Sunday, November 09, 2014

Foucault’s Pendulum by Umberto Eco

Just finished Foucault’s Pendulum. It’s a fun, somewhat exhausting read.

I’ve read The Name of the Rose, which I just discovered was Eco’s first novel, a couple of times. It’s the sort of book worth rereading because successive readings will perhaps bring to light things that went over your head previously. Maybe you’re not as dense as I am but you might miss an allusion or two the first time thru. Anyway, Foucault’s Pendulum has a similar vibrant complexity.

Eco combines scholarship with a playful humour. In FC, he gathers together what seems like every arcane organization you’ve ever heard of (Templars, Masons, Rosicrucians, Elders of Zion, and many more), in a crypto-paranoid, apocalyptic plot for world domination/personal enlightenment. Yikes!

Funny, I tried previously to read the book but got bogged down in a lengthy passage giving the history of the Templars and could not finish the book. How could I get bogged down in the history of the Templars? I don’t react well to narratives within narratives. It’s as if (to me) the author becomes distracted with this further narrative, and I’m trying to hold onto the main one. So no long accounts of a character’s dreams for me, thanks. Cheesy device, anyway.

The history of the Templars didn’t bother me this time, nor the history of the various other arcane groups Eco pulls into the story. I won’t try to explain the plot except to say it involves conspiracy of the highest order. All these groups combining in a rush towards some Final Truth. There’s a whimper at the end, I might as well note, not a bang.

The conspiracy angle provokes me. I had to look up what The Protocols of the Elders of Zion was. I’d heard of it, with a negative aura, but needed to look a little closer. Not too close: crazy talk. That shit sickens me.

It’s not like I disbelieve the existence of conspiracies, even grand scale ones. I just have trouble when supposition supplies the main elements. JFK’s murder certainly displays a lot of fuzzy holes in the narrative. I for one do not know what the ef happened, or how it happened to happen. Once again I nod to Keats for the relieving idea that I don’t need to know everything. Or perhaps anything.

Eco’s erudition is of the lightest sort. He clearly knows a thing or two but offers it casually. I’m not interested in Golden Roads to Supreme Knowledge but it fascinates me to think of the lengths people will go and have gone to get on that road.

But anyway. The plot ends up kind of like I expected but that seems a minor thing. The rush of plot tends too often to be the author’s intent, but I think the details and word life that exists between the first capital and last period carry a novel. Oh dear, the Pequod sank? No, there’s more to it than that.

Thursday, November 06, 2014

Powers Gallery, Acton, Ma

We’ve been going to this gallery for some ten years, I guess. It started as a time filler while Erin took classes nearby. Now we make a point.

A day off for both Beth and me, and a rainy one, so we made a visit today. A store front in one of Acton’s many exciting strip malls formerly housed the gallery. Some years back the gallery moved to an old farmhouse across from yet another gurgling Acton strip mall. Obviously the art is what counts, but the ambiance of the old house adds something to the experience.

The gallery favours largely representational work, a good deal of which could be called nature studies. Fine with me. When I first started taking notice of art as a teenager, the so-called Hudson River School drew me in. I’m not saying anyone at the gallery belongs to that school, just that many try to capture the natural surroundings. Not surprisingly, several show local scenes.

Both Beth and I love the work of Teri Malo, of which the gallery offers numerous selections. We own several of her small seascape studies, delicate, moody exercises. Teri’s blue period. She has quite a few large canvases of waves breaking in lavish form that are quite exultant.

More recently, Teri has turned to pond and forest scenes, shifting her palette into the greens, as well as autumnal oranges. One work is especially impressionistic: orange leaves in the water, really stunning. First look might reveal a cacophony of orange and green but then you see the leaves, the water’s sheen, the light reflected. It is a swarming gust of a fall moment by a New England pond.

Another Malo painting, called “Homage”, shows a rock—more accurately boulder—formation at the edge of a pond. Good New England rock left there by some galloping glacier as seen from a viewpoint on the water of the pond (or perhaps on the other shore). Green trees in the background reflect in the water in the foreground. The rocks show granite grace and I could look at this painting for hours.

Quite a few still lifes can be seen at the gallery, most notably (for me, at least), those of Marshall Henrichs. I learned about still life in elementary school, back when they also asked me to do what I understood to be south portraits. Okay, I was nine years old and I didn’t get it, bunch of bottles and fruit. I think I’ve got the concept now.

In fact, I know I have. The sense of form, of light, and even of meditative time all conjunct in these tableaux of ordinary objects. My special friend among Henrichs’ work is called “Glass Notes”. It shows a display of eleven bottles, vases, and pitchers—including, I think, a distinctive Hendrich’s gin bottle—on a table with a white tablecloth. Gathering the sensibility of the light, the forms, and just the music of seeing something that is there just to be there: it is a wonderfully enthralling experience. That’s why the dalliance intrigues us, looking at art. We see an image found in a moment of no distraction, for the artist and then for us.

That’s not the same as photographing. Malo’s “Homage”, hangs above an old fireplace visible from the entrance. It carries a luminous photographic nature, but it is not merely a representation or copy. It allows the painted colour to halt the trammeling blindness of our daily eye. Thus too Henrichs’ still lifes. That’s just the reason to look.

Another artist whose work I enjoy seeing is Matt Brown. He does Japanese wood prints, like I know what that specifically means. I can say this much: firmly delineated places of colour matched with an utter delicacy of form and touch. Many of his prints bespeak New Hampshire’s nest of mountains, even including Franconia Notch, just outside of which occurred my halcyon school daze. These are all small prints, less than a foot, mostly, in any dimension, but endless in their depth. Really taken by these.

I could go on, but I didn’t take notes, that’s too distracting. If you don’t think my words work, you can check out the gallery’s website. Go to the website (www.powersgallery.com/) and click on the Artists link. A lot more than I can give word to. It was a good day of looking.

Wednesday, November 05, 2014

The Majesty of Wegmans

The much-anticipated opening of Wegmans locally occurred recently. Beth and I made a quick inspection the other day, after mucking about in a nearby furniture store. Supermarket, The Event. We were there to witness Furniture Store, The Event when Ikea made its Massachusetts appearance years back (trimly written about here). Now this gloria mundi. All star shopping, the hope of the future.

Super the place seems to be. Set in a busy business district where little and large tech companies vie for best stupid company name, with the Burlington Mall not far away, it is a magnetic north for shoppers. You go down this drive to this castle-like structure, it even has a clock tower. The street had accommodating parking spaces so we parked there. A parking garage sits next to the store itself.  It’s a city, or more accurately, a citadel.

A store employee stood by the entrance, perhaps as greeter. She didn’t greet us but I think someone was speaking to her. Probably trying to get the coordinates for the dairy section. The place is vast. I believe I heard it was 50,000 square feet, which is to say 12 acres, or football fields. I dunno if that means the entire property or just the building: it don’t make no never mind. Big.

Produce greeted us first. Looked okay, and the prices were good. You pretty much have to expect a wax sheen on apples nowadays. I think it was mostly the usual stuff, no 50 shades of tomatoes. Still, I’ve seen worse, like at most supermarkets (looking at you Market Basket and Stop & Shop).

Really, I felt overwhelmed by the size of the place. The size and location of the store precludes dashing in for a pint of cream. A large café I think they called it sits to the left of the main entrance. I believe you can get meals, not just a bagel and coffee. We did not enter, but I think nearby techies might pop in there for lunch.

We wandered around but did not really gain the lay of the land. I never saw meat or dairy, for instance. I had been told that Wegmans does a lot of cross-merchandizing, but I only saw a couple of wines by the cheese section. Oh yes, Wegmans sells wines.

Few supermarkets in the state sell beer or wine. I’m not sure why the exceptions but I believe soon they all will, or will be able to. Kinda jumping ahead, but Wegmans has a large and bargain-priced selection of wine, beer, and liquor. Obviously they have tremendous buying power. Many prices were rock bottom, but there were many instances, at least in wine, that the usual case discounts that stores offer could meet or beat Wegmans’ price. The selection seemed both thorough and random. Lots of established names and all the wine-growing regions, but it seemed like a machine made the choices.

Earlier, I wandered down a different aisle than Beth then had a hard time finding her. The store absorbs people. You become part of the machine. I suppose that sounds like a creative construction. At Costco, there’s a general counter-clockwise directive, with clear side excursions. Wegmans offers a clear outer rim experience but you may need to drop a trail of cookie crumbs if you dare to seek paper towels. We found the liquor at one end, then decided to seek the bread selection. It was a straight journey but was it 50 yards, 100 yards? I’m good for it, but if you are guided by inspiration rather than master plan, you might tend to choose to forget about it.

Lack of samples surprised me. Something was offered at produce, but that just attracted store employees. Someone with a trayful offered us a cold mocha. Samples seem like a necessity to me. Wegmans has troops enough to handle that.

Cashiers stand at ready at the entrance to their lane when not occupied. Nice touch, it feels hospitable. The Whole Foods that we bow to has devolved to a lot of young people flirting with each other. Somehow, Whole Foods has lost its snap.

Wegmans is not a grim silo like Walmart, where neither customers nor employees look happy in their predicament. Wegmans feels like a utopian city, with everyone integrated into its directive. The store manager, whatever that entity might be, cannot possibly know many of the employees. Assistant managers, subalterns, proxies, god I don’t know. Running smoothly so far as I can tell.

I was glad to see no talkspeak slogans like what now graces the walls of Whole Foods. They may be coming or are kept interiour; a machine this large needs a coordinated push. It also requires the customers to make a similar push. You have to accept that under this one roof lies all possibility. That’s a bit of a swallow. Still, I’ve seen worse, i.e. Walmart. And let’s don’t forget the reputed charms of Amazon. Our need for comforting resource may lead us to further integrations. I mean, Wegmans looks fine but the store feels like you are in its stomach. I guess I am not ready for that.

Monday, November 03, 2014

Rock On Pt 3, MC5 and How Stuff is Other Stuff

A group appeared back when I cared about the emanation of such things—late 60s—to wit, MC5, formerly or aka Motor City Five. Rolling Stone cover-storied them as the best thing since mustard, before they had released an album. Rolling Stone promoting an act? Hard to imagine.

John Sinclair served as mentor and manager for the group. He also founded the White Panthers. The White Panthers, by report, were dedicated to furthering the goals of the Black Panthers. Sinclair famously (at the time) was arrested for possession of marijuana and given a sentence of five years, which eventually, post public outrage, boiled down to two. Obviously, a lot of things going on here.

