‘Crusoe in England’ was first published in The New Yorker in 1971, then later collected in ‘Geography III,’ perhaps Bishop’s finest single volume of poems. (Only recently I discovered the title of which was suggested to her by John Ashbery. He had found a little geography textbook of the eponymous name, and sent it to her, thinking she’d rather enjoy it. Turns out, she did.)
I can’t help thinking ‘Crusoe in England’ is Bishop’s greatest poem, though Bishop is the type of figure who inspires worshippers, and therefore, nearly all of her poems are considered The Greatest, The Most Favorite, The Defining Classic: ‘The Fish,’ ‘At the Fishhouses,’ ‘One Art’ (which wears on me), ‘The Man-Moth,’ etc. Ashbery’s favorite is characteristically ‘Over 2,000 Illustrations and a Complete Concordance.’ After reading it, he wrote Bishop his first and only fan letter and attached the poem he wrote in tribute ‘Soonest Mended.’ Ashbery also adores ‘A Miracle for Breakfast’ for the charm of a strict form like the sestina depicting a daily meal (one thinks of a Fairfield Porter interior in the Bonnard style, teacups and silverware placed around a family dinner table next to a copy of Wallace Stevens’ poems). Helen Vendler’s favorite is ‘Brazil, January 1, 1502’—or maybe it’s simply the poem of Bishop’s she has written most beautifully about. Harold Bloom’s favorite is a small gem from her first book, ‘The Unbeliever,’ which he finds to be a pure Romantic lyric in the Shelleyian vein. Christopher Ricks once told me how much he cherished ‘The Filling Station,’ though he has reservations about EB, and prefers her prose. Scott Cairns—like Mark Strand—thinks ‘The Monument’ a perfect poem because it is enacts what it describes, full of those tromp l’oeil effects where poems step off the page: “Look!” (Similar grand examples of this: Keats’ ‘This Living Hand,’ Ashbery’s ‘The Instruction Manual.’) And while I know Merrill considered her the greatest poet of his time (like many others: Randal Jarrell, Robert Lowell), I’m not sure which was his favorite poem. ‘Pink Dog’ is surely the most Merrillesque—for its astute powers of observation mixed with the reticence of its sophistication. It’s a mellow poem that reminds me how much both poets really learned from Auden.
Clearly, she was and is a well-loved poet. I’ve been using ‘the greatest’ and ‘favorite’ almost interchangeably, which is not quite right. ‘Crusoe in England’ might be both for me, though I admit to always having had a soft spot for ‘North Haven.’ Was a more intimate and moving elegy ever written by one poet for another? As Bishop said to Lowell in a letter: “I want to be heartbreaking.” ‘North Haven’ is compactest proof.
So what’s so amazing and appealing about ‘Crusoe in England’? For starters, it’s one of Bishop’s longest poems, if not the longest; it was written towards the end of her life, and in it, one finds an entire life—Crusoe’s (i.e. Bishop’s)—compressed soberly, hauntingly. Bishop was a wordsmith but in her poetry she is no less a painter: the array of detail is uncannily fresh, mostly for its accuracy, but no less for its originality. Steam rises in the distance from the volcanoed island like flies; the volcanoes themselves stand like mountains with their heads blown off. Every sense has been answered to, from the smell of guano to the touch and texture of the hissing lava, the rolling gulls and quaking turtles, the horrifying baby goats.
Still, previous poems of hers have shown the same brilliance and grace of description. In ‘Crusoe,’ that painterly hand is matched with a cadence of melancholy and surrender that comes from staring back at the unexpected—or was it expected?—course of a single life. “None of the books has ever got it right.” “Beautiful, yes, but not much company.” “I often gave way to self-pity.” These asides, seemingly dropped down in the poem carelessly, are the signs of her mastery. The voice of this poem, like its tone, betrays her inimitable dramatic understatement. It reminds me of the quietness of Auden’s love lyrics, or the intimacy of Coleridge’s Conversation Poems. And speaking of Coleridge, of whom Bishop was a lifelong devotee, ‘Crusoe’ is also a poem suffused with allusions to Romanticism—there’s the title character, of course, written in the vein of 19th century adventure travelogues; there’s also the Wordsworth quote from ‘I Wandered Lonely as a Cloud.’ I also hear in her hallucinated sunsets that mysterious ballad ‘The Rime of the Ancient Mariner.’ And then in her play of Mont d’Espoir for Mount Despair—a telling trickery, that is so reserved, and sad—you also see a wink at Shelley and Wordsworth who found in the Alps something like a confrontation with existential reality—a sublime affirmation for one, a sublime negation for the other.
Bishop spent most of her adult life in Brazil, away from academia and the limelight she had received ever since Marianne Moore brought her to the attention of the general reading public. An orphan, an exile, a lesbian—all of these personal histories are entwined in ‘Crusoe in England’ that underscores how her life ended. Bishop would return to America, die in Cambridge, having survived the love of her life’s suicide. Her last days were as a professor at Harvard. As the title belies, the adventures have ended. Crusoe is back in England, Bishop in the States. Just as Crusoe’s imaginative paraphernalia have been incased in museum glass, so have Bishop’s manuscripts and poems been handed over to other people. What ultimately remains of any artist’s life but an attempt to make some lasting object? That’s the Ovidian monument against time, yes, but it’s also another momentum mori. Art may go on, we certainly don’t. Like Don Quixote waking from his reveries to find himself the published character in his mad odyssey, we—like Crusoe, like even the great poet Elizabeth Bishop—are defeated by reality.
You can read and hear her reciting “Crusoe in England” at Poetryarchive.org. Below, a recording of Bishop reading “In the Waiting Room.”
|Elizabeth Bishop – In the Waiting Room .mp3|
by Elizabeth Bishop
The moon in the bureau mirror
looks out a million miles
(and perhaps with pride, at herself,
but she never, never smiles)
far and away beyond sleep, or
perhaps she’s a daytime sleeper.
By the Universe deserted,
she’d tell it to go to hell,
and she’d find a body of water,
or a mirror, on which to dwell.
So wrap up care in a cobweb
and drop it down the well
into that world inverted
where left is always right,
where the shadows are really the body,
where we stay awake all night,
where the heavens are shallow as the sea
is now deep, and you love me.
Forgot to post yesterday. To compensate, I am typing a poem “by heart”—you may know it already, by Ms Jorie Graham…
THE WAY THINGS WORK
is by admitting
or opening away.
This is the simplest form
of current: Blue
moving through blue;
blue through purple;
the objects of desire
opening upon themselves
the objects of faith.
