ever asked to do that before.) I read "Junta" from Famous Builder, the first scene from Lawnboy's Chapter 5, and two new pieces, "The Boy and His Mother are Stuck!" and "A Phone Call With My Father." I called it my All About My Mother reading, after Almodovar.

Halfway through the reading it occurred me that my burnt orange Penguin polo shirt pretty much matched the color of the cold/flu potion I'd downed an hour earlier.

Afterward, a young writer named Zack asked to take some photos with me. The two of us very much enjoyed the way the camera turned our big noses into even bigger noses. I'll post some when he sends them to me.

The other news is that my story "The Roofers" got accepted by Hotel Amerika for the TransGenre issue, to be published this coming spring.

Thursday, October 16, 2008

Bride of the Monster!



Two photos from last night: Mark on stage at the Atlanta Queer Literary Festival, and the movie poster for Ed Wood's Bride of the Monster, which is playing at the theater around the corner from our hotel. And, no, these two images aren't meant to talk back to each other!

Question: which would you rather be, the monster or the bride?

(P.S. We're still on a little high about Mark's National Book Award nomination.)

Don't Mess with Mr. In-Between

Another glowing kernel from Reality Hunger: A Manifesto, David Shields' forthcoming book:

Just as out-and-out fiction no longer compels my attention, neither does straight-ahead memoir. As soon as a book can be generically located, it seems to me for all intents and purposes dead. I want the contingency of life, the unpredictability, the unknowability, the mysteriousness, and this is best captured when the work can bend at will to what it needs: fiction, fantasy, memoir, meditation, confession, reportage. Why do I so strenuously resist generic boundaries? Because when I'm constrained within a form, my mind shuts down, goes on a sit-down strike, saying, "This is boring, so I refuse to try very hard." I find it very nearly impossible to read a contemporary novel that presents itself unselfconsciously as a novel, since it's not clear to me how such a book could convey what it feels like to be alive right now. Instead, it must constantly be shifting shape, redefining itself, staying open for business way past closing time. "Don't Mess with Mr. In-Between," my father would often advise me, but it seems to me that Mr. In-Between is precisely where we all live right now.

Shifting shape, redefining itself--that's exactly what I was talking about in my attempt to define ecstatic form a few posts back. Here's a song that wants to do just that, Laura Nyro's classic "Timer" from Eli and the Thirteenth Confession. I like the fact that this hymn to time forsakes the regularity of the metronome (i.e., clock time, linear time). Instead, it jars us awake with each rhythmic shift, putting the emphasis on a subjective, lyric sense of time. This one definitely stays open for business, and it's genius.

Timer

Wednesday, October 15, 2008

Fire to Fire!


Well, Mark called to tell me he was a National Book Award finalist, minutes after I landed at Hartsfield. I was already on the Metro, riding toward downtown, and I had to restrain myself from slapping the ceiling of the train in joy. I couldn't imagine a sweeter welcome to the city. And all I can say is yay! Yay!

Yay, too, to brilliant friends Patricia Smith, Salvatore Scibona, Richard Howard. The brilliant Frank Bidart! The brilliant Marilynne Robinson!

Yays all around.

I was writing a different post in my head on the plane, but that will have to wait till later. Our colds are both with us, but I couldn't imagine more optimum conditions for dealing with a cold.

And yet I'm glad I'm not reading tonight. Mark, however, cannot say the same; we're being picked up to go to the keynote event in less than 35 minutes. At present, the poet lies across from me on the bed, sleeping on his side, resting up for the proceedings.

It's sort of hot here, but I'm a hot weather kind of person. And they put us up in a happily funky hotel, in a happily funky neighborhood. There's a good coffee bar a block away, and a vegetarian soul food restaurant. I like Atlanta. Even if I feel vaguely woozy and dopily out of it.

Now to iron a shirt, always a task of monumental concentration.

Health and Reality Hunger

I'm off to Atlanta in an hour. I'm coughing; I can barely put one word in front of the next. Just the right state of being for a literary festival. Mark, alas, is in the same condition, which must be a first. Since when are two members of a couple ever sick at the same time? Isn't it always the case that one comes down with the runny nose just as the other feels better, ready to celebrate his health back? Well, at least we can commiserate when we're not on.