While in school, I read, if not got, a lot of the literature of the what would it be called, the Black Movement. I was sympathetic if not politically astute. I think of the scenes in Ellison’s Invisible Man, when the political firebrands seem more like bullies (“the Iron Hand crush’d the tyrants Head / and became a tyrant in  his stead”—Blake, of course, quoted from memory). So the political matter of MC5 was just stuff for me. I was wary, even if they did use naughty words.

The hype was more stuff. I’d heard their signature song, “Kick Out the Jams”, but nothing else. For a group with persuasion in their garden, that’s not much. Lester Bangs’ brief and dismissive mention of them made me look to YouTube, where all everything reposes. I found a live version of “Kick Out the Jams”. You can accomplish the same trick.

The clip begins with the lead singer exhorting: “Kick out the jams, motherfuckers”. It’s a nice phrase, albeit obviously controversial. That second noun truly was the centre of their controversial sphere. I think they had to change that to “brothers and sisters”, with considerably less impact. The world was like that, the whippersnappers. The song sounds political but the lyrics really are just testosterone sex. You can shape it more politically but you might hurt yourself trying. No prob there, it is rock and roll.

Musically, sonically, it’s full bore charge ahead. One can fairly call their music proto-punk, proto heavy metal, proto anything so long as you call it proto. A tight, steady rhythm section pushes the two guitars ahead. Those wee, little Marshall amps—sine qua non back then—added to the assault. The singer, Rob Tyner, looks kind of awkward with his rock star movements but he seems sturdy enough in all phases of rock wailing. He took his last name, sez Wikipedia, from Coltrane’s pianist. Not the only oddity reported.

Wayne Kramer, the more lead guitarist, looks baby-faced and mischievous. At one point he turns his back to the crowd and wiggles his butt as the music roars on. Right after, he and Sonic Smith, the other guitarist (the one with the awesome name), lay down on their backs while continuing to play. A little later, the two bow their guitars back and forth to each other. In another vid, same concert, they do the same movements in sync. Feels like too much forethought. Somewhere or other Kramer plays the guitar behind his back. Shades of Hendrix, or Buddy Guy.

The crowd’s into it. A bounding beach ball blesses the event. A guy gets on stage and dances for a bit until a roadie rather politely pushes him off.

I guess my tastes were moving elsewhere, because I heard little more about MC5 after Rolling Stone’s completely guileless anointment. The group lasted a few years, but at least they live forever in recorded bliss.

I don’t know why I am taken by these guys. Despite the hype, they aren’t so politically motivated as say Rage Against the Machine (who do a version of “Kick Out the Jams”). I’m leery of the escapade anyway, dire warnings from entertainers. You can tell us anything you want, but it has got to have the beat to knock our socks off. MC5 apparently played an 8 hour concert (somewhere) at the 68 Democratic Convention, which was a fun gathering of happy people. Few other scheduled performers made it to the stage. So there’s that.

Digging up old music that I didn’t really listen to is, like, I dunno. I would not want to face the head winds of MC5’s Marshall amps but it was an angry time needing serious thud. Blue Cheer came as advertised, the loudest group ever. It’s not hype if it’s all true. For all their patchy showmanship, MC5 are straightforward with their threat level. I have hardly listened to punk music, it sort of happened when I wasn’t looking, but the idea sounds corny, staged anger. If MC5 want to ride their Big Man Pony, I’ll accept the stockpile of noise. Noise is exuberance, as at least our children know.

The bass line here, I think, is that there’s no history left to happen. MC5 were just a collection of people who managed, or thought they managed, to kick the jams in an outward direction. Hippie peace & love made homeless marmalade. That war then didn’t stop, and these wars now aint stopping either. At least naughty words no longer bother us.

Friday, October 31, 2014

Rock On Pt 2, Led Zep

I attested in my previous post that Led Zeppelin was not top tier for me, not in the day. I liked them but never purchased their music. Like with the Jeff Beck Group, whose appearance on the scene drew excitement around the same time, the guitar god was almost overmuched by a vocalist I didn’t like.

The excitement was real for me when these two groups appeared because I liked The Yardbirds so much. They must be the first rock group in which guitar gods were central. I have no idea how much Clapton appeared in Yardbird recordings. Their heyday was with Beck as lead, till Page eventually pushed him out. Page tried to create the New Yardbirds, with ex-Yardbird members. Legal wrangles and whatever, he finally settled on the famous lineup, and thus LZ. All right.

Beck’s group interested me more at the time. I hated Rod Stewart, almost all the bluesy songs suck on that first lp. However, songs like “I Aint Superstious”, with some extraordinary use of wah wah, and some other cuts, made up for the vocals. And there was “Beck’s Bolero”. This was the cream. Unmentioned in the liner notes, the players with Beck on this cut were Page, John Paul Jones, Nicky Hopkins as ever, and Keith Moon. There might have been thought to turn this lineup into something more, but I don’t see Beck and Page co-existing creatively for long.

I remember going hopefully to the Boston Tea Party with my brothers to see Zep on their first Boston appearance. Hah! Crowds and crowds. Oh well. Never saw Beck.

I honestly didn’t quite get Zep. The radio and record players of the time weren’t necessarily of the best for sound quality. I never noticed then how good John Paul Jones is on bass. Start with that churn in “Whole Lotta Love”, but look anywhere. The combination of Bonham’s heavy hand and Page’s erratic skills on lead made me think Bonzo was off the beat. I mean his beat was so heavy it seemed to have an extra tick, meanwhile Page splayed notes. I now realize that Bonham is a metronome with interesting counts and a clever bass. Sometimes overly ambitious in his fills, and let’s just forget about long drum solos, however. Please. I survived two Ginger Baker solos when I saw Cream, but just barely.

Clapton and Beck are inarguably excellent soloists. Page’s genius lay in the layered textures of his guitar parts, and the fascinating sounds he captures and delivers.

Robert Plant’s vocals still irritate me much of the time. It was not till I heard one of his side projects, in which he sings classic 50s songs, that I realized that he had range. His patented squeal, much imitated, grates on me. Not to the extent that Rod Stewart’s gruff voice turns me off. I’m not much for vocalists anyway, certainly not when they are spotlighting themselves. John Lennon singing “Twist and Shout” is where I want to be.

The last few years I have worked where a classic rock station plays. I’m comfortable with it, even if David Bowie or Bruce Springsteen get heavy airplay. LZ gets the heaviest. Their output is so varied tho not to say always successful. I mean the grind of “The Immigrant Song” seems to have no release, and Plant shifts between hoky scream and muttering. “Kashmir” is almost impressive but its lugubrious march seems endless to me. I don’t know why it enjoys such popularity but whadda I know?

In school, this stuff, knowing this music, was important. I wanted to talk about the music. A classmate saw Zeppelin at the Boston Garden (not a place I ever wanted to see music), and all he could say was that it was awesome. Poets reporting on poetry readings nowadays say the same thing, for god’s sake. The highpoint for my classmate was that John Bonham performed his drum solo with his hands. My friend and I wanted to hear more of his epiphanies from the concert, because this guy was really excited, but the best he could do was exalt that Bonham eschewed sticks for a while.

I think art criticism often settles on that sort of bunk. Somewhere in Harold Bloom’s writing, he repeatedly uses the term Dantesque, as in Dantesque inferno. He’s telescoping a lot of adventure into that word, without much impact. Pretty much his trademark, you ask me.

With music, especially rock music, maybe just dancing there, drumming along, whooping, that’s enough. What’s captured is some beguiling sight of some paradise. It may not even be a happy paradise, not a real escape from this mortal coil, but it reveals, perhaps, a breathing place with an exercising memory.

That said, I always wanted to talk about a concert afterwards, to put the bits I could away in some storage of life. It’s an incomplete alchemy, like Coleridge’s Xanadu dream, but it is something.

A Zep song that only recently came to my ears is “When the Levee Breaks”. A real, and obviously Delta, blues. White blues, an extant term at least in the day, most often consisted of amps to 11 and 20 minutes till done. Cream’s version of “Crossroads” seems to me to parlay an exception. I think during the vocal, that Clapton’s guitar plays fair tribute to what Johnson did. The supersonic solos (which include the recently late Jack Bruce’s bass frolic) simply articulate a different era. They got electric instruments now, and big places to fill.

“Levee” does the same thing. It begins with a ferociously heavy drum that I understand was recorded at the bottom of a stairwell with Bonzo instructed not to spare the drums. The harmonica, Plant I assume, sounds valid, he’s not pretending to be better than time. Page pulls out the slide guitar and, without sounding showy, brings out an ecstatic depth with the sound. Plant sings like it could really be true, no fake orgasms.

At one time, “Stairway” was a revelation. What’s really the revelation, and it took me long to realize: “Stairway” just reworks “Matty Groves by Fairport Convention. The build up, the near apotheosis, the redeeming solo. “Stairway” scores second on all counts. Funny, tho, there was interaction between the two groups. Fairport’s second bassist, Dave Pegg, played in a group with I think Plant. Sandy Denny, who sang “Matty Groves” joined Plant on “Battle of Evermore”. With “Stairway”, what sounded at first so majestic now sounds fey. But who says music lasts?

You hear music, or witness any art, and it is there. You think your valid thoughts, peg it, and it remains. You may deny what remains in you but I think it still works on and in you. It is true enough that Page is a sloppy soloist, but one can unearth something larger than that. The need to think about these things executes a sort of pirouette that can take time to settle within you. That pirouette itself may be the articulation. In that is art’s being. I guess.

Thursday, October 30, 2014

Rock On, Pt 1

Been reading Mainlines, Blood Feasts, and Bad Taste, an anthology by the late rock critic Lester Bangs (edited by John Morthland). A previous anthology edited by Greil Marcus exists, but I haven’t read that. The book brings two things to me: that Bangs is an electric writer, and that I would like to write about the rock music that surrounded me thru the years. The Pt 1, above, suggests that I may make a series of this. I mean, like, I might maybe take Led Zeppelin for a subject for discourse, e’en tho they weren’t top tier in my interests. Of course, they were Led Zep: Ride the pony!

So anyway.

