tag:blogger.com,1999:blog-17086535086289937552024-02-19T18:38:22.612-08:00Chasing the Wolf ToneAnonymoushttp://www.blogger.com/profile/02464552190656746164noreply@blogger.comBlogger8125tag:blogger.com,1999:blog-1708653508628993755.post-15635042484420884022014-05-01T07:05:00.001-07:002014-05-01T11:39:03.825-07:00The Mandola<div class="MsoNormal">
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A <a href="http://en.wikipedia.org/wiki/Mandola" target="_blank">mandola</a>
is a less tightly strung, larger version of a mandolin. This one, someone told Jeremy, had been stepped on, which may have been true. Whatever the cause,
it had been cracked for as long as he’d owned it, and
certainly never played since his grandfather had gotten Parkinson’s and lost
the touch. Now it is repaired.<o:p></o:p></div>
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Jeremy took
it to the Mandolin Brothers in Staten Island and they were very apologetic
about having to put two posts under the bridge. But maybe it was good. Maybe
these posts worked like the sound post in a fiddle. They told him it was at
least eighty years old, a version made from a 1908 patent. It says “The Gibson” as if it was named. I asked if this was Gibson as in the guitars made today in Memphis. Jeremy said the
Mandolin Brothers had told him yes. It was a Gibson before Gibson got big. <o:p></o:p></div>
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Annie
pointed out that the label inside the instrument said, “Guaranteed” and she
suggested that Jeremy should have collected on the
guarantee instead of paying to repair it. The Gibson plant is rich with the perfume of glue, varnish, the dust and shavings from
clean, raw wood that comes from handwork, and I’m sure they would have been
charmed to see it. The Mandolin Brothers had stitched together a couple of cracks, adjusted
the neck. They had to hydrate the wood for months, it was so dry. They are
eccentric, old men who love these instruments. </div>
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Jeremy’s
grandfather had been a butcher, a boxer, a policeman.
Once, while on duty in San Francisco, someone hit him in the head with a liquor
bottle and he had to go with Jeremy’s grandmother and mother out to the
countryside to heal for a number of years. That’s what they did in those days,
go someplace quiet to heal.</div>
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<span style="text-align: center;">The instrument seemed to want Jeremy in a yoga position. He played— filled
the instrument with all his own activity. Dark, he called the tone.</span><br />
<br />
Then something happened, and Jeremy
disappeared. None of us were in his apartment anymore with its steel window
frames and view across the East River to the Manhattan skyline. We were somewhere
else inside the strange old resonance between that instrument and time.<br />
<u><br /></u>
<iframe frameborder="no" height="450" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/147427473&auto_play=false&hide_related=false&visual=true" width="100%"></iframe>
<span style="text-align: center;"><br /></span>
<span style="text-align: center;"><br /></span>
<span style="text-align: center;">Listen, the instrument was inside a forest of pine with the light streaming down, a quiet place where one goes to heal. </span></div>
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<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/02464552190656746164noreply@blogger.com0Williamsburg, Brooklyn, NY, USA40.7064461 -73.95361630000002240.682374100000004 -73.993956800000021 40.7305181 -73.913275800000022tag:blogger.com,1999:blog-1708653508628993755.post-3043364150269939402014-04-14T12:37:00.000-07:002014-04-15T07:14:29.496-07:00The Kid<div class="separator" style="clear: both; text-align: center;">
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People were leaning on a building off the Real Guadalupe,
looking up. Someone was projecting a silent film on a blank, second story wall,
a marvel. Jackie Coogan’s pitiful stare at the policeman coming to us across a
century. Then there was Edna Purviance, twenty feet tall. Finally the tramp. <o:p></o:p></div>
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I never realized how often in that movie he made himself
small, so placed off-center. We laughed in four or five languages as The Kid
tickled him under his nose to go purchase his new wings. <o:p></o:p></div>
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Seeing Chaplin up on that wall, so many, many years after
the actual actor itched at his angel’s wings makes you feel as though the
common human arena is love. <o:p></o:p><br />
<br />
Link to Chaplan's 1921 Movie, <i><a href="https://www.youtube.com/watch?v=5QDIJ-3hcCg">The Kid</a>.</i></div>
Anonymoushttp://www.blogger.com/profile/02464552190656746164noreply@blogger.com0tag:blogger.com,1999:blog-1708653508628993755.post-72655161833360552472014-03-23T14:56:00.001-07:002014-03-23T14:57:20.006-07:00Writing Conferences, AWP and the Las Vegas Hardware ShowWhy do people go to writing conferences?<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><br />