The way things work
is by solution,
resistence lessened or
increased and taken
The way things work
is that we finally believe
they are there,
common and able
to illustrate themselves.
Wheel, kinetic flow,
rising and falling water,
ingots, levers and keys,
I believe in you,
cylinder lock, pully,
lifting tackle and
crane lift your small head—
I believe in you—
your head is the horizon to
my hand. I believe
forever in the hooks.
The way things work
is that eventually
On our way back from the Sand Paper Press reading at Adobe Books in San Francisco, Arlo Haskell and I drove through Big Sur on our way back to Los Angeles. Arlo had never been before; this was my fourth visit, my third in six months. I never stay longer than twenty-four hours. I don’t know why. As someone who doesn’t normally feel a primal connection to a place, I ought to take advantage of the stirrings when they occur. Certainly I wouldn’t have been the first to feel them in this place. Robinson Jeffers, Henry Miller,
Jack Kerouac, California pioneers, assorted Hollywood moguls, and migratory whales have all experienced Big Sur’s poweful pull.
The other day the ambience at Big Sur was particularly dramatic. There was mist in the air from everywhere – from the mountains to the west, where fog was stuck; from the ocean, which was pounding the rocks with particular force. And the sun stuck the mist similarly everywhere, so that the air glowed yellow, the fabled gold of California.
When you drive south through Big Sur, you must stop and see the elephant seals at Piedras Blancas. There were huge males on the beach on Tuesday, maybe 15 feet long, with doe-like black eyes and crumpled snouts that look like a baby bird has perched on their faces.
This reminds me of a poem by the wonderful Argentinian poet Hector Viel Temperley, whose work I have been translating for some years. It’s from Legión extranjera (1978), a breakthrough volume in which Viel’s surrealist and visionary Christian impulses begin to catapult one another, and the reader, into vertiginous orbit. The poem is ‘El verde claro’ (The Luminous Green), and in it the poet listens to a woman (perhaps a naturalist?) as he stands on the shore: ‘Between the lighthouse and the spray and the green crags / one of the women explained it all: / She explained how old elephant seals / are forced to stop pursuing the females and so / They rub their penises on the baby / elephant seals / and with their flippers keep them still // I told her a different story : / Not so long ago I met a young monk fresh from the cloister / who writes hymns for the services / And not only does he write music and lyrics / But he signs his name and sings them / He’s got a good voice / and can play the guitar / But this isn’t getting us anywhere! / I dreamed about closer, more likely things / My other and I are two bags of luminous green / connected by an umbilical cord / And sharks flee from our luminous / green shadows / while we tread water in a luminous green sea / in the luminous / Green breath of an African sea.’
Viel deserves to be better known even in his native country, and certainly in this one as well, a situation I am hoping to soon improve.
(Disclaimer: Ok, yes. This is a post about pens. But bear with me—I actually do have an idea here.)
I found my favorite pen at home—my mother’s house in Northern Virginia. The townhouse is a small one, and is filled with thirteen years worth of the kind of stuff a family with an inclination toward a breed of boredom that stems from a general suspicion that life is meaningless accumulates when it stays in one place for long enough:
Construction paper, watercolor paper, canvases, palettes, coloring books, markers, crayons, colored pencils, pastels, gauche, acrylics, water-soluble oils, oils. A flute, a piccolo, three recorders, an Irish penny whistle, a Jew’s harp, a harmonica, a kazoo or two, an old guitar. Knitting projects, beading projects, thread, needles, needlepoint, thimbles, embroidery floss of all colors, clay. Two chessboards, Scrabble, Perquacky, Yahtzee, Sorry, Past Lives, Life.
The house is also full of exhausted pens. It usually takes three or four trial runs on scrap paper to find a pen that still contains some ink. (Maybe throwing away an empty pen, for my family, seems a gesture rife with symbolism, a gesture of giving up?) The working pen I happened to find and accidentally adopt, tossing it in my bag on one of my visits there before heading back to New York, reads in white lettering on a translucent dark green casing: ADAMS-GREEN FUNERAL HOME AND CREMATORY, with an address, phone number and website.
It’s only held favorite status recently. I’d reach into my bottomless tote, scrounging as always, and pull any one of the writing implements out, but I started to notice that when I’d pull out this pen, with the translucent green casing and the silver tip, something in me would exclaim, “You!” and I’d find myself grinning. And then again, I’d reach in, and, “Ah ha! There you are!” And, “Bonjour! Adams-Green!” And, “A.G.! You little vixen, you!”
I like it because it reminds me: Write something down because you are going to die.
This might seem like an unnecessary amount of pressure to put on oneself, especially if the writing implement is being used to write something like—I’m reaching for the nearest mini post-it pad as we speak—“Bob wanted to play Yahtzee & eat oatmeal cookies.” But this note matters. I don’t know how or why just yet, but I feel it does.
In “Body and Soul,” from A Short History of the Shadow, Charles Wright writes, “Write as though you had in hand the last pencil on earth.” Right. Right? Right.
It’s important not to lose sight of this: That what is written, even if no one reads it, is important, that there isn’t really any time to waste, that if you have something to say—even if it’s “Bob wanted to play Yahtzee and eat oatmeal cookies”—say what you came here to say, and try to be honest.
In their second conversation, Mark Halliday and Allen Grossman attempt to answer the question “Where are we now in the history of poetry?”
I figured I’d highlight a few of the most interesting takes on poets of the last hundred years. I want to then use it as the basis of a discussion on the relation of past poetry (and other art) and its relation to the present situation of poetry. Overall, there is a rather nice arc that Grossman paints…
On the “high moderns” (Yeats, Eliot, Pound, Stevens, and I think he later includes Crane):
[They] used up the idea of greatness or implicated that idea in complex ways with aspects of civilization…that produced the Second World War….Poetry was not helping us learn how to live because the High Moderns…set poetry against life. They seemed to have established the outcome of poetic enterprise outside of life in unreachable transcendentalisms which no longer made any sense at all [to poets coming after World War 2]. The immediate response to the High Moderns was to conserve them academically and therefore neutralize them, and then to retrench upon the world not of transcendental reality but of what, loosely speaking, can be called an immanent counter-reality.
Lowell came along to take on the mantle of “immanence”:
Life Studies (1959) [was his attempt] to effect a disencumbrance of mediations, to obtain a direct relationship to the life of his own consciousness unmediated by the vast structural impositions of the greatest predecessors, of whom Yeats is the example that most often comes to my mind….I think that the sentiment which surrounded Lowell’s massive and persevering effort to obtain a poetry which was more fully immanent to the world of his consciousness, and less fundamentally characterized by the self-reference of poetry to its own history, represents a response to that predicament which I was speaking of in our first conversation. It represents an effort to obtain a poetry which is in harmony with the life of sentiment; that is to say, the life of human immediacy rather than, as in Yeats, a poetry which demanded of what he called “the intellect of man” that it choose between a perfection of the life, for which he had little talent, and that perfection of the art for which he was so massively gifted.
