Books and Music – Page 65

February 21, 2009 by Dave Bonta

Book Arts

inspired by the work of Luz Marina Ruiz (hat tip: Natalie d’Arbeloff)

I entered a book tall as a clock tower.
Its pages all had timers set to self-construct:
bird, leaf, crescent, an orogeny of stairs.
The seasons were orderly as line dancers.

You can make a book from anything that folds.
Waves & breakers, for example, with
the ocean for a text: the reader bobs
like a boat with a shark’s-fin sail.

Books can be small as wallets bulging with bills,
those go-betweens everyone thumbs through
but nobody reads. (This, by the way,
is why money always smells of sadness.)

Books can be rooms completely taken over
by feral wallpaper, patterns unavailable
in any store. Some books can’t be opened
without changing all their contents.

That’s how it is with dreams, too: they change
in the telling. Night falls, & the words
merge with the black paper. You need
the moon’s red monocle to make out the stitching.

February 12, 2009 by Dave Bonta

“A dusky train of ink”: Darwin in Cape Verde

What if, instead of brilliant naturalist, Charles Darwin had been an epic poet? Actually, he may have been both. Here’s how The Voyage of the Beagle begins.

After having been twice driven back
by heavy southwestern gales, Her Majesty’s ship
Beagle, a ten-gun brig, under the command
of Captain Fitz Roy, R. N., sailed
from Devonport on the 27th of December,
1831. The object of the expedition
was to complete the survey of Patagonia
and Tierra del Fuego, commenced
under Captain King in 1826
to 1830, — to survey the shores
of Chile, Peru, and of some islands
in the Pacific — and to carry a chain
of chronometrical measurements round the World.

On the 6th of January we reached Teneriffe,
but were prevented landing, by fears
of our bringing the cholera: the next morning
we saw the sun rise behind the rugged
outline of the Grand Canary island,
and suddenly illuminate the Peak of Teneriffe,
whilst the lower parts were veiled in fleecy clouds.
This was the first of many delightful days
never to be forgotten. On the 16th
of January, 1832, we anchored
at Porto Praya, in St. Jago, the chief
island of the Cape de Verd archipelago.

The neighbourhood of Porto Praya, viewed from the sea,
wears a desolate aspect. The volcanic fires
of a past age, and the scorching heat
of a tropical sun, have in most places
rendered the soil unfit for vegetation.
The country rises in successive steps
of table-land, interspersed with some
truncate conical hills, and the horizon
is bounded by an irregular chain of more
lofty mountains. The scene, as beheld
through the hazy atmosphere of this climate,
is one of great interest; if, indeed,
a person, fresh from sea, and who has just walked,
for the first time, in a grove of cocoa-nut trees,
can be a judge of anything but his own happiness.
Continue reading ““A dusky train of ink”: Darwin in Cape Verde”

September 18, 2008September 23, 2012 by Dave Bonta

Escapist fare

My mother’s very first book, Escape to the Mountain, is back in print, 30 years after the crash-and-burn of its original publisher, the once-venerable A.S. Barnes, led to the speedy remaindering of the first edition. It’s in the country-nature genre (think Gladys Taber and Noel Perrin), and describes our first six years in Plummer’s Hollow, when I was between the ages of five and ten. From the publisher’s blurb:

During their first year at the farm, Marcia and her family survived a blizzard, a flood, and a drought. Her book is a hymn of joy to sledding on moonlit nights in winter, to the arrival of the birds in spring, and to harvesting garden crops in the autumn. She relates the discovery of a family of wild puppies in the barn, a porcupine in the apple tree, a shrew in the laundry bucket, mudpuppies in the well, and opossums on the back porch.

See my mom’s post about it here.

August 4, 2008September 23, 2012 by Dave Bonta

On beyond paper

Several years ago I went on a fungus-writing spree, scouring the mountain for the shelf fungi with creamy white undersides known as artist’s conks. I used a sharp nut pick about half the diameter of a pencil to scratch poems into the surface. The first result of my experimenting is above. The illustrations were simply copied from pen-and-ink sketches I found in back issues of Pennsylvania Game News magazine. I got successively fancier with the calligraphy on each one, culminating with this:

It occurs to me that many of my Morning Porch pieces are just the right length for fungal inscriptions; it might be an interesting way to make a collection of them (with photos posted to the web, of course). The trouble is, I don’t think we have too many more good shelf fungi in the woods. They are actually somewhat scarcer than one might expect.