Everybody likes to talk about risk in the arts, and there is no denying that risk is important. One has to meet the wolves on their territory. So there is this part about bringing one’s most recently drafted gift to the pack, watching them feed— all the while hoping for the word “brilliant” to escape around those critical, masticating, jaws. <br />
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<br />
There is the bit about reading something to people, always dreamt in advance without pants. (Someday someone is going to take their trousers down on stage, and we’ll all be thrilled. Or has that happened?) For some, it’s the piece about standing up in a panel where someone might actually prove you wrong. Or foolish. Usually both. (And what, you may ask, is a picture of a squid doing there?)<br />
<br />
Of course, there is the terror of crowds— the certainty, for instance, that you will be embraced by someone whose intimate physical characteristics are entwined in your memory without benefit of an attached name, or perhaps even gender preference.<span class="Apple-tab-span" style="white-space: pre;"> </span>Risk. Part of the game.<br />
<br />
But there is a lot to be said for a particular kind of safety to be found at a writers’ conference.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0-1ZFSwBP91VPRalQInm4NBJyvO4QOZfYGYU6vBzu8Onqf3ej7Iqi2_2_RwXKgHOnEXyPlxi3AwuIDgaHgU2nuswfXr0GtRArrVx_Q6uM5ydxRWkg4IYT2GCAk-1RCeYZZiiePaJXmE5k/s1600/AWP+2014++26.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0-1ZFSwBP91VPRalQInm4NBJyvO4QOZfYGYU6vBzu8Onqf3ej7Iqi2_2_RwXKgHOnEXyPlxi3AwuIDgaHgU2nuswfXr0GtRArrVx_Q6uM5ydxRWkg4IYT2GCAk-1RCeYZZiiePaJXmE5k/s1600/AWP+2014++26.jpg" height="213" width="320" /></a></div>
Since it has so recently passed its season, consider the Association of Writers and Writing Programs annual conference.<br />
<br />
At one level, no matter what it may have once been, it resembles a trade show. I’m thinking specifically of the <a href="http://www.nationalhardwareshow.com/For-Attendees/?campaignid=61810751&iusercampaignid=81417924">National Hardware Show</a>, aka the Vegas Show. In May, more than twenty-five thousand sellers and buyers gather a block off the strip to pitch hand tools, lawn implements, hoses, hammers, and big-deal, new products desperately seeking Home Depot shelf space. It is an orgy of salesmanship. The bookstore at AWP comes to mind. And now, the size. Every year a few thousand more: hovering around thirteen thousand this last time up.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiismR4LCu5HJxZGDYQN9bDuV1NiTRBjcTHTixp5P5w2bpgRTGclb1qLRFwdECgAYEkOMKq1bXOvGi6ElMi58S8RXhCtE2nbLQooffjLwvIC8OPq9nWzw5nv4tx5ppGqR-dQ-CkwAQfUttW/s1600/AWP+2014++20.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiismR4LCu5HJxZGDYQN9bDuV1NiTRBjcTHTixp5P5w2bpgRTGclb1qLRFwdECgAYEkOMKq1bXOvGi6ElMi58S8RXhCtE2nbLQooffjLwvIC8OPq9nWzw5nv4tx5ppGqR-dQ-CkwAQfUttW/s1600/AWP+2014++20.jpg" height="225" width="400" /></a></div>
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At a hardware show, these people know how to sell! Anyone, for instance, who buys a product at the Vegas Show is only thinking about how it will sell to the realm of customers she has had in mind every minute of the three day sales frenzy. And it’s all about the money, every bit, my boss would say, as we flew home defeated. What I learned during my one visit to the National Hardware Show was that I couldn’t sell dog food to a starving Doberman.<br />
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What I also learned, I wasn’t alone.<br />
<br />
Okay. I love tools.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvKcPx41oJvEX72pByKI9uNKZzFU8x2LgU6bPCoFNYPI28oIKdEoMokWBQNruR39Ng1MEHhzAPbNRWnCxSUkV-5VsREu8TtIOG8t85mTBLtiODdDCnGEL1IwL3NRUBndNbIPqPGMYjFew9/s1600/DSC01531.jpg" imageanchor="1" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvKcPx41oJvEX72pByKI9uNKZzFU8x2LgU6bPCoFNYPI28oIKdEoMokWBQNruR39Ng1MEHhzAPbNRWnCxSUkV-5VsREu8TtIOG8t85mTBLtiODdDCnGEL1IwL3NRUBndNbIPqPGMYjFew9/s1600/DSC01531.jpg" height="200" width="200" /></a>I like to look at tools. I like to handle tools. I like to dream about what I could make with a tool. I keep tools that are no good, some that are outmoded entirely. I know how to use some tools whose place on the planet has been lost.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilcMU246_8lV6aHKU0VkhtJBJkNLKTRbefjiu44Yb_bT5HFOxKxB0_UbLEcEAeSfcIWilCiXE4YWPMVMP-4Q_AMQMCoFWGwBueu2p4fpykMIKtednBcDPsozXQk4pQnXPOPIsu90Cm3IqO/s1600/DSC01522.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilcMU246_8lV6aHKU0VkhtJBJkNLKTRbefjiu44Yb_bT5HFOxKxB0_UbLEcEAeSfcIWilCiXE4YWPMVMP-4Q_AMQMCoFWGwBueu2p4fpykMIKtednBcDPsozXQk4pQnXPOPIsu90Cm3IqO/s1600/DSC01522.jpg" height="200" title="Sextant" width="200" /></a><br />
And, here’s the point, it wasn’t all about the money.<br />