I guess Rolling Stone invented rock criticism. Previously, we let Alan Freed and Dick Clark make the decisions. I remember the early issues, when Rolling Stone was a mere scrappy rag. Tiny pieces by Richard Brautigan used to be used as column filler and there was a serious Whoa! dynamic as to reacting to the let’s call it new scene of what’s happening. Era usually means error, since nothing’s so cut-and-dried, but those hippie dippie sixties had a lot of foment. Of course the Rolling Stone Corporation (Corpulation) quickly turned to soso, and crunchy little mags like Creem soon had to take up a sense of revolutionary gauntlet. Bangs wrote much for Creem. Yours truly sent something to Creem (in all innocence) and Bangs himself as editor wrote back encouragingly with his no. He suggested that I study the spew, as he called it, of Richard Meltzer, who I think I already knew. Bangs himself was a spewist, too. I’ve already called him an electric writer.

So, the thing is, who needs a rock critic? I read this stuff partly to hear about new stuff. I had to trust the writer so this actually ends up a secondary concern. There was also reassurance if a critic liked what I liked. Perhaps my favourite album as a teenager was Happy Trails by Quicksilver Messenger Service. It featured a sped up version of Bo Diddley’s “Who Do You Love” with these most darting, silvery guitar sounds. The song releases into a long solo by the other guitarist (Gary Duncan), then chunky bass solo, and some yelling and chant before a slicing return to John Cippolina’s high-treble guitar, end side one. Side two goes slow “Mona” (Bo Diddley) with Cippolina making wah wah/tremolo murk go virtuous. The rest is two long instrumentals, the second being a druggy evocation of what’s his name on Calvary, then the closing song to the Roy Roger’s Show: “Happy trails to you till we meet again.” Greil Marcus agreed that this all was awesome, to my relief. It still works for me.

So okay he was right then but otherwise, I didn’t really get convinced by, say, critics impelling the depth of Paul Simon’s lyrics. I mean to the degree that I would want exegesis, or dedicate a thesis to “Bridge Over Troubled Water”, or whatever was current at that grand age. The criticism was all a hum unless someone like Bangs let loose with a language of interest. If you haven’t heard the music, the performer, what are the words going to do? Bangs wrote of groups I never heard or heard of—as I entered my 20s I listened more to British folk music—yet his passion and concern produces energy. Still.

That shift to folk music had a touch at least to do with how following groups was muchly a lost cause. The Beatles wore out to the point that their break up was old news when it finally happened. And then Wings and whatever football Lennon couldn’t quite handle. Quicksilver for some reason took on Dino Valente—he wrote the 60s anthem “Get Together” (I believe he sold his rights for bail money). Valente added negative nothing to the group and I gave up on them. Groups changed personnel, David Crosby might show up, drugs burned. Not all the long strange trips were interesting.

You find your own way to what you like. Luckily I never bought Bruce Springsteen, which would mean a lot of buying. The Rolling Stones were always a three good songs per recording, then let the rhythm section carry Mick. I mean, you can wait for something to turn up, each new event, or just not worry it. Yes, I missed some stuff and whatever. It’s not that serious a thing. It’s just striking how these important whatevers float back into view. Bangs smacks Lennon, Dylan, Reed for their various fades. Seems shocking somehow, but it’s all right now. They were all something, and not something. Not to overplay but Bangs writing in the middle of something that looks like everything and nothing survives better than the patents pending of the superstars. And he died young. I hope none of this sounds nostalgic, nor potential parts 2-987, either. It’s all part of an inescapable something that you have too,

Saturday, October 11, 2014

In the Kingdom of Ice by Hampton Sides

I finished this book last week, a thriller for armchair adventurers. I guess I can claim that soubriquet, but I read such like for more than the sensation of my hair standing on end. The book concerns an attempt to sail to the North Pole, back in the yeasty end of the 19th century.

I shan’t speak overmuch about the book. Suffice that the narrative rollicks, and that depth and scholarship show clearly. What gets me is the craziness of the undertaking.

The publisher of the New York Herald subsidized the expedition. He is the one who subsidized Stanley’s search for Dr Livingston (who was not exactly lost and didn’t exactly need saving). The Stanley expedition was a publishing coup—it stirred the public—and the polar one struck a public chord as well.

The polar expedition, led by Captain De Long, held the central idea that the polar sea was warm. Leading scientists and cartographers felt sure that an open sea existed in the polar region. One theorized that a Pacific current similar to the Gulf Stream drove warm water thru the ice to make a passageway to the North, and kept the ocean there in a liquid state.

I don’t know, speaking definitively, if this idea is hypothesis or theory. Hypothesis (if I understand the term rightly) is an idea to be tested; theory has faced tests and has yet to be disproved. Scientists actually had some reason to believe that the Arctic Sea could be warm. For instance, the warm northerly-tending current does exist. None of the whalers and others who have found their way to the region ever found hint of such a situation, tho. That whalers never found a warm sea does not mean one didn’t exist. It ought to, however, have tempered the theories.

The USS Jeanette, then, pretty quickly seizes up in ice, the ship remains stuck for two years, until finally crushed and sunk. The expedition slogged across 1000 miles of ice before reaching Siberia. Many died. Like I said, a hair raising story.

I know hindsight gives me strength, but it is hard to believe that so much was risked on the advice of so little knowledge. I guess that defines the human condition. Out of ignorance we sometimes find the light switch.

Poe, interestingly, in The Narrative of Arthur Gordon Pym, writes of a warm southern polar region where dark-skinned natives help fulfill a scurvy vision of a master race. Poe had a brilliant mind but here his swipes never quite hit the light switch. The hardest challenge is to listen to yourself.

Poe of course took many crazy undertakings. Imagining the tale-telling heart or the pit with the pendulum with such unsettling closeness shows a daring many of us can’t match. Likewise Lovecraft. One can lose one’s way, by which I mean, one loses the generative understanding. That is, if you can imagine a bleak and lacking race—frankly if you can imagine race at all (scientifically speaking, the term is a whole lot less settled than most people understand)—then perhaps you look for the light switch in the wrong place.

Theories should be placed within the coven of proof. Another book read recently, Into the Silence by Wade Davis, recounts the experiences of those who made the first attempts to climb Mount Everest. Most of them survived, somehow, the intensely stupid and foolish commands of the opposing armies during World War I. Commanding officers nowhere near the front were designing elegant plans that murdered millions and millions and millions. Was that just the olden days? Let’s talk climate change, let’s talk fracking, let’s talk…

So anyway, castles made of sand.

Wednesday, October 08, 2014

Poe

Mention of Poe recently and I found an urge to read him. Been a while. I have two volumes from Library of America. One consists of poetry and fiction, the other his reviews and critical work. One of the cover photos of him, he looks roughly like Baudelaire with his intense eyes and the expansive brow. Fitting.

In school, elementary school, we were fed the highlight stuff: the well-known poems and a few of his so-called horror stories. One gets a skewed vision of his work from that sampling. His poems are somber yet overripe. An eleven year old could tell that Poe’s a bit bent. The horror stories were problematic because they lacked monsters, To this elevated eleven year old, horror meant Frankenstein, the Thing, and Dracula lurking nearby. Some hyper loony thinking he hears a dead man’s heartbeat comes a cropper compared to that. Not to say the intensity of Poe’s narrative didn’t grab me.

Poe’s oeuvre is quite varied. He writes humourous pieces (somewhat labored, I think), satires, capers, even. “Eureka (A Prose Poem)” is a philosophical treatise. His detective stories, to call them that, are thorough masteries of the words induction and deduction. He had a surprisingly scientific mind, surprising because he could launch the wildest conjecture, crazy Lovecraft style.

Poe’s erudition shows most in his non-fiction, but he reveals it thru out his fiction, as well. One can fairly call him an autodidact. Yes, he went to West Point, but didn’t do well. Thru out his work, one sees him pressing his knowledge forward. Reading The Narrative of Arthur Gordon Pym again, I surmise that Poe hasn’t the practical nautical experience of a sailor that Melville had, but he seems to have made a good study nonetheless.

As to Pym, in which I am ensconced, we have an imperfect but curdling precursor to Moby Dick. Poe proves intent on providing close detail. Poe came from an era when readers wanted to remain in the sentences, not skim to the period. Honestly, I want to let the sentence envelop me, but I also want to get to the next one. I admit it, I jump ahead. But Poe tries to be precise, and detailed. I admire that. He tries to embrace the totality. He may be faking it, in terms of experience, but I am okay with that. He is writing the world.

Some of Pym can only be termed implausible. Pym himself, a stowaway, is tucked into a box in the hold of a ship. The box resembles Thoreau’s fine vision of a perfectly fine residence—refer Walden—a coffin-sized box whereat to lay one’s head. The bad air of the hold causes him to swoon for several days. Too much a machination. During that time of swoon, the ship undergoes a mutiny. It is a bit of a labour, transforming the plot necessities into believeable behavior. As I said, tho, Poe details it carefully. Let us just ride his wave, he is so intent.

He definitely angles towards something. He commands—or sort of commands: he’s an explorer—a rare sort of intelligence. Autodidacts must prove themselves, no diploma certifies them. We are weak that way.

His critical work is fun to read, if you can glean a sense of the subject. If Poe writes about Longfellow, you have a reference point. Poe seems to have reviewed anything that made it thru the transom, so many of the contemporaries about whom he writes are as ciphers to me, so it’s hard to rally interest. He finds some weirdoes, tho. He writes of one author, who writes in English yet inexplicably provides footnotes in French. I mean, whoa!

I write here wishing I had the time to just read everything by Poe. I think he is worthy of that. There’s a lot of crap here, that much I can tell. But he’s so certain in his work, certain that if he keeps at it, the many trails, there opens a way.

It’s a weird undertaking, an American literature. I don’t mean that jingoistically. The settlement here, in all its English motivation, eventually moved toward American. Hawthorne, Poe, Melville, Whitman, Dickinson, these five in literary bundle describe a possible place. I don’t care America, but in a wilderness sort of project—make your own—these startled a hart.

Monday, September 01, 2014

Bury my Heart at Wounded Knee

I thought I had read Bury my Heart at Wounded Knee by Dee Brown. In sooth, I confounded Wounded Knee with In the Spirit of Crazy Horse, by Peter Matthiessen. Matthiessen’s book details the beginnings of the American Indian Movement. Brown’s book gathers rather anecdotally some historical moments of the Western Indians.

Dee Brown has often been thought an Indian. The misprision seems natural. He writes from the Indian point of view. He often refers to people by the names the Indians used for them: Long Hair (Custer), Three Stars (General Terry). Brown also depends heavily on statements and remembrances made by the Indians themselves. He lets them have their word, late as it may seem now.

The subject of course leaves one dispirited. Not only has this nation been ruthless in its treatment of the natives who were here, the history of the Indians has been allowed to shrink to a few episodes.