Here are two brief excerpts from David Shields' forthcoming Reality Hunger: A Manifesto, forthcoming next year from Alfred A. Knopf. David sent me a galley not long ago, but you can read a generous section of the book in Lake Effect. It's brilliant.

from Reality Hunger: A Manifesto :

63

The lyric essayist seems to enjoy all of the liberties of the fiction writer, with none of a fiction writer's burden of unreality, the nasty fact that none of this really happened--which a fiction writer daily wakes to. One can never say of the lyric essayist's work that "it's just fiction," a vacuous but prevalent dismissal akin to criticizing someone with his own name. "Lyric essay" is a rather ingenious label, since the essayist supposedly starts out with something real, whereas the fiction writer labors under a burden to prove, or create, that reality, and can expect mistrust and doubt from a reader at the outset. In fiction, lyricism can look like evasion, special pleading, pretension. In the essay, it's apparently artistic, a lovely sideshow to The Real that, if you let it, will enhance what you think and know. The implied secret is that one of the smartest ways to write fiction today is to say that you're not, and then to do whatever you very well please. Fiction writers, take note. Some of the best fiction is now being written as nonfiction.

67

As a work gets more autobiographical, more intimate, more confessional, more embarrassing, it breaks into fragments. Our lives aren't prepackaged along narrative lines and, therefore, by its very nature, reality-based art--underprocessed, underproduced--splinters and explodes.

Tuesday, October 14, 2008

The Physics of Longing (a.k.a. The Physics of the Known World)



The new Water~Stone Review arrived in the mail today, including work by Sven Birkerts, Lia Purpura, Susanne Antonetta, Mary Cappello, Carol Muske Dukes, Jean Valentine, and yours truly, among others. My piece is published as "The Physics of the Known World," though it's since been renamed "The Physics of Longing," which strikes me as more accurate. It's my take on the old Groucho Marx line: I wouldn't want to be a part of any club that would have me as its member. It's also my attempt to channel a little of the Borscht Belt, though when I described the piece in that way at a reading in Oregon earlier this year, I was met with confused faces. Ah, well. It was suggested by an incident with an actual golden retriever on the ferry to Fire Island sometime last December, though I'm posting a photo of our two late retrievers, Beau and Arden. (As for who the dog on the left is? Neither of us have a clue. Neither of us even know who took the picture. How did he/she get the three dogs to pose like that? They wouldn't have done that for us.)

It should be noted that Arden and Beau shouldn't be confused with the retriever in the piece. They loved their love.

This is one of the shortest of the short pieces to be collected in an upcoming manuscript I'm calling Unbuilt Projects....

The Physics of Longing

That silly retriever. He doesn’t go to the two guys looking right at him, beaming him awake with concentrated joy. Not at all: he goes straight to the man with his head turned to the left, who could care less about doggy behavior and isn’t the least bit stirred by the snout parked in the knee and the wagging hind parts. And that’s it: the physics of the known world. Which is why the trees look better when they’re left unwatered, and the birds actually prefer it when you don’t sing back to them. And the holy man crossing the street with the black brim hat? He knows better than to pick up what he’s dropped and lift his face to the mountains. Take it from him, friend. You probably wouldn’t even want it if the light hit you in your head.

And He Called the Moon Melissa



The moon has made more than few appearances on this blog of late, so I felt compelled to take a cellphone shot of the full moon over our block last night. Who knew how hard it was to get a picture of the moon over the city? If it's not a streetlight soaking the shot through, it's a building in the way. And one can't help but feel slightly self-conscious aiming a camera at anything in Manhattan, as it's immediately configured as a social act. What's up there? Is it something I should know about or buy?

Or, simply, are you nuts?

Anyhow, all this moonishness made me think back to a time when I was afraid of the moon, especially the full moon. I, of course, was young, but not so young that I shouldn't have known better. I was old enough to know it was irrational, but since when did reason ever protect us from gut-level fears? It came out of nowhere, no rationale. Did it have something to do werewolves? Anxiety about puberty, the transforming body, still a few years away? Or all those horror films: Lon Cheney, Boris Karloff, Bela Lugosi? Whatever the case, I distinctly remember lurching across my dark bedroom, on nights when the moon was full, with my eyes squeezed shut, to yank down the shade before any more of that light could get on my floor.