<br />
There were lots of us there for the tools. We all were supposed to be selling something, and everybody did it a little bit. But because we were there, our very presence at the show, told us we were the elite of the tool-obsessed community. Our obsession was not only with the tool, but with the craftsman, the expert in trade.<br />
<br />
Just so with the AWP Conference. At some level, people are selling themselves, their ideas, their books, their poems, and often being paid on the spot with an attentive ear. But I go back to AWP now, whenever I can, not to sell anything at all. Rather, I go out of the love of the tool and the craftsman.<br />
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There is risk, I suppose. Rejection, of course. Embarrassment, maybe, or in my case, most assuredly some level of remorse.<br />
<br />
However, this is not the whole story. It is in the nature of craftsmanship that practitioners will expend their courtesies upon others in the trade. At AWP, you are respected because you are there. You find yourself accepted because because you are on the floor at the conference. There is little risk that you will fail to depart feeling anything but emboldened to chance that awful, eerily inappropriate metaphor in your solitary room. The analogy that somehow mystifies us into our own sense of greatness. One is among other lovers of the tool at the AWP conference, as much as at the Vegas Show.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-gARNZ7ubZCD63QVS9w14anj8UwpVt7RCPC3-dgzgjNBMy_Fd7lSLexhnwxxieWSmJraIXE440exYRFf6ozj8-zZcPAZ6E3VIK64ALzMBDxP9szg6YuWwYtV1aA0XmhikU3iY8kvCvsgf/s1600/AWP+2014++46.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-gARNZ7ubZCD63QVS9w14anj8UwpVt7RCPC3-dgzgjNBMy_Fd7lSLexhnwxxieWSmJraIXE440exYRFf6ozj8-zZcPAZ6E3VIK64ALzMBDxP9szg6YuWwYtV1aA0XmhikU3iY8kvCvsgf/s1600/AWP+2014++46.jpg" height="246" width="320" /></a><br />
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Of course, there are outliers in any such gathering, and for those persons, the purpose of AWP is different, I suppose. But my sense is they are as oblivious to risk as the wordsmith (and I mean 'wordsmith' in the broadest, most laudatory, sense) who told me, “AWP? Eh, where poets go to spawn.”<br />
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Do you suppose he was thinking of someone's intimate physical characteristics? Do you suppose there's any gambling associated with attendance at the Vegas Show?<br />
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Anonymoushttp://www.blogger.com/profile/02464552190656746164noreply@blogger.com1tag:blogger.com,1999:blog-1708653508628993755.post-61136057191743904032014-03-03T12:38:00.001-08:002014-03-03T15:09:41.420-08:00Patronage II, Context, Causality, and Molly Ringwald<div class="separator" style="clear: both; text-align: center;">
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My friend, Francine, is a magnificent, theatrical woman who
one would be proud to accompany anywhere, and so it was that we picked seats in
the front row of a reading given by University of Washington faculty. These faculties
were poets, deeply skilled worders, with
Heather McHugh on the end whose pattering, elfin charm led us to her reading of
John Berryman’s “A Strut for Roethke,” Dreamsong 18. How I love the beat poet
elegy drumming in this:</div>
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Westward, hit a
low note, for a roarer lost<o:p></o:p></div>
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Across the
Sound but north from Bremerton, <o:p></o:p></div>
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Hit a way down
note.<o:p></o:p></div>
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And never a
cadenza gain of flowers, or cost. <o:p></o:p></div>
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Him who could
really do that cleared his throat<o:p></o:p></div>
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& staggered
on. <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Heather McHugh, Elfin</td></tr>
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Copyright foils a longer quote, just like it deviled Stephen
Dobyns when he was working to publish it in his collection of essays, <i style="mso-bidi-font-style: normal;">Next Word, Better Word. </i>He had to pay out
of pocket for permission to use the poem. He
couldn’t afford all of it. But he needed at least this much for his essay
<a href="http://www.wwcmfa.org/mfa-store/store-beta-test/">“Context and Causality”</a>. <span style="mso-tab-count: 1;"> </span><o:p></o:p></div>
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Dobyns
riffs on the interplay of effects on the page and causes off the page. Heather
read the poem by Berryman about Roethke’s death in the context of being in Seattle at the Association of Writers
& Writing Programs Conference. The cause was the University of Washington where Roethke ghosts abound. The effect came from Heather's reading through