Surely I am not alone in having wondered as a youngster how the nice Indians who helped the Pilgrims in a few years were savagely trying to kill John Wayne. What happened? America the opportunity happened. Once the Pilgrims and others got a foothold on the land, they wanted more.

As the Eastern seaboard became established and colonists became less dependent on Europe, the vast expanses out West became more enticing (“the only nest is West”, as Charles Olson wrote). The Indians were wasting all that potential. They weren’t building cities, weren’t digging ore from the ground, weren’t settling down. Settlers came and took what they thought was not being used. Mercantile America. Has mercantilism declined since then? Uh, no.

So here we are with this history. And words are at the bottom of it all. Words given, treaties broken. There’s something not being heard.

Anyway, a number of the episodes in the book were new to me, and those I had previously read about were new by way of the different viewpoint. I think I read history to keep stupid assumptions and ignorant expectations in line.

Wednesday, August 13, 2014

Boston Poetry World Cup 2014

I read at the Boston Poetry World Cup 2014 this past Saturday. It had been a busy, distracting week, so I came into it a little unfocused. I didn’t even finalize and print out what I wanted to read until that Saturday morning.

In reading aloud the handful of poems, just to make that effort, I started to cry when I began two of them. One poem mentions Erin, the other Beth. I have my moments of emotional surprise—where did that come from?—but I guess I can explain the tearfall. I don’t write to “say” something, but there exists an emotional envelopment of the words. That emotion hit me at the unarmed level, something like that. This was problematic because I didn’t want to make a display at the reading.

So anyway, Beth and I got there as the second set was beginning, people going in. Met Joel Sloman there. He did not go in. We spoke with Joel then I stood in the doorway and listened while Beth and Joel remained outside. I didn’t know any of the readers in the set. Nothing sprung out at me re “the work”. I don’t mean to be dismissive. I read poetry better than I hear it. After the set I found Joel, who had just said goodbye to Beth, who was just off to feed the metre. He seemed mildly perplexed that he wanted to leave. To be honest, I had entertained the idea of skipping the event (work precluded Friday night and Sunday).

I sat thru the next set sans Beth, who went and had coffee. I was to read in the following set. Or something like that. Beth joined me when my set began. I don’t want to review readers since my head was in the wrong place. The reader before me—I was second in the set—was kind of quirky and energetic. He seemed intent on pushing his work forward. One hears enough wispy readers, and I myself am not a dynamic reader, but I felt pushed upon. Still, there was something to grasp.

I first read an old poem, “Measly Poets Aloft” which is mildly snide yet I think uplifting vis-Ă -vis, you know, poetry and stuff. And I mean stuff. Voici est la poème:

the call from the minaret makes an opening between us and them. a crane lofts thru the sky that we started noticing just the other day. any sky makes a picture alerting us to words softened in rainwater, or perhaps a frog in a flooded ditch. when poets put on their big shoes, the minaret just about sparkles. the message is clear. we aren’t the only ones capable of flight, we who view the cranes. we listen for poets to gamble their lives and stress out. the matter sur la table will seem more important later, when the decoding has gone on long enough. why shouldn’t one want this sort of discussion? discussion wants theories in place. the term open should be closed permanently, an impossible position. the minaret has it over all other possibilities, frankly. someone stands up there now, calling out in that lovely way.

This poem is in my book Simple Theory. As I looked at it that Saturday morning, I decided to remove a line: “the minaret is as masculine as you can get.” I might have been worrying about meaning, whatever that is. I just thought the sentence might be read/heard by rote. Probably weak of me.

I next read a piece that actually is a narrative. I take pride in writing narrative that goes nowhere, that is, that doesn’t aim to fulfill the reader’s wish for simple completion. What I read next is a sort of scifi flourish, a seeming raygun sort of perplexity with the final declaration that I was a Republican. Scare quotes if you need them. To me, it’s a funny piece (only 1/9th of the full work).

I read a quirky little something that I found in the Sunday comics—two speech balloons tied together:

Modest Lyric Compartment

I have made a list of
things you can do
that will tell me that
you love me
I call it
a strategy
so you won't
lose hope

I then read the Erin poem but not the Beth poem. Another poem sounded like Stein (mucho repetition). I muttered few footnotes. Have no sense of audience reaction.

I am not sure if we even completed the set. I did throw the little cash I had into the proffered bag-functioning-as-a-hat. We then went looking for provender.

Some observations:

The format of the reading: fine and dandy. I respect people willing to make these readings happen, in whatever form. Bringing a mob of poets together creates an event.

The 8 minute time limit is okay, I mean jinkies, people can and do go on. Those 8 minutes best serve those who read often. One can feel okay about reading one’s latest, or something unusual, or someone else’s work, or whatever, without feeling one is losing an opportunity. Those of us who don’t read often might feel pressed to cover a lot of bases. Something old, something new, something “great”, something funny. Funny means audience interest, of course.

It doesn't seem like people recognize the narrative nature of their work. They tell prosy stories about events or emotions without seeing how tied to the trail they are. This presents a sort of goal-oriented vista that simply talks too much. The music seems mainly to lie in the adjectives.

With the vast number of readers, one can declare that poetry is alive and well. Also that it is overwhelming us. I do not know what holds us all together. Audience is now a big fat fishbowl. Who are we singing to?

LANGUAGE poetry seems like the last entailing critical faction. What I mean is, Langpo gave people a climate of agitation and debate that brought poetic vitality, whether one was for or against. I am unaware of any other overarching influence since Langpo sprang into the pantsuit of the ages. Flarf might be mentioned, but it seems more like something those people over there do, rather than a general insight. That, at least, seems the critical stance.

Hearing the poets read, and I’ve felt this in all of these recent poetry fests, it sounds like an amalgam of amalgams. I don’t think of poetry as one thing, but the sightings I’ve been hearing don’t seem like any thing. I mean by that that the current answer to what is poetry is: whatever. Truly, I feel that way myself but the thing is, how does that translate to a community of listening machines?

I don’t think there’s enough listening to one’s self, let alone one’s non-self. The Internet says we are all good, step on up to the plate. Egalitarian wins everyday. For 8 minutes, I can be Allen Bramhall. I know just as do you that that is a pittance. Why, then, are we so careless in the realm? Well, that’s what I was thinking, these past few days and all.

Greek Orthodox Funeral

A co-worker lost his mother this weekend. The funeral service was this morning. Beth knows Steve, as well.

The service was to be at the Greek Orthodox church in Lexington, my home town. I had no idea there was a Greek Orthodox church in Lexington. It was located on a road I’m very familiar with.

We got to what I thought was the right place. In sooth, it was Episcopalian, and the door was locked (cue symbolism). Beth noticed across the street a little chapel. From the outside it gives little impression. I guess I never gave it notice. We were a little late because of my misunderstanding. The service had begun but people were still entering.

The images and iconography inside the church gave an almost visceral effect. The Unitarian church my family went to, there on Lexington’s Green, is rather elegant inside but clearly with a Puritan soul. A crisp, boring place. Frankly, the place was more about bake sales than spiritual comfort. I’m not taking back that remark.

The atmosphere was surprisingly comforting. The images were beautiful and the singing by the priests as they shifted between Greek and English. A patriarch or whatever he’s called led the service, one of the other two turned out to be the parish priest. I won’t describe the service any further except to say it was moving.

The most moving part came when the parish priest spoke about Steve’s mother. He looked fairly young, maybe in his 40s. He clearly had a connection with Steve’s mother. I guess by the presence of the Patriarch that she was much-respected in the community. The parish priest was extremely emotional as he spoke, taking frequent pauses to compose himself. It was stunning to witness that touching embrace by a religious figure. After the service, he hugged family members in the most tender way. Us WASPs must be soulless.

The funeral was open casket. After the service people were invited to kiss the deceased. I watched anxiously to see if this were a requirement. Beth assured me it was not.

As Beth said, this was the second funeral we’ve attended this year that actually offered a feeling of comfort and reassurance. Religion lays too much weight on angry differences, as if we all aren’t in the same plight. It’s nice to know that churches can contain loving kindness.

Sunday, July 06, 2014

X-Men: Days of Future Past

Going for a wider audience with the title reference to a Moody Blues lp. Anyway, Erin and I went to see the spectacle of our longing today.

A mezzo audience, theatres don’t seem to be crowded anymore. Short wait till previews. Only three movies to look forward to, or not. The first was a noisy Scarlett Johansen vehicle. The concept is a little fuzzy, something about her character getting kidnapped, and a bag of something placed surgically in her stomach. Oh, that old plot. The bag ruptures, thereby giving her super powers. Basically you watch to enjoy Scarlett looking like Scarlett, and the gymnastic mayhem her character perpetuates. Luckily I’ve seen enough. I mean, I sort of accept Scarlett as a capable implementation of the usual road, but this movie can’t possibly want anything.

Another movie shows a rascal hoodlum being trained as a government assassin. Look, there’s no balance here at all, it’s mindfuck for violence, with stray jokes to make it all okay. Their lordships Michael Caine and Samuel Jackson cannot make crap like this better. Another fury comes our way but at the moment I cannot recall what misery it releases.

So X-Men. The movie begins in The Matrix, to wit: a dark, dystopian world in which robotic warriors annihilate mutants, and everybody. A stupid, confusing scene of the remnant X-Men fighting off the robots, called Sentinels. It’s a mess. Patrick Stewart and Ian McKellan play Dr Xavier and Magneto, now elderly but friends. The only answer is to send someone back in time and prevent um Mystique from killing the inventor of the Sentinels, back in 1973. Yeah, sure. See, Ellen Page has some sort of power that, well it’s like this, um… Okay, it is Matrixy. Wolverine gets the nod because he’s so healthy. She puts him to sleep and his mind goes back to 1973. I guess mine does that occasionally, as well.

Big fail, not to exploit the music and culture of ‘73. The only thing Forrest Gump got right was the tunes of the era.

Wolverine wakes in bed with some 1973 female. He slips naked from the bed so that we can peruse most of the acreage of his jacked body. Hugh Jackedman. He looks like a professional wrestler, ready to explode. It is funny that acting chops emanate from that puddle of improvement. His mission is to find the young Charles Xavier and stop Raven/Mystique. Wolverine finds Xavier and Beast at the now closed school. Xavier is deep in self-pity. Eventually he comes around enough to join Wolverine in trying to get Magneto to help. Magneto is imprisoned under the Pentagon. Not clear why they need Magneto.