Birch bark might be another option, though we don’t have too many paper birches on the property, either. My only experiment along those lines was with some inner bark from a dead yellow birch, picked up off the forest floor in an old-growth forest in the Adirondacks years ago. I used it for one of my favorite quotes about poetry, and had it hanging on the wall beside my writing table for a long time.

Writing on natural surfaces is something that’s always interested me, though I admit I find it hard to like spraypaint on boulders. The particular attraction of a hornets’ nest, of course, is that it is literally paper, manufactured by insects out of the same material that we (unfortunately) still use for most of our own paper: wood. Indeed, it was from watching paper wasps that 18th-century scientists first got the idea of switching from rags to wood fibers as the primary source for pulp.

It’s worth remembering, though, that the original paper (etymologically speaking) was papyrus — a woven mat of flattened reeds. The word “bible” derives from a Greek word for the inner bark of papyrus. The early Chinese wrote on long slivers of bamboo before they invented the first true paper, while in ancient and medieval Europe, animal skins proved to be durable, reusable writing surfaces. One explanation for the flowering of literature in rural medieval Iceland, aside from the long winters when public readings were a major form of diversion, is that there was a glut of calfskin from all the dairies. (I love this example, by the way, because it proves that you don’t need urban civilization for a literary culture to flourish. Human settlement in medieval Iceland consisted entirely of scattered farms; there wasn’t even a single village.)

But one of the earliest writing media has proved to be the most durable of all: the clay tablet, favored for cuneiform inscriptions in ancient Sumeria. Burn a library of clay tablets, and you only make them harder. I also find a lot of appeal in the idea of clay as a writing medium. So my ultimate fantasy publishing project involves working with a potter to devise some sort of letter press for wet clay, and grinding out limited edition poetry tablets that way. Attractively glazed and fitted with wall hangers, I suspect they’d sell much better than chapbooks or broadsheets. And barring a lot of guys with sledgehammers, they’d probably survive the collapse of our civilization. I doubt the same could be said for texts on the internet.

August 2, 2008 by Dave Bonta

Limited Issue

If you can’t see the slideshow, or if you’re on dial-up, go here.

For what it’s worth, this was not drafted in advance. The materials suggested the arrangement of words as well as the text itself. A few “pages” did tear mid-write and had to be re-written. I used almost every scrap of hornets’ nest I had on hand.

July 17, 2008March 6, 2014 by Dave Bonta

July Stones

video link

This morning I welcome Fiona Robyn to Via Negativa — that’s her voice in the video. Fiona’s on a blog tour to promote her book small stones: a year of moments. I’m a long-time reader of the blog from which the selections were drawn — in fact, a small stone was a major inspiration for my own daily microblogging experiment, The Morning Porch.

Fiona’s “stones” aren’t poems, exactly — some are, but others clearly are not. Each one represents a moment of quiet, focused attention, part of a daily practice which Fiona began three years ago to try and revitalize her own interest in writing. Blogging was integral to the project, it seems: from the beginning she wanted a space where she could collect and share the literary equivalent of small stones picked up on a walk and carried home in a pocket. “They might be a snatch of overheard conversation, the sun moving behind the cloud, or a cat jumping on the lawn,” Fiona writes in the introduction.

They set off a quiet ‘ah!’ inside me, like a toddler saying ‘look!’ They are nothing special and something special all at once. As time went on, I got better at remembering to notice the world around me. Not just to notice it but to scrutinize it, engage with it, love it.

When Fiona said she was publishing a book of selections from the first three years of the blog, I had my doubts about how well it work. But in fact they make a surprisingly satisfying collection. Like insects trapped in amber, the very delicacy and ephemerality of Fiona’s “stones” invite closer examination. As fragments of concentrated attention, many of them engage the reader in an active search for additional images and ramifications, in the same way that a modern translation of Sappho challenges one to fill in the lacunae.

Accordingly, in the video, I tried to leave as many lacunae as possible and let the words create the pictures. I hope it manages to excite some interest in the project (I uploaded it to YouTube, as well, for maximum exposure). Be sure to follow the links on the blog tour page for many more interviews, reviews, and conversations with the author. Consider writing your own “stones” for submission to a new, communal blog that Fiona is launching called a handful of stones. And of course check out the book.