the massive fall of the poem to this blunt end: <br />
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<o:p></o:p></div>
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Weeds, too, he
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The Garden
Master’s gone. <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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I’d hoped
to talk to Heather, but I postponed my chance because I knew I
would see her that night at a fundraiser. It was to be in the Chihuly Boathouse
and the idea of a boathouse had intrigued me, not knowing anything at all about
this great, grand, one-eyed, glass artist <a href="http://www.chihuly.com/home.aspx">Dale Chihuly</a> who has been following me
around forever— for lunch, we had found ourselves in a restaurant where his lighting was
tangled in the chandeliers, and I had pretended to understand the comments
between my friends and the waiter, the delight they were experiencing. Yes,
Chihuly or whatever that word is. Above the toilet in my hotel room, a framed picture
of Chihuly’s glass sculpture. A friend reminds me the lobby of the Bellagio is Chihuly. <o:p></o:p></div>
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His studio is appears to be truly
a boathouse, a corrugated steel shed without any sort of
signage. I went with Pete Turchi who is a very good person to accompany anyone
on a search owing to his obsession with maps. He likes to think of literature
as a form of cartography. The two of us with our smart phones helped guide the cab
driver and we found the address after a circuitous path. Pete has the calmness
of a person who knows that any destination may be arrived at through proper
orienteering. He, too, is paying for permissions out of pocket, a book to
come.<span style="mso-spacerun: yes;"> </span>Here’s a nice <a href="http://www.fastcompany.com/3027043/dialed/what-maps-can-teach-you-about-how-your-mind-works">essay</a> about his
thinking, he's quoted here by Jane Porter: <o:p></o:p></div>
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"We all
want to be efficient in some way," says writer <a href="http://www.fastcompany.com/person/peter-turchi">Peter Turchi</a>.
"Sometimes there's a different kind of efficiency that comes from allowing
ourselves to explore and get lost."<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Alfa Romeo at Open Bar</td></tr>
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Heather blew by us on the sidewalk, bound the other
direction, a wave and a ‘catch you later’ as she passed, hurrying off on some
errand in support of the fundraiser. This was the charity Heather had
originated: <a href="http://www.caregifted.org/">Caregifted</a>. It was a jazz. There would be raffles, I supposed. Molly Ringwald
would be singing. Pinsky was
supposed to read. Open bar.<o:p></o:p><br />
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This is
what I didn’t know about Chihuly; he is magic, a necromancer of design. Pete, knowing all, navigated us through the building’s maze toward ever increasing humidity and
warmth to a lap pool ringed by mirrors, overhung with fantastic, dreaming explosions
of light and lined at the bottom with Chihuly’s glassware. The place seems to be a
factory and a home, made to house and display, it evokes encouragement, humor,
and awe and wealth. It is a strut for Roethke, <i style="mso-bidi-font-style: normal;">a roarer across the sound </i>full of riches. <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Chihuly's Lap Pool with Swim Hazards</td></tr>
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<br />
Magnificent Francine and I had stayed at the reading until Heather
finished. We had watched her slip-slide away from Berryman’s strut into lines she
had taken from letters written to her by the beneficiaries of Caregifted. She
had spliced words together, voices from the clients’ applications for the
program, collected through some strange mathematical formula that made the phrases seem to be illusions of chance. It was as if the phrases could be simply allowed to fall together, and that even through pure luck, they would so powerfully
convey the love people feel in spite of their helplessness/hopelessness. The cause was the life they'd been handed, and the effect was the knowledge that their lives would evermore be defined by the moment-to-moment care they must
give to their sons, daughters, husbands, wives. This is the burden of love that chance, or perhaps God, had given them. Terrible— and wonderful— words, wonder and terror. </div>
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<tr><td class="tr-caption" style="text-align: center;">Roarer Across the Sound</td></tr>
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At the
boathouse, I told people about Heather's reading that afternoon. The jazz event audience was
supremely well-heeled. Wristwatches that cannot be purchased, only inherited.