Wolverine enlists the help of someone who will eventually become Quicksilver. He’s just a slacker kid but can move faster than the eye can see. The scenes with Quicksilver are played for laughs, a super powered stoner. Pretty easy getting Magneto out. A bunch of guards convene with pistols blazing. Here Quicksilver enters Matrix slo-mo, tipping bullets seemingly motionless in mid-air so that they stray from their targets and so forth. Funny scene. After this, he’s about done.

A problem with the X-Men is that there are so many of them. Most are spear carriers. Several, like Wolverine, Magneto, and Mystique, get to chew the curtains. The rest are stand ins for something eventually to happen. Mystique is played by Jennifer Lawrence, who I glean is Hollywood something. My meager inventory of either sides with Scarlett, if we demand competition. Lawrence looked roped into sentiment.

Mystique fails in her attempt to kill the Sentinel inventor, at the—no kidding—Paris Peace Talks. She and Magneto reveal themselves as mutants, and that sets Richard Nixon to greenlighting the Sentinel program. This Nixon looked like 2nd rate Vegas comedian. For some reason, Magneto lifts a baseball stadium and drops it around the White House, where the Sentinels are displayed. Show off. This is a scene full of… scene.

At this point, Mystique almost kills the Sentinel maker. Thru the good offices of Dr Xavier and Wolverine, she chooses not to pull the trigger. Whew.

In the future, a gazillion Sentinels locate the remnant X-Men in their Chinese Fortress of Solitude. This brought to mind the scene in the Star Wars Thrillogy when the Jedi are killed off Godfather-style. X-Men as a rule hold their hand palm forward to exert their power. Pity the poor actors hung upon these pegs. Halle Berry looked like exerted Hollywood featurette, star power being a mere visual. A lot of yelling and vague ministrations as the Forces of Good flex their steroids. Good Lord, it is the inside of a chocolate éclair!

The Manichean bullshit here is American dream. Mutant Republicans and/or Democrats get to save their party platform by being right. Murder is right for the right reason. Everything is good if you’re right. Wolverine wakes up and the world is okay again.

Look, we don’t need physics, it just holds us back. And we don’t need empathy, where’s the thrill in that? Accusations that the director committed sexual assault on a teen kind of adds to the privilege of righteous mode. Look, there is no moral basis to this movie. It is just flickering electrons with commercial intent. How could we even ask those electrons to care for the endeavour? We are intent to blink as hard as we can.

I think it is time that Marvel start eating its own entrails, and not ours.

Saturday, June 28, 2014

Why “Roadrunner” is the Greatest Song Ever

Song by Jonathan Richman and the Modern Lovers

The count down is magical extra two steps: Richman counts 1, 2 , 3 , 4 , 5 , 6, to start the song. And he means it. Paul McCartney's fully directed countdown to “I Saw Her Standing There” is a sprinter's call in the moment. I remember the insistence.

Modern Lovers, oh my god! Could we all, could we all reach that sanctum?

Richman has been to town at Stop & Shop.

“Going faster miles an hour”, grand vista of language faster than intent.

AM was a real creature then, and he knew. The scamp district ekes a vantage and sight. No Longer Exists As Such. Precursorian remnant.

“I'm in love with modern moonlight”. The precinct of sincere dispatch, in the cuddling grasp of how the night embraces the treasure.

Chunka chunka persistence, drums, bass, and guitar. Organ floats atop, a voice, a vowel.

“The factories and the auto signs got the power of moderns sounds”. ALRIGHT!

The highway is your girlfriend as you go by quick
Suburban trees, suburban speed
And it smells like heaven (thunder)

Splashy/crunchy guitar chords, oozing/running organ runs.

Modern is a town with taste.

* * * * *

Roadrunner by Jonathan Richman and the Modern Lovers is a personal obsession. When I saw Phish my 2nd time, the opened with this song. It was in the running for Mass State Song. Beaten out, naturally, by The Standells and "Dirty Water". Fair enough, but they were from LA and knew little enough of the Charles River. I think Richman knew Stop & Shop and Rt 128. Modern Lovers were eventual drummer for The Cars and eventual keyboardist for Talking Heads. Other song obsession: "Omaha" by Moby Grape ("Listen my friends").

Wednesday, June 18, 2014

Good Morning America Announces the End of the World

The tv was on when I arrived at the gym, so I watched the already chosen show, Good Morning America. If we need immutable evidence that we're up Shit Creek, shows like this provide it.

Fatuous comes quickly to mind when one reaches for descriptors. Fatuity is alive and well within the precincts of this show. GMA banks on your short attention span. I know the show aims for an audience readying to launch out the door, so yes, things are short and sweet (minus the sweet). But the smirky smarm of the microbits of information and entertainment of every segment should be seen as oppressive. Given the ratings magic of these morning shows, I guess people see oppressive smarm as a positive.

In the old days of these shows, sturdy desks and serious expressions made the chop suey being offered seem mildly consequential, even if the report were on the latest trend in wearable rutabagas. Celebrities were kept to a minimum, which is where they belong.

Nowadays, the word celebrity is big and flexible. It's not just film stars and bestseller writers, it's also the guy who split his pants in the Youtube video. That means there exists an awful lot of celebrities to celebrate. The panel itself is a congealed mass of celebrities, tho I cannot name them all.

Four women and a man form the panel. I suppose there are substitutions at times. I recognize three as first teamers: George Stephanopoulos, Robin Roberts, and Lara Spencer. The other two were properly lively and attractive (as well), whatever that might mean.

Stephanopoulos looks a little crunchy at this point. No longer the wunderkind on the big political stage, with his dark hair and dark suit, and especially as the women dress brightly, he looks grave and heavy. Not that he doesn't chum up with the banter, as the show requires. His effort at playful fun is unsettling, might even physically hurt, but he’s a game competitor.

Robin Roberts actually carries some gravitas herself. I imagine she was an athlete of note, in college. Well yeah, and a star pitcher for the Philadelphia Phillies, back in the 50s. She really knew what she was talking about as an ESPN anchor, or whatever she was. Stepping up to GMA represents a step down to frivolity, but at least now she can afford to buy stately Wayne Manor.

I first saw Lara Spencer on Antiques Roadshow. She looked the part, cool and efficient. She presented the right tone of sedate professionalism, as must be on PBS. On GMA, she matches all the others in cackle and smirk.

Amy Robach—I had to look her name up—--is whoever she is, I didn't see enough. Was there someone else sitting cross-legged on the panel or did I imagine it? The set, I should note, entirely lacks desks, the troupe lounges in swivel chairs as they blurt cheap hilarity at each other. Another guy was outside in the crowd looking for insipid people. Who were never far away.

And that's the dynamo producing moolah for some corporate entity. That's the product, that's the thing people are buying. Spencer got to introduce a Youtube video that showed animals in stop-motion that made them look as if they danced. Isn't that sad? That's where the billion dollar corporation goes for content. There's a bottom line here folks: let's don't overspend. Any crap will do.

Spencer also got to do a spot with a Youtube phenomenon dog. I don't know what the dog did in the video but on the live set it properly looked around and ignored Spencer. Great tv.

Don't worry, there's still news on the show, which means the word Benghazi was pronounced, etc. The show cuts away briefly for local weather. Apparently we'll be having some.

I've heard, like maybe from one of the People magazines collected at the gym, that bad blood exists between I guess it would be Spencer and Robach. I should hope so. Not that that would interfere with the prime bantering. Small talk and guffaws, that's a job and these stalwarts are determined to do it right. Good Morning, America!

Saturday, June 14, 2014

Memorial Service

The three of us attended a memorial service for Leslie McLeod-Warwick. No, you don’t know her. She produced Shakespeare plays for the homeschool cooperative that Erin attended. We saw 6 or 7 seven of her productions, and Erin appeared in Romeo and Juliette.

Beth and Erin had more interaction with her but I had enough to say she was a rare and embracing person. Pictures on the order of service showed the same smile, when she was a teenager, and on thru her life. Too consistent to be imposed, she radiated a sense of warm acceptance.

Her productions found a place for everyone. That means a 6 year might play king to a 16 year old playing queen. It worked. She found a place for every child. This actually stirred up controversy among the Balkanizing forces of parents with superiour children, or whatever. Homeschooling attempts to avoid the plangency of hierarchy, allowing children to find their own means and interest and ability. It is supposed to take the blunt certifications away, football hero/cheerleader success stories. Ah, parents saw outsiders, children who didn’t fit, and squawked that Leslie allowed them in. Leslie, thank you.

A sudden remission of remission and she died last week. We never somehow got notice of her last production, King Lear.

The memorial service was thoroughly attended, to the degree that a second room was opened, with video transport of the service. She touched many people.

The best part of the service, for me, was when four of her former actors read comments about her that were posted on a Facebook page. I remember one of these readers when he was more than a foot shorter and 2 octaves higher. These comments were not undersigned: it was about what was said not who said it. Family members could be inferred. Thus it was painful to the point of tears to hear the testament of the youngest, who at 14 would have to remember the warmth of her mother. All of the children provided glimpses that were incisive yet funny. One wrote: Many people thought my mother was crazy. Well she was, she married my father. And a lot more of that.

Five children that she homeschooled. Plus these serious yet playful productions of Shakespeare. I mean, costumes and production, and not the easiest of venues. And no one was shamed or excluded.

Later, a reception at the home. People stood in every nook of the ramshackle farmhouse, many people touched. Books were everywhere.

Sunday, June 08, 2014

A Poetics, Sort Of

I do not read much poetry nowadays. This does not reflect my opinion of the poetry written today, or in the past. Instead, it speaks to the machinery of my interest.

I began writing poetry in high school. Poetry didn't seem to be clearly defined, once we got past the rhyme and metre logjam (thanks mr cummings). Poetry, then proved a good place to start. In typical youthful spree, I wrote a lot of poetry in high school, but I also had the quantum of smarts to want to read the work of other writers of poetry. Didn't so much get it, but I tried.

My second, and last, year at Franconia College, I enjoyed the benefits of Robert Grenier's scope and curiosity, and read with more formal directive the poets who would most influence my writing. Charles Olson and William Carlos Williams were the main excitement, but Stevens, Dickinson and Whitman folded in, as well. And so on.

I continued to read, study, after college. I found that Charles Olson, whose work intrigued me, also provided a useful path. That path included writers important to him as well as writers provoked by him. These writers gave me a solid footing, I am willing to believe. They were not all poets, as the term is used.