Five minutes before midnight, a gnat attracted to the reflected light of my computer monitor dives into my eye.

July 13, 2008 by Dave Bonta

Brain and Nerve Food

What’s interesting about these advertisements from 1884 is that they appear on the back cover of an anthology of English poetry published by Funk & Wagnalls, a volume of something called the Standard Library — evidently an ancestor to Dr. Eliot’s Five-Foot Shelf, Penguin Classics, and other such series of canonical works. It’s funny that nowadays we aren’t surprised by magazines where advertising takes up half or more of the content, but find the idea of an ad on a book — even a mass-market paperback — a little shocking. But then books are things we plan on keeping around, whereas magazines are inherently disposable.

I think about that distinction a lot, since I’m so involved in publishing a magazine online, where the average shelf-life of blogs and zines is even shorter than the xeroxed little magazines of yore. (Do the 1970s qualify as “yore” yet?) On the one hand, I accept the reality that nothing is forever, and transience is inherent in all things. On the other hand, why should artists and authors entrust their works to qarrtsiluni if it isn’t going to be around in five or ten years? Unlike a print publication, there’s no tangible artifact to sit on a shelf somewhere, gathering dust. Don’t we owe it to our contributors to keep their works online as long as possible? We’re not paying them anything, so it seems like the least we can do.

I spent much of this weekend pulling together qartsiluni‘s first-ever podcast for the Water issue, in case anyone wonders where the hell I’ve been. And my other project involved making a more secure archive for our news microblog, which will still originate on Twitter (for the time being, at any rate), but now has its main presence on the imaginatively named qarrtsiluni news blog.

Now that qarrtsiluni has a blog, perhaps its own ambiguous nature — half-blog, half-magazine — will be a little less obvious. Or maybe adding a podcast dimension simply makes our precise identity even more difficult to pin down. The Standard Library was clearly a bit of a hybrid, too, appearing bi-monthly “bound in postal card manilla,” available by annual subscription, but offered also in cloth editions and clearly meant to be permanent. Over a century later, the paper is still in fine shape — nothing like some of the pulp fiction I have from the 1940s and 50s that crumbles at the touch. Chalk it up, perhaps, to all those vitalized phos-phites.

June 18, 2008 by Dave Bonta

The Judeo-Christian Book of the Dead

I happen to have — for once — a copy of the King James Bible at my elbow. I open it at random while I’m waiting for the computer to boot up, and read this:

The burden of the valley of vision.
What aileth thee now, that thou art wholly gone
up to the housetops?
Thou that art full of stirs,
a tumultuous city, joyous city:
thy slain men are not slain with the sword,
nor dead in battle.
All thy rulers are fled together,
they are bound by the archers:
all that are found in thee are bound together,
which have fled from far.
Therefore said I, Look away from me;
I will weep bitterly, labour not to comfort me,
because of the spoiling of the daughter of my people.
For it is a day of trouble, and of treading down,
and of perplexity by the Lord God of hosts
in the valley of vision, breaking down the walls,
and of crying to the mountains.

That was from Isaiah, the beginning of Chapter 22. I really don’t know what the hell it means — nor, I’m afraid, do I particularly care. Though I do kind of admire the way Isaiah and the other prophets challenged the authorities and institutions of their day, they were all basically a bunch of fanatical whack-jobs, as far as I’m concerned. But isn’t it terrific poetry? “Thou that art full of stirs, a tumultuous city, joyous city” — the way this is phrased, all metaphorical possibilities remain open. Compare the New International Version, that favorite of modern evangelicals: “O town full of commotion, O city of tumult and revelry.” Gone is the familiar, affectionate “thou,” replaced by the affected “O.” Any suggestion that this “thou” might be a female, tapping into that city/woman metaphor so popular among the literary prophets, has been eliminated as well.

Then of course there is the inaptly titled New Living Translation, an almost unspeakable abomination among “translations.” If any book should ever be burned, this nuance-destroying exercise in tone-deaf exegetical hubris tops the list. Here’s what it does with the verse: “The whole city is in a terrible uproar. What do I see in this reveling city?”

“Reveling”?!