Clothing as creative, playful and affluent as the Seattle skyline. I told
people that McHugh was using her MacArthur grant to fund Caregifted, unlike
many of such award winners who must use it to pay off their mortgages. We
watched a video of a man/boy trying to communicate to the camera while his
mother sat in the background at a desk. She reminded him of his name when the cameraman asked for it, and the man/boy answered using a kind of palm pilot.
How do I know it was his mother? Only a mother could have anticipated this
child’s frustration as she did. It was the habit of thousands of iterations,
telling this adult child his name.<o:p></o:p></div>
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When
Heather had finished her reading for the UW audience, Francine and I heard none
of the usual sort of sigh made by appreciators to let the poet know she had
been heard. A true silence. Our hearts were stopped. The lines had arisen out
of Heather’s usual, wonderful, slip-sliding patter, a drag race
down the punning, funning, crying, weird, gravel road of her
mind, and we had been captivated into Berryman's strut for Roethke then sent
skidding around the corner and into space with these strange, terrifying sentences.<br />
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<tr><td class="tr-caption" style="text-align: center;">Woman Diving Above Molly Ringwald Who Can't be Seen</td></tr>
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At the end,
Heather said, "Sixty-fucking-five years old, and I'm still learning about
love."</div>
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The Boathouse Jazz show was presented in a large space that may have normally been Chihuly's studio. Heather spoke, then read under the light from a diving girl taken from some Miami motel-- or perhaps Chihuly had made it. Pete and I
left the event after seeing Molly Ringwald— tall on the stage, extravagantly elegant,
and she responded to an intricate pianist with torch songs she sang prettily.</div>
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Anonymoushttp://www.blogger.com/profile/02464552190656746164noreply@blogger.com0tag:blogger.com,1999:blog-1708653508628993755.post-82278031946409656732014-02-24T10:03:00.000-08:002014-02-24T11:55:57.217-08:00Patronage, Part I<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj32i9Nc2OBpqreV9iNqMmyXw6OReaW3uyWuOWAAhi71q6rAAQjZXkL5DNKkyFqToIWkxMmTfgMxzjndi4OVreh-I1Zw5sX_rlKLc8FFNlJPi6rX__VPiQmv8CVXI86wbJqrwobmiS8saIL/s1600/IMGP7914.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj32i9Nc2OBpqreV9iNqMmyXw6OReaW3uyWuOWAAhi71q6rAAQjZXkL5DNKkyFqToIWkxMmTfgMxzjndi4OVreh-I1Zw5sX_rlKLc8FFNlJPi6rX__VPiQmv8CVXI86wbJqrwobmiS8saIL/s1600/IMGP7914.JPG" height="400" width="265" /></a></div>
Patronage is like gardening, anyone can do it at any level. But you have to keep after it. You have to pay attention. Yesterday, I was digging decorative rocks out of a garden plot. These rocks sink into the ground after awhile, and you have to either dig them up or buy new ones to put on top.<br />
<br />
Two women riding pink bikes with baskets and tassels on the handlebars stopped in front of the house. The older one said, "Are you Rolf?" The woman reminded me we had met. She had been director of the Ignation Volunteers in our city, a group that includes my wife. They believe in being contemplatives in action. This was her daughter with her.<br />
<br />
They asked if my wife was around and I said she was in the hot tub doing her crossword puzzle. Pink bikes, a stop out of nowhere. For some reason, Girl Scout cookies came to mind. I supposed they were selling something. I dragged my feet getting Sharon. My wife needs time alone. She treasures her Sundays, the respite from the week and we have done so many jobs in our lives that needed us 24/7. That’s what a career in the Navy earns you, the right to a quiet day doing the crossword in the hot tub. <br />
<br />
The mother told me her daughter was leaving on Tuesday to go back to South Sudan. The young woman is working for the UN Development Programme to promote democracy through elections. She had been evacuated in November. Four US planes came and took her out of country when all American citizens were told to leave. She said that most people had vouchers to get on the plane, but she only had a promissory note and she expected to get a bill. She didn’t mind paying. She’d known that had been the deal going in; she might have to pay to be evacuated. In our embassy in South Sudan, only the Ambassador, the Marine Guards and the Defense Attaché were left behind. <br />
<br />
The young woman’s bosses told her she had to go back this week, and now, she says, she doesn’t want to go. She sees no reason, “Elections will destroy the place,” she says, and she told us, her heart had been broken when she was told to evacuate. <br />
<br />
She was a 34 year old woman wearing a child’s helmet on a pink bike, and a light scarf wrapped around her neck like they do in the subsaharan areas of the planet— women to cover your head or your face. Men to keep the collar of the body armor from chaffing your neck. <br />