I credit Olson as the one who made reading history a poetic program. That statement sounds inflated. I mean it's in his poetry: What the hell is the U S of A, historically speaking? And what are the words that make it so?

I don't want to read poetry for effects. I think when Gertrude Stein writes about Americans, she embraces something larger than and just exactly poetry. Not just an instance of exhaust, but an active participation in the society that says words. I mean, how can you read Karl Marx and not say he's a poet? William Blake no kidding was, so too dear Emily, etc.

Robert Grenier published a breakthru poem of mine in This 3, which almost but not really gives me historical context. Twenty plus years later, Stephen Ellis, an Internet acquaintance, published a broadside of my poems. I had completely botched the publication part of being a poet. I had sent work out, in those long years, but it seemed always to be the wrong bugle, and probably “not my best stuff”.

The Internet gave me promise. I could backchannel someone on a listserv—Buffalo Poetics, for one—and meet poets, Stephen Ellis for one. And wow plus too: I could place my writing in public view. So could everyone else.

I don't decry the abundance served on the web. I don't think I am decrying anything. Okay maybe I decry the produce market called Attention. The Internet is big, including big with poetry's writers. Big, alas, means Facebook scale dynamics. Lick me on Facebook.

In my younger days, I read poetry to learn. Poems are intricate machines. The Olson course I took proved fruitful but I didn't, and haven't, read enough Stein. I was late to reading John Wieners, and even later to Joanne Kieger. It is kind of a random selection, how one finds one's way. I never cottoned to Eliot, and never read Auden. This isn't rocket science, but I am sure neither is rocket science.

My point resides in what we must do as human beings. I assume I am human, and that you are too. We must care. Caring may mean 17 syllables in reference to the reality of cherry blossoms or finding meaning words about the fuck all of misery in Afghanistan. I'm not here to decree. I believe that the poem is a mechanism of expansion and embrace. I also, let's get loopy, believe that there is only one poem. That poem is a human participle and it lets us say time filled by colours. Those colours are individual and well met. We will always need them, sooner than soon.

So I find history is a sheering event that can mean something. I'm not a scholar, I just want facts to smell like lemons, like Jack Spicer's own lemons, delivered by Lorca, on a Wednesday in collusion.

Friday, June 06, 2014

Reality Shows

Reality programs have been around a long time. They've become a broadcast mainstay, in these days of desert winds. I get the seamy appeal, but the plethora of realities would seem to stifle audience interest. Bachelorettes, for heaven's sake, or lovebird publicity dynamos, Kim and Kanye.

I honestly don't know why these shows continue. They press dull and drab as heroic function. They represent Republicanism at its base value of zero. Anyway, they seem so faked up that one would expect them to flicker away. Well, faked up is the sort of ingenue we seem to favour, the mass appeal of not so much. Rather than flicker, they flock.

Long ago, public television followed a “real” family, the Louds. I didn't watch much of it, but it represented significant tv. I know, oxymoron. One of the sons came out during the filming, which was regarded as a bombshell at the time. Otherwise, what I saw of the show was dry and dispatched, a plucky attempt at relevance.

Empty Vee's Real World had its juicy moments for the first few years. Reality? I think not. Let's gather a handful of patently unmatchable personalities and let them go freefall. The show had a place where every Fussy Buttons could exhale in huge smallness about their housemates. Whoa: gossip, gripe: the human core.

That element, the whingeing, seems to be what has made this genre so widespread. Every pout, snipe, and gripe is ratings magic. I found that the initial lascivious jolt wore off quickly. The public testifies otherwise. When the show came to Boston, the Lifers were regarded as celebs, which clearly blows the Reality bit apart. Real or not, folks wanted to come home from work and settle in to a bunch of nobodies complaining about their housemates. Better than Gilligan and the Brady Bunch.

My attention strayed elsewhere last night but I saw some of a couple of realities, first a cooking one. Looked like 15-20 contestants who apparently feel they are awesome cooks. That seems like quite a crowd to handle, speaking television logistics. Hard to sort out love/hate among so many.

Celebrity cook Gordon Something leads the proceedings. He's known for acerbity, a la that jackboot who thronged American Idol, Simon Colwell. Two others joined him in overlordship: a critically serious fellow, presumably a restaurateur, and a plump Model Celebrity, who wore outre white glasses as a sign that he can wear outre white glasses in public. Outre means cred.

I dunno.

Attention kept shifting to various participants declaring that they are great cooks and this is their chance. I mean, their day job may be cleaning subways or talking to pianos, but in reality (a caustic factoid), they are chefs supreme.

In this episode—and don't we all live in episodes?—a woman won, by some presumption, the opportunity to have her meat balls, meatloaf, etc, be the standard for the others to attempt. You know this is stupid cooking, but you're excited, admit it. I witnessed no more of this splat. Competitive cooking doesn't register for me.

THEN, American Ninja. I actually have watched the Japanese version of this. It is an obstacle course of curious display. Contestants try. I aint saying it aint entertaining.,

The promo asserted: History will be made!!! History of two years, maybe. The thing about the 100 yard dash, or the mile run: we have a standard, a history. With this obstacle course, it's a once. One sees the difficulty of it, but it owns a short history of attempts.

The course begins with slanted perches that one leaps to. You could screw this up thru inattention but it should be an easy par.

Next comes a keg ride. What looks like a keg hangs on a line above a pool. One must attach oneself bearhug style, legs and arms. It then slides down the line. Midway, the line drops sharply. If you haven't the tightest of grip on the keg, you fall into the water hazard, the end. Many lost it at this point. One contestant nearly made it but the keg, which swung heavily, knocked him with a rebound as he tried to gain the far side.

The next, if I remember aright, is a dash across a bridge. This bridge pivots horizontally. Your first step will tilt it to the side, but if you can manage a second step, you can leap to the platform. I'm not sure how you can look at it and think you have a path. Seems like you just blast forward and hope you can extend to the platform.

Next a swing that you stand on, hung over the ubiquitous pool. The point is to launch yourself toward netting, which you must climb to reach the next platform. Otherwise, water hazard, and the end.

A sort of monkey bars follows. You have two rings, which you use to negotiate a series of pegs. You hang on the pegs by way of the rings, and move along by moving the rings to the next peg. That's a fairly straightforward tester.

Finalement, a dash up a curved surface similar to but steeper than what skateboarders work on. It is 13' high. You try to run up the curve so that you can reach the top and climb up. You then press the button to signify your accomplishment. Few succeeded. I wonder if there is room for cheating, like applications of adhesive to the soles of shoes. Stakes are high, after all.

The slanted perches claimed no one, but everything else was dicey. I will admit, it was entertaining to watch people compete. The attached blahblah thrilled less.

You would think Oprah Winfrey produced this show, the stream of feel good slogans never waned. Work hard, believe in yourself, believe in yourself working hard to believe in yourself, etc. It was an unrepressed banter of ended words, the way I heard it. I have to go on television to feel good about myself.

One contestant had watched the show and decided to believe in herself and work hard. She had been overweight but believing in working hard and working to believe in herself, to work hard in belief, she lost weight and got in shape. As she was introduced, she kissed her biceps. She wasn't that buff. All the intros were pro wrestling style. She failed, I forget where. Even tho she believed that if you work hard, believe in yourself, and work to believe in working hard for yourself, you will succeeded in believing that you worked hard, for yourself.

No woman had ever scaled the curved ramp (I didn't mench that woman and men compete equally). A couple of women had supposedly done it in training but with all the build up did not succeed in scaling the heights. This was a subplot that had yet to avail itself of plump interest. The best chance women did not, in this episode, make it up the ramp, whether failing at the ramp itself or earlier on.

Confidence is a great bundle but the show swarmed with solid slogan. That's all you really need.

An ex-Olympian competed, gymnast gold medal winner. I recognize the Olympics as the best versus the best, albeit with slogans. This dog and pony show doesn't match up. At all. Surprisingly, he lost it on the rings, Mr Iron Cross, he misplayed the rings.

A prob we meet here is where does one train? The answer (except see below), build your best replica. More importantly, believe in yourself.

It is absolutely true that the human body can do many things. The Boston Marathon has accumulated a cult who cry, I can run a mediocre marathon!!! Somehow, this show has made it a virtue for contestants to assert: I'm not as good as I claim to be. Which strikes an especially American note, I am sad to say.

A refugee from Cambodia came to Amerikay for the new life, trains suckers who want to compete in American Ninja. Yes, if you go thru all the exercises, you have a workout. But to learn the intricacies of leaping from one slanted platform to another seems crowded with misdirection. Child of the killing fields failed to complete the course. Somehow, the inspiration of that story didn't take hold.

Everyone has a reason to be Select. In this Reality World, growing up in Pol Pot's regime equals exactly being overweight, or just that your high school team failed to recognize your eminence. We all have startled stories to tell.

Monday, June 02, 2014

Into the Silence by Wade Davis (more Mt Everest rambling)

Just finished rereading Into the Silence by Wade Davis. It recounts the first attempts to climb Mount Everest. Davis wrote a formidable book. He provides exacting context. Most of the participants in the three British expeditions in the 20s were veterans—survivours—of World War I. That fact plus the machinations of British empire-building in Asia weighs heavily on the story of these assaults on the mountain. I knew, as I read the book the first time, that I couldn’t digest all the details in one reading.

I stumbled on the book in the new books shelf at the library. Anything re Everest will get my attention but as I read the first time, I realized I had to purchase the book. Its breadth demands study.

National Geographic sorts of accounts of Everest expeditions always interested me. Possibly the first book about Everest that I read would have been Four Against the Mountain.. That book had local interest. Woodrow Wilson Sayre, President Wilson's grandson, who wrote of his bumbling attempt to climb the mountain, lived near where I grew up.

The book tells how Wilson and three friends snuck into Nepal and tried to climb the hill. They lacked experience, skill, and an army of porters. Additionally, they eschewed bottled oxygen. They were lucky to return alive. It was an almost happy-go-lucky jaunt, except for the serious privations and danger that they faced. The book introduced the concept of anti-belaying, which can be translated as barely controlled falling. Their attempt was almost a satire on the military assaults that attempted and scaled the summit the previous 40 years. Their attempt also foretold the jaunty amateur ascensions that have crowded Everest in recent years.

Strictly arm chair mountaineer, I've read many mountaineering books. I harbour no inclination to get myself into that kind of trouble, I guess I like the second hand frisson of these adventures. When I read, long after it was 'news', Jon Krakauer's Into Thin Air, I became focused on Everest. Say, did you know the mountain's namesake pronounced his name EE-ver-est?