Grossman is careful to note that Lowell’s search “did not indeed constitute a disavowal of greatness, a disavowal of universal stature.” That is, Lowell did not disavow transcendence in favor of immanence, which Grossman defines as follows: “initially a theological word,…it means indwelling; and that inness always implies an internality to the human world.”
On “immanent” confessionalists:
There is the mortal family and the immortal family. The immanent confessional poets, who announced the world in which you began writing, turn from the transcendental family to the mortal family, attempt to construct a poetry internal to that mortal family, a poetry founded in the notion that the language adequate to produce the picture of the person as precious is consistent with the language of ordinary life.
…in Howl, [he] undertook “to recreate the syntax and measure of poor human prose” on the basis of immediate relationship between persons. The enormous opening sentence of Howl constitutes an effort to extricate a single relationship from the predation of transcendence upon the fragile scene of human love. In Ginsberg’s poem, the whole world of drugs in indistinguishable from the central culture of decadence, and the angelic transcendence of a prior metaphysicalism embedded in the Beat jargon which he practiced, hardly distinguishable from the Moloch which he calls contemporary society.
Grossman points out that an important shift happened in 1950s America: “the national symbol, always a resource for the grounding of poetic authority, was discredited….The discrediting of the national symbol—“America” for the American poet—continued relentlessly through the sixties and early seventies…and disempowered one great basis for legitimation of the self—the nation.” He goes on to say that “the absence of a world that is organized by authority…[is] enormously disabling, and yet at the same time, enabling in a fashion so open it lacks the magnanimity of direction.”
…situates his poetry on the fundamentally romantic problem of epistemology, the problem which focuses the business of personhood upon the question as to how the way in which we know the world affects the way in which the world is experienced.
…[writes] in virtually autistic isolation…a poet whose creative power, particularly whose capacity to conceive of ways of entering into discourse inconceivable to me until he showed the way…seems to search the resources of discourse without ever allowing them to complete themselves….Ashbery is an epistemological genius whose world has arrayed itself around him as a world in which it’s possible for a man to live on condition that he reserves his passion for totality, as it were for another life. His world is a separate world in which it is impossible to meet another soul….Ashbery is not so much an epistemological writer as a writer about ontological orientation.
(Halliday described Ashbery as “melting together…syntactical fragments that could have been quite at home in a poem from an earlier age.” For a fuller explanation of this, I recommend Chris Robinson’s opus on how Ashbery composes poetry.)
OK! Flurry of quotes done. Since this conversation happened in 1981, it seems appropriate to try and update this arc. Admittedly, I left out a few other poets that Grossman had fascinating takes on, mostly for the sake of space and forwarding my rather tidy narrative of poetic fragmentation.
I would be very interested in hearing your reactions to Grossman’s characterizations as well as your own thoughts on the state of current poetry. What follows is mine.
I confess that there seems to me to be a crisis in current poetry. There is so much free space to carve out, nobody knows where to begin, and everyone seems to be waiting for the next great someone to do something that wows. Stephen Ross talks about this in the Oxnian Review, the trend in recent poetry to be hybrids only:
Hybrid poets have also breathed new life into the use of caesura, a break or a sense pause in verse often marked by white space between the words. In this regard, they have been inspired in equal parts by sources ranging from Beowulf to John Berryman’s Dream Songs. Sometimes, they break their lines into a kind of staggered ladder, a la William Carlos Williams. Other times they just write in prose. All of it flows from the postmodern horn of plenty.
Hybrid poets are by-and-large adept, though sometimes shallow, name-droppers from the western and eastern intellectual traditions. In American Hybrid alone, one finds direct references to Maurice Merleau-Ponty, Simone Weil, the pre-socratics, Cornel West, Paul Celan, Hsuan Tsang (a possibly fictitious Buddhist monk), Ludwig Wittgenstein, Ezra Pound, Sophocles, Maimonides, Alfred North Whitehead, Wallace Stevens, J.M. Coetzee, and Hegel. Thomas Aquinas and scholasticism also appear surprisingly often; indeed, the hybrids have a kind of neo-scholastic penchant for (often inane) logic-chopping and for communicating in breathtakingly precise terms.
My sense of crisis lies with this question: Are we so poetically promiscuous out of a sense of freedom or because we don’t know what else to do? Ironically, modern poets name drop as much as Pound and Eliot, but for completely different reasons. For the High Moderns, there was a sense that they could realistically “shore these fragments against [their] ruin.” Today we shore them because we’re garbage collectors of the dump of the past. Less-educated poets often have no idea who they’re channeling. More-educated poets sometimes channel so much it’s suffocating. Moreover, the channeling is less about inspiration, using the poetic past as a way forward.
This brings me to another crisis in current poetry, that of publishing (ironically, I am speaking from the platform of a brand-new poetry blog, self-powered by WordPress). Many of you might have read David Alpaugh’s article in The Chronicle of Higher Education, “The New Math of Poetry” in which he repeats the oft-heard lament that the current world of poetry is so large and unwieldy that it is completely impenetrable:
Every now and then someone asks me, “Who are the best poets writing today?” My answer? “I have no idea.” Nor do I believe that anyone else does. I do have an uneasy feeling that a Blake and a Dickinson may be buried in the overgrowth, and I fear that neither current nor future readers may get to enjoy their art.
We recent poets have two great tools at our disposal: freedom of poetic license, and freedom of publishing. Generally, we can say whatever we want, and get a significant number of people to hear what we have to say. The question is whether this freedom has led to better poetry or degeneration. Perhaps that’s not the best way to put it. The question should be, even if somebody is doing something amazing and new in poetry, would we even see it? Will we travel all this way to find that we really did need the gatekeepers of poetry??
What should our attitude be toward the “postmodern horn of plenty” that has affected both poetic license and publishing? Film also seems to be facing a similar crisis with the question of digital vs. film. I found an interview with one of my favorite film critics, Armond White, in which he addresses this question.
Steve Boone: What it suggests to me is that radical visions from people who would otherwise not have been bothered because of the mountain you’d have to climb to get a film completed, the translators you’d have to employ, would no longer be an issue, and you’d take camera in hand. Super 8, Pixelvision, Hi-8—all that stuff was nice, but it was low-resolution and if you put them up against a 35mm projection, audience prejudices would discount these other media. Now we have these new cameras that, if you know how to light and compose and expose, your image is going to be free of those subliminal triggers that provoke an audience to dismiss a film as “not film.” All that stuff goes away.