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Sharon and I realized they had come to see us because we are people who know what it’s like to go somewhere out of duty. Or maybe they hadn't sought us out. Contemplatives in action believe in a divine hand. Contemplatives in action are people who know when it’s futile long before our masters, then do our duty anyway. The young woman said it had felt like a breakup— she meant with a lover— and now she was in the period when she had to find a way to make the relationship end. Betrayals destroy any sort of love. <br />
<br />
We gave them water. I told them about the wolf tone and the strange harmonics of it. I told the young woman to write everything down. Keep it. That's what I did. No one will remember this, I told her, unless you record it. I told her not to remind anybody about the bill for the plane ticket. Sometimes they forget. Sometimes someone actually lets you off the hook. <br />
<br />
I think the purpose of patronage is to give hope.Anonymoushttp://www.blogger.com/profile/02464552190656746164noreply@blogger.com2tag:blogger.com,1999:blog-1708653508628993755.post-74396411451420550452014-02-21T10:31:00.000-08:002014-02-21T11:13:43.219-08:00The Common on the Long Wall<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: 12pt; line-height: 115%;">There's a journal called <a href="http://www.thecommononline.org/">The Common</a>, as in the commons of a town, and they are concerned with place. As in shared place. Harmonics. They are concerned with "Finding the extraordinary in the moment..." </span><span style="color: #231f20; font-family: Times, Times New Roman, serif;"><span style="line-height: 21px;"> </span></span><br />
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<span style="font-size: 12pt; line-height: 115%;">Tourist places are commons. Take the Great Wall. Use the
literal translation and it would be called the Long Wall. But it feels exactly
like Mount Rushmore with its unending preface of shops selling tourist
concessions and imitation antiques, overpriced water. A Common. </span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Our tour
guide said, “President Obama took eighteen minutes to the top. Bush walked up
it, too,” and left us mercifully on our own. When we got back, he asked us if
we’d been heroes. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">(No, we didn’t want to go to the jade factory. No, we didn’t
want to stop for the traditional lunch. No, we are not interested in your
cousin’s special museum. Never take a guide. Never break that rule, we told ourselves,
ever again.)<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">No Americans
up there on the wall, although I imagined the summer to come, our diabetic
sweat on those slick steps. We saw the cardiac unit at the bottom, and even that seemed like a cliché for the camera, all of it as
over-photographed as a Disney theme park. The commons of kitsch. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Except for
this instant. This red bride’s pose. </span><span style="font-size: 12pt; line-height: 18px;">We stopped to watch from a dozen nations. We all took our snapshots of this woman to bring home. She was a dissonance of color in all this grey, grey, grey. C</span><span style="font-size: 12pt; line-height: 115%;">lothed in those reconstructed moments
there was beauty beneath that archway, under all the satin
and makeup. Some smile recognizing some future from a past that seemed for a
moment more than simply illusion. Everyone </span><span style="font-size: 16px; line-height: 18px;">saw the same strange wolf tone—common to us all. And you can't fake that young person's perfect hope</span><span style="font-size: 12pt; line-height: 115%;">.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">(Yes, we told the tour guide, we understand the traffic was bad. Yes, it would be
fine to finish early. Extra time for your family and won't you take some extra money for them, too? Of course
we will recommend you to others.)<o:p></o:p></span><br />
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<span style="font-size: 12.0pt; line-height: 115%;">We were finding The Common in the extraordinary, weren't we? </span><br />
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<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/02464552190656746164noreply@blogger.com0Great Wall of China, Huairou, China40.4319077 116.5703748999999314.909873199999996 75.261780899999934 65.9539422 157.87896889999993tag:blogger.com,1999:blog-1708653508628993755.post-27888597419520264542014-02-20T13:47:00.009-08:002014-02-20T21:35:49.321-08:00Accidental Collage<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtu0eDuXxE_CbsuLPXW7cXvPQDY9mhbvaAHFsZBqU1tifw6ZpMdrnCVCCMsFm9Pbilc7wrr7THZsWSNkquz6Q1yI_XP5KK7KlBPQsKpDoz5Vtc-XtEz7aXwfBQ74TFXMn3GEiGHDdZc7Vn/s1600/2004+Dec+20-26+Milan+Barcelona+039.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtu0eDuXxE_CbsuLPXW7cXvPQDY9mhbvaAHFsZBqU1tifw6ZpMdrnCVCCMsFm9Pbilc7wrr7THZsWSNkquz6Q1yI_XP5KK7KlBPQsKpDoz5Vtc-XtEz7aXwfBQ74TFXMn3GEiGHDdZc7Vn/s1600/2004+Dec+20-26+Milan+Barcelona+039.jpg" height="472" width="640" /></a></div>