To be clear, I think a part of me must have taken some excitement in this drama, as much as my fears were real. It must have elevated things a bit.

The way out of this? I took to calling the moon Melissa. And the face that looked back at me was not some killing force, but the face of the girl who squinted from the back of my fourth grade classroom. Well, not her, not exactly, but another version of her.

Here moonlight makes another brief appearance, in this poem by Anne Carson, from Glass, Irony, and God.

God's Work
from "The Truth About God"

Moonlight in the kitchen is a sign of God.
The kind of sadness that is a black suction pipe extracting you
from your own navel and which the Buddhists call

"no mindcover" is a sign of God.
The blind alleys that run alongside human conversation
like lashes are a sign of God.

God's own calmness is a sign of God.
The surprisingly cold smell of potatoes or money.
Solid pieces of silence.

From these diverse signs you can see
how much work remains to do.
Put away your sadness, it is a mantle of work.

Monday, October 13, 2008

We Don't Deserve the Moon

Two views of the moon:

1) Over the beach at Fire Island, this past Saturday, October 11, at 8 PM.



2) Dorianne Laux reading her poem Facts About the Moon.

Spectrum, 14th Century: Final Fantasy


Here's "The Butcher," a track from Final Fantasy's just-released EP, Spectrum, 14th Century, one of my latest musical fixations.

From James Christopher Monger, All Music Guide:

Canadian violinist/singer/songwriter Owen Pallett has been a member of the groups Les Mouches and Picastro, as well as a touring member of the Hidden Cameras and Arcade Fire. Final Fantasy, essentially a one-man solo project with occasional help from drummer/engineer Leon Taheny, released its first full recording, Has a Good Home, in 2005 on the small Toronto-based cooperative label Club Blocks. It was followed in 2006 by He Poos Clouds on the Tomlab label.

From Quick Before it Melts: a concise description of Spectrum, 14th Century and Plays To Please, a second EP due out later this month:

Spectrum, 14th Century is a collection of recordings Pallett made with Beirut while working on their album Flying Club Cup. The songs are intended to be a sonic map of the fictitious land of Spectrum. Bird calls, percussive flourishes, insect chirps, and Final Fantasy's trademark strings all merge in a five song road trip through a trippy mind. Plays To Please finds Pallett paying homage to fellow Torontonian Alex Lukashevsky and his band Deep Dark United. The six tracks are all covers of Lukashevsky songs and really go for a big band sound, incorporating 35 players, and apparently one Andrew Bird whistling.

Final Fantasy website

The Butcher - Final Fantasy

Sunday, October 12, 2008

The Thin Place: Kathryn Davis

A golden day. Even Jamaica Bay, past the gritty heap of landfill turned park, looked more Marina del Rey than Brooklyn, sparkling--no exaggeration--in October sun. Driving up the Belt Parkway, past the wildlife refuge, past Coney Island, past the mouth of the Hudson, I couldn't resist the Whitmanish thoughts. All those energies! And ahead the indescribable Verrazano, with its towers and cables, so stately and large it's alarming.

Before that, though, before I dropped Mark off at JFK (back to Houston he goes), we added a few name or two to the list of Ecstatics. A song from Sondheim's Pacific Overtures came on the car radio, which prompted the whole thing. Sondheim, of course. But how did I ever forget Kathryn Davis, whose novels Labrador, The Girl Who Trod on a Loaf, Hell, The Walking Tour, Versailles, and The Thin Place do not need the usual superlatives? Here's a passage from The Thin Place, her most recent, published in 2006. I love the pastiche of diction in this paragraph, a little scripture, a little poem, a little plain speech. Not to mention a worldview captured in four sentences. Damage, blessing, creativity, sex: all yoked.

From The Thin Place
Kathryn Davis

The world was strange from day one. Let there be light, God said, and there was light. There is probably nothing more beautiful and implausible than the world, nothing that makes less sense, the gray bud of the willow, silky and soft, the silk-white throat of the cobra, the wish of nature or humans to subsume all living matter in fire and flood. I will hurt you, hurt you, hurt you, says the world, and then a meadow arches its back and golden pollen sprays forth.