Including Krakauer's, I've read some six accounts of participants in the events of the disastrous 1996 season on Everest. I've reread most of them, tho no scholar do I be. Hard to explain the fascination but the tug is sure.

Anyway, Davis' book, perforce, begins with the horrors experienced by those who fought in World War I. This is the context, the mindset of the participants. I guess it is an existential gestalt, tho heaven knows I never expected to use such a phrase in my life. How can one embrace the notion of such slaughter? The war brought changes: horses faced tanks, infantry met machine guns and mustard gas. A generation slapped with ultra-force, producing a brand new deadening future. The War to End All Wars, Part 1.

Davis powerfully dilates on the wholesale human loss. Those who survived, who walked on thru, still had a world to see. A blackened, desperate world that one can no more comprehend anymore than the leveling peak of Everest. Almost all who participated in the three Everest attempts in the 20s were veterans of the trenches.

And that's not all. British interest, Chinese interest, empire interest:: the desolate place where lively tectonic plates still push mountains higher becomes an opulent pawn in the growing misgivings of civilization. One can hardly understand the necessity of such strident need, yet it seems so familiar.

About 80 pages in, iconic George Mallory appears. In other chronicles, he would be the sole star. His generation saw him as second only to Rupert Brooks in masculine perfection. That's a commodity, by the way. Physically beautiful, intellectually brilliant, gracefully athletic, and even upper crusty, despite not actually having the means, son of a vicar as he was.

Mallory was certainly of his time, as are we all. Tho progressive of thought, he still remained camped in the class warfare of British Empire. British Empire, however, had lost its shoes, its feet, and finally its heaven. World War I was an open spigot of loss, and by the way, World War II awaited.

The expeditions to conquer—a boding but correct word—Everest were emblems of relief for a pragmatically lost nation. Britain was lost by the nature of loss, as too the whole of Europe. The many maimed veterans who found their way to these attempts on Everest's summit seem to be trying to make sense. Function and purpose join forces: the mountain must be climbed.

In 1921, an expedition of discovery. This required a mapping of a vast, vast, vast unknown. A military sensibility built a logical and logistical tally of the problem and its solution. Sahib and coolies worked together in the task of finding a way to the mountain, then to its peak. Touching the crown hardly played into the exercise for this first expedition. Folks learned to bicker themselves into a (fairly) united purpose.

The reconnaissance recognized human strengths and weaknesses.Empirical steps to reach the driven conclusion. For instance, the air gets mighty thin as altitude climbs. For George Mallory and Sandy Irvine,finally, death, which don't have no mercy. But that's later on, let the story unfold.

The second expedition more firmly saw the summit as its goal. Supplemental oxygen? Not yet, wouldn't be sporting. No fixed ropes or permanent ladders across crevasses, either. Looking for a possible route. Outlanders from Canada and Aus-bloody-tralian looked down upon, let us sigh.

Empire is a clock, which is to say, it runs down. A generation of best and brightest entered the European soil in a display of ridiculous proportions. Davis states that none of the British high command visited the front. Thus could be ordered measured marches into strafing machine gun fire, the idea being that order must be maintained.

When Mallory was asked why climb the mountain, he replied famously, Because it is there. That could have been a flip remark but it follows such egregious whimsy as the bloody battles over and into bloody turf. Why march into machine gun fire? Because the ocular command, with no firsthand understanding of the front, says so. At least the mountain offers a sense of accomplishment.

The big mountain was not next door to anything, so science and survey needed to secure its place and size on the map. This is where glamour gets lost, but it impresses one, the effort to get the picture straight.

As mentioned, Mallory himself doesn't really appear till page 80. He's the hero because we need heroes. Seemingly, anyway. A breathless span of pages offers reviews, let us say, of Mallory's physical beauty. Everyone in the Bloomsbury crowd as well as others wax poetic about his beauty. From a young age he scurried up myriad mountains of Europe, enough to become famous. Otherwise he is a teacher at some stifling school. He survives the war largely unmaimed, tho the vision of slaughter cannot go away, can it?

The second expedition, one year later, seeks possible routes to the top. So much remains unknown about the mountain. Also of the people living within its shadow. With largely colonial zest, the expedition marches in again. Someone is mapping the land, a few others are cataloguing the local flora and flora of the land, even getting to know the native people themselves. Mostly, tho, the British trundle in and over. Glory is the goal.

Several climbers reach the so-called death zone some 2000 feet from the summit. The thin air barely supplies enough oxygen for the climbers. A one last attempt on the summit ended when an avalanche sweeps seven porters to their death. A serious pall and the now familiar why not me?

It boggles the mind what these climbers wore on the mountain. Wool waistcoats and scarves seem better suited for jaunts on the moors than the sub-zero blizzards common to Everest. Nails in shoes sufficed for crampons. Lacking the fixed ropes and ladders that have since been installed, climbers had to cut steps in ice and snow with their ice axes.

With the pall of death from this second expedition, and not wanting to part from his beloved wife and family, Mallory hardly wants to go again. Yet 1924, he relents to join the third expedition. By now, he is convinced on the necessity of supplemental oxygen.

Mallory has become a national hero by now due to his exploits and his personal glamour.. The third expedition brings young Sandy Irvine. Irvine is somewhat a younger version of Mallory. At 21, he's a star athlete and mechanical genius. He brings no mountaineering experience, however.

Finally the day that Irvine and Mallory leave the highest camp for the summit. Typical of Mallory, he forgets his flashlight and his compass. An observer at base camp sees them on a ridge. They are seen alive no more.

Seventy five years later, Mallory, as corpse, is rediscovered. You can join the speculation whether the duo made it to the top or not. As Edmund Hillary—namesake of a Ms Clinton—said, getting down alive is part of the challenge. But that's not to discredit the effort, of Mallory and Irvine, or the entire expedition. They charted new territory, no matter their intentions and concerns. And Mallory was a sort of pillar or prop for a fading empire.

What war isn't ugly, but World War I brought empire to a standstill, stalling in the bloody mud horror of battlefields. All glamour and glory disappeared, which seems to be what made Mallory so appealing a hero: he seemed a knight from a more flowering age.

I would put these early attempts on Everest alongside, say, the space program. The grand goals of reaching the moon, or Everest's summit, only to leave soon after, do not themselves bring the reward. But the galvanizing effect on the respective nations, and most especially the knowledge gained, prove the true value. National glory simply chastens the human value of curiosity and development. Think of the disputed land of Alsace-Lorraine, where iron for the pounding guns of WWI could be gouged in fantastic proportion from our only earth.

British command ordered infantry not just to walk toward machine gun emplacements, during one assault, but by god to maintain ranks. The nutbank sees everyone but themselves as pawns. Sound familiar? Like maybe hedge fund managers and corporate maximizing? The war remains at our heels.

Everest is a playground now, tho fresh corpses still make it real. The summit presents a muted glory to attain now, not to say an easy climb. It's just there, no longer a program, just a badge. Had I the courage and stamina, and the dough-re-mi, I'd take a stride up. But it is hard to get past the exponential bloodbath of the Somme and all those other insensate abbreviations of human life. Empires still consume the people, tho now done with money in hand. To renege on promise is to own the world.

Sunday, May 11, 2014

The Men Who United the States

In the midst of reading this book by Simon Winchester. I’ve read two others by him: one about Krakatoa, the other about the San Francisco earthquake. Winchester is a geologist by education, and certainly a wide-ranging scholar. His books tend to be factually thick.

This book bears the hallmark of the next project from someone who has had success. He fabricates a structure, using the elements earth, wind, water, fire as residing concepts for the uniting of this country. It’s a bit laboured.

The book’s title of course is a ninny. That it is about MEN means that it’s that story again. It is about heroes, singular male figures who did stuff. Winchester inevitably offers Sacagawea as honourary heroine There’s really little trace of her in the annals. Carrying a papoose on such an expedition sounds almighty rough, but it is something native Americans did, and did and did. People made choices to move where opportunity seemed better. They went as families, or small communities, mostly. Glory hardly played into the decision. Out to find some land, out to make a buck, out to stretch the legs, whatever, but rarely heroism as the mainstay.

Winchester gives many fascinating stories about those who explored this continent. John Wesley Powell’s expedition battering its way thru the Grand Canyon is something I hadn’t read much about. For some reason, Winchester intrudes himself into the story. He does so in the National Geographic way: Here I stood where 150 years earlier a stout Maine division fought off a flanking rebel attack. We really don’t need Winchester’s account of driving to places where something happened years ago.

Winchester also marks the generating energy of mercantilism, as lives were lived to feed the immense commercial possibilities that the land was seen as. Canals, then trains, telegraph then telephone, all making space small and profit easier. The grand theme of liberty always sounds so misty when really, implacably, it refers to the ability to make money.

Early on, Winchester bloviates about one of Obama’s inaugural speeches. I don’t think Obama is a patch on Lincoln as far as speeches go, and the speeches are written for him anyway, so why even bring it up?

History concerns stories. We tend to make them testaments of eternal whatsis: George Washington chopped up the cherry pie. History only is interesting, however, and we use its mirror. When we can brush aside the crafty articulations and see how we ourselves make false claims and dazzle. The best part of the Lewis and Clark expedition was that they went and looked and wrote it down. Jefferson was just scheming for commerce, will nilly for the natives already on the land.

Winchester acknowledges the disaster of Progress’ march on the land and the little people in the way. I just react against mythologizing. These MEN who united the states bought ideas like class and progress, let the good and gentle be cast aside.

Monday, April 07, 2014

Set Piece

A man entered the store hand in hand with a toddler. The boy was a confident toddler with a good step. The man of course was directed, he had a mission in the store. The child looked around like brave new world. All was new. He did not pull,  they walked side by side. The boy said, “Come on, daddy.” With his eyes wide open, it was as if he were the mentor.

Wednesday, April 02, 2014

My Friend Fu Manchu

I first read Saxe Rohmer’s books about Fu Manchu when I was a teenager. I don’t know how I came to them. I found them entertaining. I gave little thought to the comprehensive view except that it was a lively read.

Years later I read one, just to see if it held up. I found it compelling, and gave thought about the nature of the series. I’m still thinking.

I don’t know what kind of audience the novels have. I suspect that the name Fu Manchu rings a bell for many, perhaps only for the mustache. I don’t believe there’s been any revival like with Conan. There have been Fu Manchu movies—Christopher Lee has played him, I think—but nothing like Sherlock Holmes. The character type, diabolical genius from the mysterious East, has been used to a fare-thee-well, Fu Manchu unnamed. It somehow touches something.