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A poet showed me the flames over the bus before I ever saw them myself. No matter how many times I had looked, I had seen only Pius XXI and the bare arm. It was an accidental collage caught in Barcelona at Christmas-time when the hotels are cheap, when the Ramblas whores and thieves are thinned out by visits home. When the cool air carries with it the fragrance of chickens roasting in the window of restaurants like <a href="http://www.loscaracoles.es/" style="color: #888888; text-decoration: none;">Las Carracoles</a> where you eat snails and paella at your own risk. </div>
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<span style="background-color: white; color: #666666; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18px;">The author </span><a href="http://karenbrennan.org/" style="background-color: white; color: #888888; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18px; text-decoration: none;">Karen Brennan</a><span style="background-color: white; color: #666666; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18px;"> knows the real terrain of collage -- the incidence of found objects, the </span><i style="background-color: white; color: #666666; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18px;">mise-en-scene</i><span style="background-color: white; color: #666666; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18px;"> of place. A good essay, “Some Reflections on the Concept of Place in Place in Fiction” can be found here, </span><a href="http://tupress.org/books/a-kite-in-the-wind" style="background-color: white; color: #888888; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18px; text-decoration: none;">A Kite in the Wind</a><span style="background-color: white; color: #666666; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18px;"> . But the essay I really want to read one day would come from her 2009 class, “Collage/Assemblage” where she talked about the wolf tones of collage found in her extraordinary memoir, </span><i style="background-color: white; color: #666666; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18px;"><a href="http://www.brainline.org/content/2010/03/being-with-rachel_pageall.html" style="color: #888888; text-decoration: none;">Being with Rachel</a></i><span style="background-color: white; color: #666666; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18px;">.</span><br />
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Her daughter, Rachel, is in a coma:</div>
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“Someone fastened a small Guadalupe holy card to the rails of Rachel’s bed, and then my sister in Tucson, out of the blue, began to dream of the Mexican Virgin. It seemed, for a while, that we were deluged by Guadalupes, Guadalupes everywhere in the cards and gifts sent to Rachel and spotted randomly throughout the day: a nurse with a Guadalupe bracelet, a taxi driver with a Guadalupe postcard tucked beneath his visor. Weirdest of all, a prayer to the Virgin of Guadalupe written in Spanish appeared on the windshield of my car where it was parked at the Holiday Inn. And since any sign, from blood pressure to the tiniest tremor around Rachel’s closed eyes, meant something, I began to pray to Our Lady of Guadalupe. <i>Let her make it through, I’d pray. Just let her wake up. Just let her live. Just let her have her life.”</i></div>
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Collage informs Karen's new poems. From her book <i>Little Dark</i>, lines from "Ballares" (Four Way Press):<br />
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"I never believed in anything I walked through walls <o:p></o:p></div>
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Like Jesus"</div>
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Anonymoushttp://www.blogger.com/profile/02464552190656746164noreply@blogger.com0tag:blogger.com,1999:blog-1708653508628993755.post-50625158475554984192014-01-27T03:00:00.000-08:002014-02-19T08:38:46.086-08:00The Wolf Tone<div>
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Going east out of California, I-15 leads down from the San Bernardino Mountains into a valley at the Nevada border, a dried lake basin called Ivanpah. It’s an old name, native language, said to mean Clear Lake. It’s the Mojave Desert, a place where I used to worry about overheating the car. These days, cars don’t overheat much. I do. Not the car
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I was alone, listening to a recording of a lecture by Kevin McIlvoy. We call him Mc (said ‘Mac”). He writes ephemeral stories of delicacy and grace, strange music. Here’s a little taste from “Ladies room”:</div>