Armond White: Well, you say “audience prejudice.” I say “audience preference,” because the screen is not a level playing field. And Americans are very fortunate to have had Hollywood, to have experienced–to know– how great photography can be. So don’t give me no bullshit. I know what great photography is. I don’t want to see somebody scrambling with their camera and trying to do things modestly. I’ve seen Joseph August and Gordon Willis. I don’t want anything less.
Two last points:
1. All this reminds me of the indie trend of a few years ago (a trend I think is dead, as indie has largely gone mainstream, right?). Everyone was obsessed with finding/naming the “greatest lost track of all time” (as Wilco put it). Don’t get me wrong, there’s a lot of great “indie” rock—but there’s also a lot of trash.
2. Why do I always feel like I’m complaining in my blog posts? I will say something nice in my next post, or say nothing at all.
3. OK, one more point: Who are the greatest poets writing today?
Above is painter Sean McElroy’s “So Just Be It.” I have known Sean a long time, and I admire both his art and intellect. I was reminded of his work yesterday as I settled down with Ben Lerner’s new book of poems, Mean Free Path (Copper Canyon Press, 2010)—a book I’ve been excited to read since, well, Lerner’s last book of poems. If I tried to say too much about these paintings and poems, I’m sure my reach would exceed my grasp, so to oversimplify I’m trying to tell you that Lerner’s new poems and McElroy’s paintings are interesting because of their appropriations of geopolitics, war, pop culture, the lexica and imagery we take for granted—I’m trying to say they get me really worked up in my thinking about our world.
Below is a Lerner stanza that reminds me of a McElroy painting:
All these flowers look the same to me
Night-vision green. There is nothing to do
In the desert but read Penthouse and lift weights
My blood is negative. That’s all you need to know
Sophisticated weaponry marries the traditional
Pleasures of perspective to the new materiality
Of point-and-click. I’m writing this one
As a woman comfortable with leading
A prisoner on a leash
To offer just a stanza doesn’t do Mean Free Path justice, of course. This is a mere snippet of a sequence of intellectually rigorous, often strange and surprisingly beautiful fragments in a composite formation. But the idea behind the piece reminds me of McElroy’s art. In a world of militarized language and images, how do we say or present our experience in a way that doesn’t slip into a Daily Show-esque mode of ironizing? Or a mode of superirony? Or something else? See McElroy’s “Looking for Fun, Outgoing, Spontaneous” for something else:
What I’m trying to say is that these two artists make a great pair, and their work is great individually as well. See this from Lerner (I’m trying to mention his new book favorably, to be clear, and suggest that there’s much more to be gained by experiencing the sequence):
Birds were these little ships that flew and sang
There were some cool pics online. Funny
Strange, not ha-ha funny, how the black
Canvas grows realistic, a bird’s-eye-view
Of their disappearance. Wave after wave
Of déjà lu. After the storm, the sky turns
Night-vision green. The color of murder
I can hear the soldiers marching in my
Pillow. Even in Canada
Even when Lerner is hard to swallow, sometimes even off-putting, he’s at least interesting. See McElroy’s “A Brick is Drawn out of the Great Tomb for Thee” for such masterfully composed disturbance:
So what do you think? I’ll try to more coherently explain myself next week, when I attempt to more carefully review Lerner’s new book. In the meantime, I want to know if anyone else has paired a particular contemporary poet and visual artist (apart from Bianca Stone, who is enviably both in one), and I want to know what you’re excited to be reading.
In 1977, Bill Berkson and Bernadette Mayer began a kind of interview correspondence where with they exchanged questions and answers on a variety of topics. This mutual interview continued well into the mid-80s (and still continues intermittently between Berkson and Mayer today). A book on their letters, questions, and answers titled: What’s Your Idea of a Good Time? was published a few years ago (you can find it on amazon and Alibris).
I recommend it for Bill and Bernadette’s incendiary answers, of course, but also for the questions posed (great material for cocktail parties, I might add). Often the questions one asks can be more revealing than their answers.
Here are some questions posed in the collection. I invite people to respond and pose questions of their own.
What’s your idea of a good time?
What does distance mean, in poetry?
Are poets “normal”?
What is luck or blessedness? Is it related to the sublime?
Are you the same person you were 10 years ago?
How do you decide what to wear (regardless of the weather)?
What do you think of Rousseau’s paintings?
Is poetry a residue? And of what?
What’s the worst thing you’ve ever done?
What is your secret inner life?
Are you interested in the Mafia?
What poems do you know by heart?
How often do you think about death?
How do you feel about children watching television?
Do you like J. Pollock’s paintings?
What are your rules for your own behavior?
Tell me something you don’t understand.
I assemble flapping into a mechanical bird.
I replace the breathing ones with stuffed ones and suffer an applause of wings. Reach between the roost to feel compressed as they look. And O hovering ellipses: our hands cannot suppress the unbelievable synchronization of bee wing and lawn mower. We enter a playing field: molecules of water vs. molecules of water. We construct viable diagrams of living: a reversible motor heart. We test drive baby palates and consider them unsuitable for the farm. Inside each of us, three small red cells break in half until we cocoon in jars and wait to be watched. We prepare for peoplery: fall into pitch with darkness. Photograph after photograph we freeze images of a bullion cube dissolving. Skip death by lining the trees with ornaments of plastic bags. I assemble the deli counter into a whelping box and we all breed unanimously in a convenience store.
There was a diary I used to tell bad things to but one day it blew
Off half of my face and I had to tell everyone how I was feeling
So as not to risk writing anything down that could become explosive
And take my hand or an eye. I kept this diary for proof. Its skeleton
Sits in a glass vase tinted red for the effort of my face. I kept this diary
So generations upon generations of Clara’s will know how to let their
Emotions out like the pale laundry flapping erratically on the line.
I want a souvenir for all the bitches I’ve been.
I want everyone to imagine each sliver of sound coming from my mouth
To be an ancient iron ball tousled with daggers.
I flushed the necklace down the toilet Andres.
I was not sorry. A bent silver heart zirconia
And I wore it on the inside of my shirt so it hung out when bent
Over you & so to pull it before you came.
A field glazes orange.
Everglades recede to prairie.
Hung like a bell clapper on my clavicle I screamed
Ring me, me. Horses don’t stop running
Even when foam flowers on their hides.