Racism is part of that something. We define evil as what we don’t know or understand. We imagine conspiracies and plots by an inscrutable enemy. Kind of lazy, kind of ugly. Fu Manchu represents a consummate political bogie man.

The books are a sort of relentless imitation of Sherlock Holmes. Whereas Holmes is a genius, apt nemesis to the masterminds he tangles with, Sir Denis Nayland Smith is a bit of a dud versus Fu Manchu. Nayland Smith is a bulldog but always seems to be outfoxed by Fu Manchu. And yet, every round ends up won by Nayland Smith, or at least not won by Fu Manchu.

Like Holmes, Nayland Smith has a sidekick, Dr. Petrie. Petrie sometimes carries a pistol and an electric torch. That is his job, plus narrate events in hyper gasp. He ends up marrying Fu Manchu’s daughter, whaddya know. I don’t know wherefore but Petrie later gets replaced by a young journalist, Bart Kerrigan.

Nayland Smith is a government investigator, expert in foreign affairs. Nothing more foreign than the Asian menace. Rohmer describes Nayland Smith’s manner of speech with verbs like rap and snap, which I take are synonymous. Resume writers take note, Rohmer is a caution with the action words. Sir Denis also frequently raps his inevitable pipe, and he snaps his fingers irritably.

Sir Denis always seems on the brink of desperation in his battles with the evil genius. He and Petrie rush about trying to find leads, chase minions, and lay traps for The Doctor. The minions are sadly disgraceful. In one book, a  short, powerful Burman, which I think means Burmese, is referred to as subhuman. Immensely strong but Asian zombie in his blood. Yellow Race/Yellow Peril. A very minor character is described in ugly Jewish caricature. I suppose this is all normal for the time and place. Fu Manchu himself is rendered as diabolical, sinister, and the Devil incarnate. He’s a wee bit crazy, too.

Fu Manchu has moments of elegant sanity. I imagine Ian Fleming learned from Rohmer some things about monomaniacal masterminds intent on controlling the world. Fu Manchu always manages to set up a fully-equipped hide out in a dank riverside warehouse or an abandoned house in a bog. Nayland Smith and Petrie come very close to succumbing to The Doctor when some lucky mischance by Fu Manchu causes his plans to fail and he must flee. The Doctor’s return remains a perpetual threat. A grudging admiration exists between Nayland Smith and Fu Manchu. The Doctor also admires Petrie, mostly for being a fairly ordinary bloke.

The stories are all the same, but that doesn’t matter. We have this Manichean battle to witness. And it is all done with action verbs. These books are comprehensive in the focal demands of their racist congeries. And yet, Nayland Smith is so overmatched that you have to admire his doggedness versus this ultimate mastermind and his mindless minions. It’s like some do-gooder trying to bring the Koch brothers into a rationale of compassion.

The book cover of The Drums of Fu Manchu offers a collage of events in the book. The top of this emblem is the face of Fu Manchu. He looks crazed and provoked. Rohmer describes him as being tall and having green eyes, or maybe it is just his daughter with the verdant eyes. He wears a mandarin hat. Below him to the left is Scotland Yard, I guess, or Big Ben. The stakes. To the right, a guy in a striped shirt smooches a red haired hottie. The James Bond School of Relationship. They are Bart Kerrigan, journalist, and Ardatha, daughter or grand daughter of FM. I guess this is a scene from the book. Below to the left is someone aiming a rifle, presumably Nayland Smith. Finally NS with a knife to his throat—grey at the temple gives him away—tho it was Kerrigan who suffered the threat, which Ardatha saved him from.

The back cover features a small b&w of Rohmer sitting uncompromisingly on a desk in his library. He has a pipe in his mouth and wears a silk long robe. Nice!

If I can come to a bottom line, I like the energy of the narrative. Conan Doyle certainly knew how to raise the heart rate, in stories that often featured a 2-bit thievery, and Rohmer may top him. The racist figurines and the confident English rectitude conflate into a passion play of redemption, not that anything can possibly be redeemed in this murk. The noble intent of saving one’s class from the influence of Other allows mindlessness to flourish with a graceful radical. No, we are not beans in warm soil, we are the heroes of our small disposition.

Antic View Returns

Almost nine years ago, Jeff Harrison and I began a blog called Antic View. We intended to have a public dialogue about writing, about his approach, my approach, the approach of others. We had a hiatus two years ago when my focus slid elsewhere. Not my interest, however, and certainly not Jeff’s. There was no formal closure, I just was looking in a different direction (several, I guess).

Jeff’s work has changed considerably over the years (I won’t comment on my own). In the fancy dance of the Internet, neither Jeff or I wiggle with proper gusto. I think Jeff has produced a fascinating and unique oueuvre unconditioned by the Internet’s official poetry world. I believe I have as well. Antic View, in my view, gives evidence that there are things outside Harriet the blog, and the academic rules committee. I don’t mean this in some sparkling defense of genius, I simply acknowledge the haves and haven’ts of promotion. I am happy to promote Jeff’s work, and even my own, but the point of Antic View is to see the work at work. The link, then: Antic View.

Tuesday, March 25, 2014

The Beer Works, Lowell

We dropped Erin off at UMass Lowell, specifically East Campus. East Campus is about a block from The Beer Works. We had a nice dinner last summer at the Beer Works, which itself is across the street from where the Lowell Spinners play. We parked where we did last summer, only now Lowell had installed a revenue source. At least one dollar for an hour isn’t the worst I’ve seen. Better this than a random eager ticket.

Monday, around 3:30, the place was empty. A waitress came to seat us but we chose to sit at the bar. There were two bartenders along with the waitress, waiting thru the lull before dinner. “Blister in the Sun” played on the sound system. It carried into the bathroom, which is nice. The bathroom was clean but both sinks had severely wobbly faucets.

After some thought Beth selected the nut brown ale. I went with an ipa, of which there were several. I think it was called Dye Street. We also ordered the deep-fried pickles. The nut brown ale was rich and smooth with a touch of sweetness. The ipa was spicy and satisfying. I’m okay with overdone but balance is good too. Beer Works offers three glass sizes, 12, 16, and 24 ounces. Beth liked the design of one glass but the bartender wasn’t allowed to use that glass for nut brown ale. Each beer had its specific glass.

I had a second beer. The same ipa I’d already had was listed twice. The second one was cask-conditioned and unfiltered (the first was bottle-conditioned). It was served slightly warmer. It was cloudy, rounder with more yeast and fruit in the nose. Very pleasant.

Above the bar were three televisions with the sound off. Should mench that a small group entered and sat at the bar talking. One tv had a sports show with three hosts who were apparently being funny. They showed clips of athletes failing: falling down, losing fights, etc. They were full of what looked like tired guffaw. The middle tv had three talking heads on CNN discussing the Malaysian crash. I have not kept up with the controversy, but I could see they were tearing all life from yet another subject. Two serious looking experts flanked the attractive blonde CNN host who wore pink. None were in the same studio. At least it wasn’t Fox but you know it would all be insipid if the sound were turned up. The third tv showed a game between the Dallas Cowboys and the SF 49ers, from the 1980s. Tony Dorsett, Joe Montana, Ronnie Lott. Golden oldies. What should beer drinkers watch if no sporting events are available?

Friday, March 21, 2014

Crown Royal Maple

For some reason, Beth got curious when she saw a small bottle of Crown Royal Maple Whisky. She wanted to try it, and wanted me too, as well. I’m not much of a whisky drinker, nor am I enamoured of maple as a flavour. But years in the wine business has left me curious about tasting wine, beer, and even liquor. So I got the bottle and Beth, of course, declined to sample. My opinion stands thus:

Flavoured whiskeys have become rather hot. I like to read industry gobbledygook that features demographics and statistics that declare that every product is on the rise. I do see a certain eagerness about new flavoured spirits. Jack Daniels came up with Tennessee Honey, which seems to have hit a good stride. Our store was tipped off by a customer about a maple whiskey called Cabin Fever. It was made pretty much entirely by one man, who used syrup from his own sugar bush to flavour the whiskey that he made. He has since sold Cabin Fever to Jim Beam, which ensuingly got bought by the Japanese conglomerate Sun Tory. Tra la.

Flavoured vodka of course is a natural since vodka has little flavour on its own. Vodka flavours have devolved, if you ask me, from fruit and vanilla, to whipped cream, bacon and, omg, cigarette. True story, regular cigarettes and menthol.

Flavouring whiskey is a different matter because of whiskey’s already strong character.  The flavouring has to merge with the whiskey flavour. I was a little surprised that Crown entered the flavoured whiskey space. Like it is above such tactics. The market cries out, however.

Anyway, I poured a dollop over ice. I usually don’t like iced drinks but it seemed like the way to try it. When I tried Cabin Fever, the guy—I don’t remember his name—used ice. Cabin Fever is somewhat sweet and the ice mutes that some.

Crown smelled like maple whiskey. I’ve never had straight Crown, but it clearly was a decent whisky aroma. I got interesting fruit aromas, along with the maple. Orange came thru particularly. I do not suspect the addition of orange, that’s just what happens when Crown Royal and maple converge.

There’s some sweetness to the Crown, possibly less than Cabin Fever. It is quite smooth and lingering. It was a pleasant sip. I would drink it again, but probably not buy it again. I express why above, in the third sentence. You might try adding some to maple syrup, for pancakes or whatever. Not me, I put Frank’s Red Hot on my pancakes. I’ll bet other good cooking uses can be made.

Blogs and Change

Tributary, this very blog, is almost 10 years old. That must be a century in Internet time. The blog has changed considerably. I began nervously, with flighty random thoughts. I then recounted things Beth, Erin, and I did, things I read or seen. That’s what I want from my writing, ride the wave.

A few years ago I chose to formalize the writing a bit. I used titles, which focused the subject matter a bit. I went to a little more effort with rewriting and the typo hunt. Not perfectly so, I am bound by a necessity with the blog to dash it off. I will usually let errors go if discovered later on, unless it is really ridiculous. And I almost never remove posts.

Anyway, I thought that I would post more often, and on a wider range of subjects, or even if I don’t know it’s a subject. Blogs of 10 years ago were much more conversational in the sense of readers functioning in and as a network. That job has been taken over by Facebook and Twitter, in a more fleeting and superficial way. I like writing and I like following the mysterious trails, so I will continue in my evolving niche. And there we are.