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“As he knew they would, the three
ghosts appeared again in the Ladies Room of The Pea Vine at 4:30 AM, the middle
of his shift. It was May 7, his ninetieth birthday. Len's checklist of tasks
more or less done, he listened in.” <o:p></o:p></div>
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The rest
can be found at: <a href="http://www.huffingtonpost.com/kevin-mcilvoy/featured-fifty-fiction-ladies-room_b_3625890.html">"Ladies Room"</a></div>
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Mc was
lecturing a group of students about dynamic balance in fiction and poetry, and
as always for me, it was a struggle trying to get it. Then I do get it. Then I don't. It’s like that with his
thoughts about writing,
always just above my fingertips reaching up.<span style="mso-spacerun: yes;">
</span><o:p></o:p></div>
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He was
talking about the Wolf Tone. The lecture can be found on line. “<span style="mso-bidi-font-weight: bold;">The Equilibrist and The Dynamist” at <a href="http://www.wwcmfa.org/mfa-store/store-beta-test/">http://www.wwcmfa.org/mfa-store/store-beta-test/</a><span style="mso-spacerun: yes;"> </span>He was saying that: <o:p></o:p></span></div>
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“A person who wants that unique
sound of John Lee Hooker on a song like “The Waterfront” or “Stop Now Baby”
will want a guitar that in open tuning has a crunch – ha – howl— whenever the F# is fingered on any fret. That flawed wonder is called the Wolf Tone.”<span style="mso-bidi-font-weight: bold;"><o:p></o:p></span></div>
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<span style="mso-tab-count: 1;"> </span><o:p></o:p></div>
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The Wolf
Tone is an unavoidable flaw in a perfect cello. It is the note where the harmonics
of string, instrument, bow, player, pin, tailpiece, neck, body, bridge and
sound bar conspire in to depart from harmonic balance. Dissonance is the word Mc does not use. The sound of it can be found here: <a href="http://commons.wikimedia.org/wiki/File%3AWolfTone.ogg">Wolf Tone</a> <o:p></o:p></div>
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<br /></div>
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Why would
anyone want it?</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"><br /></span></div>
<div class="MsoNormal">
You have to
drive through a lot of dry country to leave Southern California going east—
very orderly dry country. Mc had told me, “Biologist and geologists and
physicists assert that symmetrical forms and even quasi-symmetrical forms in
nature are extremely rare.” This is certainly true, but there is a sameness, a
coherence in the desert. Driving my perfect car, in perfect comfort, the Joshua
trees, chickweed, creosote and cactus seemed in perfect balance with the raw
rock faces of the mountains. The desert was certainly nothing like Mc’s term
for dynamic balance, “…the effect of work that in substance and style is, at
the very same moment, on the verge of falling into and falling out of balance.” More here: <a href="http://www.allthingsstrings.com/Instruments/CARE-MAINTENANCE/How-to-Tame-Annoying-Howling-Wolf-Tones">Experts on the Wolf Tone</a><o:p></o:p></div>
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<span style="mso-tab-count: 1;"><br /></span></div>
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Even the
chaotic weather of that day seemed in harmony with the desert. Asymmetric winter light
through clouds running east after a storm. I came down the pass toward the lake and saw
three towers glowing in the basin, the dried lake itself seemed filled with
silver waters. Strange. Otherworldly. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioheqi-FB58KhuyL-3FVwmwUc2IOCTtwlH6hffHDi7ozUle9zO22Vc6DUW5q-57bD2aJ8aVETomi2ZMDElaCro1HXdR4_kzJGN6QhYj0nDSR8q_PpRRglQVjLOKG7ewjAKsqB_4eVnQYl-/s1600/DSC_0022.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioheqi-FB58KhuyL-3FVwmwUc2IOCTtwlH6hffHDi7ozUle9zO22Vc6DUW5q-57bD2aJ8aVETomi2ZMDElaCro1HXdR4_kzJGN6QhYj0nDSR8q_PpRRglQVjLOKG7ewjAKsqB_4eVnQYl-/s1600/DSC_0022.JPG" height="419" width="640" /></a></div>
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<br />
This was the Wolf Tone. This was dynamic balance, the beauty of impossible symmetry spread across the coherence of the desert. </div>
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<o:p></o:p></div>
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<span style="mso-spacerun: yes;"><br /></span></div>
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A solar plant, made to create power. Here's the link: <a href="http://ivanpah.nrgenergy.com/">Ivanpah Solar</a></div>
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Anonymoushttp://www.blogger.com/profile/02464552190656746164noreply@blogger.com0Ivanpah Lake, California 92364, USA35.5506 -115.395899999999988.7978295000000024 -156.70449399999998 62.3033705 -74.087305999999984