We were making tea and people.
Told you Andres, I’d crossed you to observe the shape
Of eyebrows when angry.
In the snow, it was the snow
That kept me driving for hours to your body.
Out of you Andres,
I built the dry and crackling Andes.
Dear Jack, your heart will break—
They’ve injected the cows again.
They’re growing up so beautiful & spotless
Sickless, fat. We could float one all the way to Florida.
A van on a cow’s back or a mother on a van
On a cow’s back. I’m sure you’d approve
Of my hair, the style I’m wearing & wish I could hold
Your hand to my forehead. Why?
I am your child. Your elegant disciple of crickets
That storm when flushed from their lairs.
Jack I match the hissing & black snake you pulled from your mouth.
I’ve been coiled like a tiny fetus & inside of my fetus
Is a long vowel and a pine tree.
I have one corpse to show you Jack.
It is yours.
When you said dear Lorca, I knew
You were addressing the father you never had.
The father you never had.
Jack your name is spelled with four letters.
Two of them make the same sound.
Two of them make the same sound.
Only a tarantula knows for sure.
That kind of fear.
I wanted to be a woman but ended up a woman. That kind of fear
Was circumstantial. With certainty I pulled rabbits
From my throat like a magic trick.
I pulled and pulled until the lowest pit
Put forth a diamond and was dirty
From waiting. That kind of fear,
Of glowing. The man that grabbed me
On the subway. For days shame I carried like a lung.
For days and shame.
He did not breathe.
Inside of herself Clara built this gorgeous time bomb.
Each one had a father and a father’s father. It was the most popular
Time bomb in its high school. All the other time bombs
Were jealous and parked their bombs outside of her house
And scared away her friends. They blew up her family.
Their fires melted the car. They killed the family dog. All of the time bombs in the world
Soon made pilgrimages and blew up on their great great great great great
Grandfather’s blow up spot. They returned each year to their family X
And more and more blew away or imploded. Every time a bomb came
It was louder and bigger than the last. The smaller ones combined with smaller ones
To become medium sized or large. They too blew themselves up.
No one could keep it together. No one knew what would happen if they didn’t blow up,
They had been doing it so long—
It was so simple one of them said one day. Don’t blow up. Cold turkey don’t blow up.
And thus a small fire of doubt was built but the time bombs found they could
Remain in one place longer and longer without losing
Any part of themselves.
I was in that well too. We didn’t want the light to show our skin
What wasn’t human. And we wanted velvet, more velvet
Which could be darkness disguised as velvet. I wanted a way
To show you I could build a globe of spit and sticks
And it would sustain life, a life like ours if we had been born
So many years before. Enter, the chickens disguised
As men and the men disguised as dugongs and the dugongs
Disguised as dead dugongs to throw the hunters from their trail.
The well would open from time to time and someone threw particles
Of dust into the light and we would grab at them like they were crumbs
Of food and we would push them to our lips.
Christie Ann’s chapbook, idiot heart, was selected by Brenda Shaughnessy for The New School Chapbook Competition in 2008. She is the coauthor of a chapbook that is forthcoming with The Corresponding Society Press and her work can be found or is forthcoming in Sink Review, La Petite Zine, Blaze Vox, Pax Americana and others. Christie Ann has an MFA from The New School and teaches at Hofstra University.
I have nothing to say today, or nothing specific, only miscellany, no fashion thing has occurred to me. Here you have an image of Ferula scorodosma, the plant whose dried sap is used to make asafoetida, a rather pungent spice. I received a packet of asafoetida in a box of spices given to me as a gift on my recent birthday – it tasted quite good in a stew of lamb’s neck and potatoes, simmered with orange juice and zest and some milk that had been heated up for coffee earlier in the day and left on the stove.
Speaking of nothing to say, I have been thinking this week about ‘Nothing To Say,’ an intensely sprawling poem from Ann Lauterbach‘s latest collection, Or To Begin Again. The poem takes its title from the opening of John Cage’s ‘Lecture on Nothing.’
But where Cage seems to calmly meditate his absent predicament, Lauterbach tears into hers, into the failings and possibilities of language, deeply felt failings and possibilities.
I have long been a fan of Lauterbach in this mode. ‘N/est,’ an overlooked poem in On a Stair, moves through variations and meditations on finding a home in the world, and preparing one’s body to be a home, i.e. pregnancy, abortion, figuring out how to speak, figuring out how to write. Ethical considerations.
These texts, with their prose-like presence on the page, but broken, or rather with verse breaking into them, breaking the prose apart, approach poetry from the outside, expecting everything of it formally, emotionally, musically. They are not easy to grasp, and are perhaps not meant to be fully grasped, rather read, and deeply felt.
Enough from me, now some ‘Nothing to Say,’ after this 1977 portrait of Ann Lauterbach by Alex Katz:
the excess of a dream, we who had been speaking mildly to each other following collapse, sipping tea in the tearoom, there, sequestered against those others and their meridians on the char, it was difficult in this setting to notice, although the waitress was an actress, her lips scarlet, but this was only the lure of
glamour, toned muscles of the arm, cleft above the thigh. Found her there again, walking the horizon, where what was alive and what not alive almost touched, as moments touch, walking now with her sister on the other side of the line which is an illusion, the line, not the sister, she was there, among all the sisters, their chorale in the meadow, now turning now following the path
I also couldn’t resist posting this wonderful footage of Lauterbach in conversation with Grace Paley in 1975.
Interview Part 1:
Interview Part 2:
A HILL | by Anthony Hecht
In Italy, where this sort of thing can occur,
I had a vision once – though you understand
It was nothing at all like Dante’s, or the visions of saints,
And perhaps not a vision at all. I was with some friends,
Picking my way through a warm sunlit piazza
In the early morning. A clear fretwork of shadows
From huge umbrellas littered the pavement and made
A sort of lucent shallows in which was moored
A small navy of carts. Books, coins, old maps,
Cheap landscapes and ugly religious prints
Were all on sale. The colors and noise
Like the flying hands were gestures of exultation,
So that even the bargaining
Rose to the ear like a voluble godliness.
And then, where it happened, the noises suddenly stopped,
And it got darker; pushcarts and people dissolved
And even the great Farnese Palace itself
Was gone, for all its marble; in its place
Was a hill, mole-colored and bare. It was very cold,
Close to freezing, with a promise of snow.
The trees were like old ironwork gathered for scrap
Outside a factory wall. There was no wind,
And the only sound for a while was the little click
Of ice as it broke in the mud under my feet.