Maybe this is why, when I try to explain why I love the Old Testament, I get puzzled looks.

But I guess I’m a mystery-monger and an obscurantist at heart, because it occurs to me that one of the things I most love about the King James Version is the near-impenetrability of many of its archaic phrases. Last week, a post at Read Write Poem asked poets to list the four books that most influenced their writing. My list led off with the great anthology Roots and Wings: Poetry from Spain 1900-1975, edited by Hardie St. Martin, but I forgot to mention the book which had prepared me for all that surrealism in the first place, by whetting my appetite for difficult language and nightmarish visions. And I’m quite sure that the kind of rhythmic free verse I specialize in was strongly marked by my youthful reading of the KJV.

I had the Bible out this morning because yesterday I’d been to a funeral, and the choice of readings struck me as a little unusual. Instead of the nauseatingly familar 23rd Psalm, the minister read Psalm 140 — one of the vengeful Psalms. This seemed especially incongruous given that the sermon that followed took the parable of the Good Samaritan as its text, extolling the kind and generous spirit of the departed. And the other reading could not have been more different: Ecclesiastes 3, in its entirety. That’s the one that begins, “To every thing there is a season.” It was, I thought, an inspired choice for a funeral.

I said in mine heart concerning the estate of the sons of men, that God might manifest them, and that they might see that they themselves are beasts. For that which befalleth the sons of men befalleth beasts; even one thing befalleth them: as the one dieth, so dieth the other; yea, they have all one breath; so that a man hath no preeminence above a beast: for all is vanity.

As most regular readers of this blog are probably aware, I’m not a conventionally religious person; I can’t see having a man or woman of the cloth officiating at my funeral, with all the usual assurances about an afterlife in which I do not believe. But if the Bible had to be part of the last rites for my small portion of supernova excrement, which verses could I stand to have read? Psalm 139 is a favorite — at least up until the 19th verse, when it turns hateful and paranoid. It’s got that whole pantheist vibe going on. And Verse 8 might be especially interesting at a funeral:

If I ascend up into heaven, thou art there;
if I make my bed in hell, behold, thou art there.

Job 14 might be good for mourners to hear, as well:

Man that is born of a woman is of few days,
and full of trouble.
He cometh forth like a flower, and is cut down:
he fleeth also as a shadow, and continueth not…

But my top choice would probably be Ecclesiastes 11, beginning as it does with an exhortation to be generous, followed by a defense of religious agnosticism, and concluding with the Biblical version of “gather ye rosebuds while ye may.”

Cast thy bread upon the waters:
for thou shalt find it after many days.
Give a portion to seven, and also to eight;
for thou knowest not what evil shall be upon the earth.
If the clouds be full of rain, they empty themselves upon the earth:
and if the tree fall toward the south, or toward the north,
in the place where the tree falleth, there it shall be.

He that observeth the wind shall not sow;
and he that regardeth the clouds shall not reap.
As thou knowest not what is the way of the spirit,
nor how the bones do grow in the womb of her that is with child:
even so thou knowest not the works of God who maketh all.
In the morning sow thy seed,
and in the evening withhold not thine hand:
for thou knowest not whether shall prosper, either this or that,
or whether they both shall be alike good.

Truly the light is sweet,
and a pleasant thing it is for the eyes to behold the sun:
But if a man live many years, and rejoice in them all;
yet let him remember the days of darkness;
for they shall be many.
All that cometh is vanity.
Rejoice, O young man, in thy youth;
and let thy heart cheer thee in the days of thy youth,
and walk in the ways of thine heart,
and in the sight of thine eyes:
but know thou, that for all these things
God will bring thee into judgment.
Therefore remove sorrow from thy heart,
and put away evil from thy flesh:
for childhood and youth are vanity.

What about you? What Bible verses can you imagine being read at your funeral?

April 17, 2008 by Dave Bonta

Pocket Poem: Charles Wright

Today has been declared Poem in Your ~~Pants~~ Pocket Day by the Academy of American Poets: a chance to ~~inflict~~ share a favorite poem with friends, co-workers, fellow passengers in the subway, and so forth. To the Academy’s credit (and much to my surprise) they explicitly mention blogs and online social networks as way to spread the love. Oddly, they make no mention of copyright issues, so I won’t either, and if Charles Wright or his agent come after me, I’ll say the Academy made me do it.