I saw a piece of ribbon snagged on a hedge,
But no other sign of life. And then I heard
What seemed the crack of a rifle. A hunter, I guessed;
At least I was not alone. But just after that
Came the soft and papery crash
Of a great branch somewhere unseen falling to earth.
And that was all, except for the cold and silence
That promised to last forever, like the hill.
Then prices came through, and fingers, and I was restored
To the sunlight and my friends. But for more than a week
I was scared by the plain bitterness of what I had seen.
All this happened about ten years ago,
And it hasn’t troubled me since, but at last, today,
I remembered that hill; it lies just to the left
Of the road north of Poughkeepsie; and as a boy
I stood before it for hours in wintertime.
PROFESSOR: Mary Ann, would you mind reading your poem aloud so that we can hear it in your own voice?
MARY ANN: Absolutely. Ahem.
Who’s the black private dick
That’s a sex machine to all the chicks?
Ya damn right!
Who is the man that would risk his neck
For his brother man?
Can you dig it?
Who’s the cat that won’t cop out
When there’s danger all about?
They say this cat Shaft is a bad mother
SHUT YOUR MOUTH!
I’m talkin’ ’bout Shaft.
THEN WE CAN DIG IT!
He’s a complicated man
But no one understands him but his woman
PROFESSOR: Thank you, Mary Ann. Ok, class, let’s start with the things we like. Then we’ll move on to the things we think could be improved.
AMERICAN STUDIES MAJOR [pensively]: I really appreciate how the poem argues with itself, even contradicts itself—“If I contradict myself,” it seems to echo Whitman, “I contradict myself.” In fact, I find a lot of parallels between the chief persona in this poem and the Whitman/ Emerson/ Thoreau American Transcendentalist milieu, if you will. This man, this John Shaft, I think we can all agree, would not exist without Emerson’s tenets so formidably outlined in “Self-Reliance,” am I right? Am I right? [Flashes a toothy white smile toward Romanticist.]
[Modernist glares at Romanticist.]
SWAG (Studies in Women and Gender) MAJOR: I disagree. I think the most provoking contradiction in this piece is when the speaker asserts that Shaft is a ‘bad mother.’ This bends all our preconceptions of male/female roles in a domestic space. That is the main dialectic at work here, not the juxtaposition of popularity versus existential alienation.
MODERNIST: Really? So you’re saying that one gender-bending line overshadows the obvious post-modern Prufrockian slant in the entire piece? I mean, I think it’s pretty clear that when the speaker asserts that no one understands Shaft but his woman, the speaker is being ironic, using indirect discourse to suggest that this is what Shaft has to tell his woman to assuage her concerns regarding her insecurities as a lover.
ROMANTICIST: [gasps, incredulous]
[Modernist glares at her.]
SWAG MAJOR: Um…well, considering where the line comes in the piece…
ROMANTICIST: Well, I for one don’t think [air quotes] His Woman [air quotes] is [air quotes] insecure [air quotes] about her abilities as a [air quotes] lover [air quotes] at all! I mean, Mary Ann says—
PROFESSOR: The speaker says….
ROMANTICIST: [air quotes] The speaker says [air quotes] that John is a bad mother—can’t we consider what this means in terms of what kind of man John really is? Mother…mother-love…lover…bad mother/bad lover…bad mother lover…bad mother-fuc…
SWAG MAJOR [continuing]: …the line is clearly the poem’s volta—yes, I would say this is the crux of the entire poem. And I think it’s unfair to assume that Shaft is the most secure lover just because he’s male. I mean, if that were the case, why all the verbal overcompensation in the poem?
ROMANTICIST: Exactly. That’s what I was [air quotes] saying [air quotes].
SYSTEMS ENGINEERING MAJOR [louder than necessary]: See, I read that line, line 13 differently; it seems to be street slang that is then cut off by the secondary voice—or voices—that bring the refrain in each quatrain, those responsible for the majusculated expostulation, “SHAFT!” and the like. I feel quite strongly, given the way Mary Ann read her piece, that “mother” is part of a longer phrase that undergoes interruption by the voices of the refrain. This is why it is absolutely imperative that this issue of punctuation be fixed, and the problem can be remedied quite easily by “mother” being followed by an em-dash.
CLASSICS MAJOR: I mean, I think we can all agree that it’s pretty obvious that the secondary voices interacting with the primary lyricist compose the chorus of the piece, yes? I think Mary Ann need be praised for reinventing this age-old tradition in an entirely fresh way.
MARY ANN: Thank you.
PROFESSOR: Ok, before we move on, any last comments?
ROMANTICIST: Well, I just want to praise the quite visceral interjection we get in the end—[air quotes] “John!” [air quotes] Mary Ann—excuse me—[air quotes] the speaker [air quotes]—cries out. [air quotes] “John Shaft!” [air quotes], as though, before, we the readers, as well as the populace of the poem, did not know this impervious persona—never really knew him—until this ultimate line, coming after the penultimate, which is also incredibly moving. Who can possibly understand this [air quotes] “complicated man?” [air quotes] [air quotes] “No one understands him but his woman.” [air quotes] [Looks imploringly at Modernist. Trembles.] No one! [air quotes] [Weeps.] [Flees classroom.]
SLOW IRONIC HIPSTER GUY [to no one in particular]: Hey, ya know what? I think I’ve—yeah, I’ve definitely heard this somewhere before….
Canada, it’s spring-break time. We’ve already got trees budding. Actually, many schools have gotten the whole Winter Olympics off for two or three weeks of extended spring break drunkenness. I’ve been glued to CTV for the last week or so, watching my new favorite sport: curling. No joke, this game is intense. It’s the skill of bowling with the strategy of chess. Not to mention, curling and hockey are two of the few things that get Canadians riled up (they go from passive agressive to just plain aggressive).
In the spirit of breaks from routine (are two weeks of blog posts long enough to be considered a routine?), I figured it would be good to take a break from the Grossman inspired posts and do a little reflection on a recent article in Wired magazine: “How Google’s Algorithm Rules the Web.” And in the spirit of Spring, I want to see if I can connect it to W.C. Williams.
Ever since I read an article on cloud computing and Google’s ability to translate web pages based upon its database alone (that is, nobody programmed the various language rules in it; it literally translates via algorithm), I’ve been interested in Google’s relationship with language. Now, any of you who have used Google Translation know it’s pretty awful, but the idea alone is impressive, and there’s no telling where improvements will take it.
This particular article goes under the hood of Google’s search engine, and we find out the real difficulties lies not so much in web crawlers, page ranking, or any of the stuff Google is known for (although, that is certainly a feat), but rather interpreting the desires of the Googler:
“We discovered a nifty thing very early on,” Singhal says. “People change words in their queries. So someone would say, ‘pictures of dogs,’ and then they’d say, ‘pictures of puppies.’ So that told us that maybe ‘dogs’ and ‘puppies’ were interchangeable. We also learned that when you boil water, it’s hot water. We were relearning semantics from humans, and that was a great advance.”
But there were obstacles. Google’s synonym system understood that a dog was similar to a puppy and that boiling water was hot. But it also concluded that a hot dog was the same as a boiling puppy. The problem was fixed in late 2002 by a breakthrough based on philosopher Ludwig Wittgenstein’s theories about how words are defined by context. As Google crawled and archived billions of documents and Web pages, it analyzed what words were close to each other. “Hot dog” would be found in searches that also contained “bread” and “mustard” and “baseball games” — not poached pooches. That helped the algorithm understand what “hot dog” — and millions of other terms — meant. “Today, if you type ‘Gandhi bio,’ we know that bio means biography,” Singhal says. “And if you type ‘bio warfare,’ it means biological.”
Did you catch that? Google uses Wittgenstein…Holy Mother of all snake-eating-its-own-Postmodern-tail!
Google, of course, is probably at the forefront of product innovation. Google has created an environment where failed ideas are OK, a sort of decentralized and messily creative workplaces that capitalizes on an excess of time and resources. Knowledge workers rejoice! (See here and here)
But that wasn’t what caught my attention most of all. It was this:
One unsuccessful search became a legend: Sometime in 2001, Singhal learned of poor results when people typed the name “audrey fino” into the search box. Google kept returning Italian sites praising Audrey Hepburn. (Fino means fine in Italian.) “We realized that this is actually a person’s name,” Singhal says. “But we didn’t have the smarts in the system.”
The Audrey Fino failure led Singhal on a multiyear quest to improve the way the system deals with names — which account for 8 percent of all searches. To crack it, he had to master the black art of “bi-gram breakage” — that is, separating multiple words into discrete units. For instance, “new york” represents two words that go together (a bi-gram). But so would the three words in “new york times,” which clearly indicate a different kind of search. And everything changes when the query is “new york times square.” Humans can make these distinctions instantly, but Google does not have a Brazil-like back room with hundreds of thousands of cubicle jockeys. It relies on algorithms.
The Mike Siwek query illustrates how Google accomplishes this. When Singhal types in a command to expose a layer of code underneath each search result, it’s clear which signals determine the selection of the top links: a bi-gram connection to figure it’s a name; a synonym; a geographic location. “Deconstruct this query from an engineer’s point of view,” Singhal explains. “We say, ‘Aha! We can break this here!’ We figure that lawyer is not a last name and Siwek is not a middle name. And by the way, lawyer is not a town in Michigan. A lawyer is an attorney.”
This is the hard-won realization from inside the Google search engine, culled from the data generated by billions of searches: a rock is a rock. It’s also a stone, and it could be a boulder. Spell it “rokc” and it’s still a rock. But put “little” in front of it and it’s the capital of Arkansas. Which is not an ark. Unless Noah is around. “The holy grail of search is to understand what the user wants,” Singhal says. “Then you are not matching words; you are actually trying to match meaning.”
My current job is teaching upper level writing to ESL students who are entering graduate school. Most of them will go on to do MBAs, but I try to give them a heavy dose of the liberal arts, which many of the students (especially ones from China) are lacking. It’s an incredibly frustrating process, at first, but it has turned into the best kind of reward, as I get a glimpse of my own language and system of thought from an outside (alienated?) perspective. For as many discernible, overarching truths and rules about the language, I often find the same number of beguiling nooks and crannies, particularities that indicate a long history of human choice and situation enshrined in our very words. Almost everyone knows this about language, but to actually encounter it on a regular basis is a bizarre experience.
I think my experience teaching is the same experience that Google’s engineers must deal with: Why do we associate certain things, and what complex process takes place in our brain that allows us to instantly recognize them? The question of lines in poetry adds a layer of complexity to this question. Grossman says that “lineation” is one of the defining qualities of poetry (even prose poetry is defined by its lack of lines, isn’t it?). As I was attempting to write poetry for the first time in high school, I remember obsessing over my lines. I could never understand why I wanted to break a line here one day and there on another day. As I write, I feel pretty confident about cutting my lines. That isn’t to say I still don’t play with line breaks, but I have a pretty intuitive sense of when to hit the Enter button. Sometimes I break a line for the sake of a playful slight rhythm, but usually it comes as a sense of whim–it just seems right. Is this an intuitive sense that has a core? Or is it really just whim?
This leads me to my question: How would Google parse a poem like W.C. William’s “The Red Wheelbarrow?” It reminds me of a passage from a paper I wrote in the beginning of grad school:
Even though this poem is essentially a sentence, each image is carefully isolated by means of juxtaposition. Each stanza contains images that are a juxtaposition within itself according to the line breaks: “depends” versus “upon” (two directional words going in opposite direction), the particulars of the wheel barrow (its redness and wheel[ness]) versus the wheel barrow in its wholeness, the glaze of rain versus the rainwater, the chickens versus their own whiteness. The details of the things are pulled apart and highlighted, bringing out a rich multi-faceted view of each object. Williams’ accomplishment is almost that of the cubists, allowing the reader to see these objects in many different ways, from the different angles of detail. Yet despite this almost excessive juxtaposition, the poem has a unity. It does not communicate the same fractured nature that a painting like Duchamp’s Nude Descending a Staircase. Rather, this poem explores the unity of objects, their interconnectedness, while also evoking the particularities of objects and, in some sense, how they vie with one another. What is even more striking about this poem is how commonplace it is. These are objects that many Americans in Williams’ time could see on a regular basis. For Williams to find so much juxtaposition and still unity, to be so common and yet absolutely metaphysical is a feat. More important here, we can see the way he perceives language. Each word is isolated either visually or by juxtaposition in the same way each imagistic object in the poem is isolated. This is one thing Williams does often in his poetry: isolate each word visually, either through an extreme sparseness of form or by simply leaving a word on a line by itself. What would today be considered gimmicky by most MFA students, Williams accomplishes with verve in a way that is not gimmicky in the least. This is because Williams largely helped pioneer this technique, but also because the reader senses the whole power of idiom behind Williams’ language. Its commonality is the source of its power. The idiom arises from the commonplace here. And more importantly, Williams communicates this idiom through objectness.