Stray Paragraphs in April, Year of the Rat
by Charles Wright

Only the dead can be born again, and then not much.
I wish I were a mole in the ground,
eyes that see in the dark.

Attentive without an object of attentiveness,
Unhappy without an object of unhappiness—
Desire in its highest form,
dog prayer, diminishment . . .

If we were to walk for a hundred years, we could never take
One step toward heaven—
you have to wait to be gathered.

Two cardinals, two blood clots,
Cast loose in the cold, invisible arteries of the air.
If they ever stop, the sky will stop.

Affliction’s a gift, Simone Weil thought—
The world becomes more abundant in severest light.

April, old courtesan, high-styler of months, dampen our mouths.

The dense and moist and cold and dark come together here.

The soul is air, and it maintains us.

(Appalachia, Farrar Straus Giroux, 1998)

April 14, 2008May 30, 2016 by Dave Bonta

Cutting a hatchet

I started to write a footnote to the previous post, but pretty soon it was longer than my poem, so I thought it deserved its own post.

Gary Snyder’s poem “Axe Handles” introduced a lot of American readers to a critical passage in the Confucian classic The Doctrine of the Mean, attributed to Confucius, who was himself quoting a folk-poem from the ancient Shi Jing. With the assistance of James Legge’s bilingual edition and my trusty Chinese-English dictionary, I’ve attempted my own translation — I hope it isn’t too much of a hatchet-job. (Fu can mean either axe or hatchet, of course. I prefer the latter here because I think a shorter-handled tool is at issue, though “axe” is certainly general enough to include hatchets as well.)

To cut a handle for a hatchet, what do you do?
Without a hatchet in hand it can’t be done!
In taking a woman to wife, what do you do?
Without a go-between it can’t be done!

Cutting a hatchet, cutting a hatchet,
The pattern is close at hand.
As soon as I laid eyes on the lady,
The serving vessel was ready to perform.

Folk poems tend to be earthy, and I see no reason to assume that this one is any different. If this were a country blues song, we’d take it for granted that “go-between” and “serving vessel” were both examples of double entendre. I guess it’s also possible that both were meant literally, and the only subsidiary analogy here is between woman and serving vessel (bian dou, “an ancient food container,” according to my dictionary. It would be a great help if I knew what one looked like). But in that case one would be left wondering about the violence of the hatchet-cutting image.

For the passage in the Doctrine of the Mean (13:1-3), I’m going to chicken out and just quote Legge this time. I’m sure there are better translations, but this is the best of the three I happen to have on my shelf (including the execrable one by Ezra Pound which Snyder references).

The Master said “The path is not far from man. When men try to pursue a course, which is far from the common indications of consciousness, this course cannot be considered The Path.

“In the Book of Poetry, it is said, ‘In hewing an ax handle, in hewing an ax handle, the pattern is not far off.’ We grasp one ax handle to hew the other; and yet, if we look askance from the one to the other, we may consider them as apart. Therefore, the superior man governs men, according to their nature, with what is proper to them, and as soon as they change what is wrong, he stops.

“When one cultivates to the utmost the principles of his nature, and exercises them on the principle of reciprocity, he is not far from the path. What you do not like when done to yourself, do not do to others.”

Chapter 13 concludes with an elaboration of the principles of reciprocity and absolute sincerity — or so Legge translates these key Confucian concepts. Since discovering and becoming a lurker at Manyul Im’s Chinese Philosophy Blog several months ago, I’ve gotten a pretty good idea of just how hotly contested these sorts of translations tend to be. I think it’s safe to say that the image of the hatchet handle appealed to Confucius because it spoke to his emphasis on ethical self-governing in the here-and-now. I love the way he derives the Golden Rule from this — especially since that seems (to me at least) to have been far from the mind of the original poet. My only, neo-Daoist criticism here concerns the fittingness of the image of carving itself. I don’t question the necessity of hatchets and hatchet-handles, but it seems to me that we can learn even more about how to conduct ourselves in the world from a contemplation of the uncarved tree. I admire the Talmudic way the Doctrine of the Mean borrows and reads into passages from the Shi Jing. But uncarved poems have a unique resonance and radiance that no single interpretation can ever quite do justice to.