That passage contains perhaps one of the most absurd phrases I’ve ever written: “the chickens versus their own whiteness.” (No post-colonial analysis, that!) But no matter what you think of my analysis, the question of where these words are “broken” from one another and why is a question that I suspect Google could never answer in the form of an accurate search. Google can tell when “little rock” means the capital and not a small pebble (or some sort of midget music genre), it’s true, but humans are capable of something even more complex than that: breaking things apart and still recognizing the relationship. As the passage from my paper indicates, I believe this ability stems out of idiom (in William’s case, the American Idiom).
Ironically, Google sees everything as fractured. When you search johnny cash hurt, Boolean logic looks for johnny and cash and hurt. Google uses modified Boolean logic and has accomplished the ability to tell when certain words probably go together.
Now for the second order language intelligence of poetry: can Google understand line breaks? Could Google help us become better writers?
Suppose you are reading Levinas, having a nice Cuban sandwich, minding your business, thinking about the self, the other, the other self, the otherness of self, the selfishness of other, etc, etc, and the sun slants across the legs of a woman you pretend to have a deep rapport with—striping them apricot. What do you do? It’s a question of ethics. She is eating half a plate of seasoned fries. The meal is over priced. The Cuban sandwich is on the wrong sort of bread—the kind of bread they put Cuban sanwiches on when they are over charging you (sour dough). It is spring, or maybe it isn’t: maybe it is fall, the last truly warm day in fall. Yes. You are sitting in the wrought-iron chair, outside, on the last warm day in fall, with Levinas in your lap, and the beautful woman has Kafka in her lap. The sun has decided to place an apricot hue over her legs, legs which have been shaped by only eating half plates of seasoned fries, and nothing else until, later that night, when she is naked in the arms of a man who also reads Levinas, but is much better looking, she eats a canoli—the whole thing, and says something meaningful to him in French.
Ah, you know you are a fraud. Levinas is a fraud. The only truly genuine thing in this universe are her legs, and they are attached to her by reason of genetics, and attached to you by reason of desire. The man with whom she sleeps is surly. He can afford to be surly. His hip-to-waist ratio is perfect. His teeth are white, but not overly so. When he sprawls naked on a bed, he seems intelligent. She desires him. Even though she has him, she wants him—which makes her fairly stupid in his presense. He will equivocate. Those with the proper hip-to-waist ratios may equivocate. He is like Adonis, and she is Venus panting over his sprawled splendor. He is you in another alternate universe. He is the you who does not beg like a seal clapping for fish. She speaks:
“How is the Cuban sanwich? May I have a bite?”
Every time you meet her for lunch, she takes a bite of your sandwich. When shrikes seek a mate, they impale bumble bees, and little baby sparrows to locust thorns and allow the prospective partner to dine. A shrike has a special “tooth” inside it’s maw for tearing and rending frozen flesh from bone… or is that a wolverine? Shrikes are also called butcher birds. They inhabit Northern fens. They implae prey to thorns, barbed wire, various sharp protruding things: whatever may suffice as a skewer. By giving her a bite of your sandwich, you will be reduced to the level of a shrike. And worse… The shrike gets laid. You will show how inteligent you are concerning the self, the other, the other self, the selfless other, the mystery of the other, the aporia by which self, other, shrikes, and cuban sandwiches are utterly beside the point. You demur. You have never demurred before. You withold the immediate gratification of her biting into your lunch. You stand firm—in so many ways. You say:
“No. Finish your fries!”
Does she know what is on your mind? To what degree is Levinas an unsuccessful make out device? How many graduate students are sitting even now on the plains, and in the mountains of American Academia, attempting to seduce each other with the complete works of Levinas? Just last week, you realized you were being replicated. There were thousands of fractal “yous” inhabiting the various over-priced eateries of towns both large and small. What would Levinas think if he realized you were using him to show how smart you are?
Her hand, her pretty left hand, the one with the blue nail polish, is reaching for your Cuban sandwich. She has decided to ignore your firm resolve not to be a shrike, and she is going to taste your meat. This has become a question of ethics. She is using you. You are co-dependent with her eating disorder. For her sake, and for your own, for the sake of the genuine, the real, the authentic, you must not let it happen. You grab her hand. You have been wanting to grab her hand for two years. What sort of coward needs a show down? She has one grey eye, and one green one. Her long legs were crossed, but now they are planted firmly in the “I will have a bite of your sandwich” position. You realize now that Levinas is right. We can not know the other. We can not know the self. You say:
And so you do. You say no. She says: “Why are you being such a prick?” You say: “Did you ever think I might want the whole sandwich?” Her hand retreats: ice floes, thousands of years of approach and retreat. You pick up the check, leave an overly large tip. You are the wrong kind of shrike. The waiter will not like you any better for leaving him 25 percent. You are courting everyone. You keep hoping the universe notices that Levinas is in your lap. You are hoping they will say: “Oh… you read Levinas? Can I mate with you?”
Her name is Trudy. She has translated Kafka into Welsh. She has the sort of thick, dark hair that gets dented in the morning rather than messy. All she has to do is push out the dents, and she’s ready for the day. She is genuinely smart. You have a dream in which a poster of Simone Weil is attached to her naked legs. Her one flaw is her name. Who names their child Trudy? You certainly would never name a daughter Trudy. Perhaps you would name her Simone, or Clare, or Helen. You get an A on your paper concerning Levinas and the sociopathy of corporatism. You remember kissing a girl who liked Martin Buber. What happened to her? How did it all come down to this? Even now, as you walk away from the cafe, and Trudy heads for her part time job, and all is forgiven, and you give her the hug and perfunctory smooch they often give on talk shows, you feel terrified. This must not be your life. You will find the girl who liked Martin Buber, and kiss her again. She is somewhere in the world—perhaps in the far north. She lives in a little cabin, alone, thinking of you. The days pass, and Martin Buber brings back fond memories of your mouth on hers. You can see the little cabin in the woods. A light is on. It is dusk, and the bleak cry of the jay contrasts with the welcoming light.You have fire wood hosted on your shoulder. You are singing a merry tune in Canadian French: something about little loves who have dancing eyes. You are remembering the Robert Browning poem in which he rows a boat at night towards his love. Your heart is uplifted. Trudy is not the right girl for you. Who cares what Kafka sounds like in Welsh? You have fire wood, and six Cuban sandwiches stowed away in your back pack. There is recompense. There is salvation. You can throw Levinas away. You can build a fire, and discuss Martin Buber while lying naked in that sweet girl’s arms. What is her name? She was demur. She had heavy eye lids, and spoke in a vital whisper. You do not see the shrike. It is impaling a fox sparrow to a thorn. It lives in the brambles behind her cabin. You are too big for it to eat, utterly beside the point.