In illo tempore

The phone rang at mid-morning on Christmas Eve, and my nine-year-old niece Eva answered it. One of our hunter friends, Troy, was calling from his cellphone. “There’s two bears on Sapsucker Ridge right up above the barn!” he said. We hustled into our boots and overcoats and ran outside. Troy, his brother Jeff and his son Andy were standing at the top edge of the field, staring up into the woods. It was a bright, sunny morning, but the snowpack, which had melted quite a bit the day before, was still firm, and our boots punched through with every step as we made our way up across the field.

The hunters had been moving their portable tree stands in anticipation of the beginning of muzzleloader deer season the day after Christmas. Like most of the hunters we know, they have excellent observational skills, and one of them had caught a movement in a tangle of brush a hundred yards away near the top of the ridge as they walked by in the field below. Until I looked through binoculars, I had to take their word for it that the black dot was the head of a half-grown bear.

“There was a second one – the mother probably – but she went on over the ridge,” Troy said. The remaining bear was nonchalantly turning its head all around and working its jaws, as if rehearsing a speech. “I think he thinks we can’t see him,” Jeff remarked. I hoisted Eva onto my shoulders so she could get a better view. We decided that this was the same mother bear with cub that my mom and I had surprised on the Christmas Bird Count as they lay in a denning cavity a quarter mile farther down the ridge.

Image hosted by Photobucket.com

Eva’s parents had spent the night in town with my brother Steve and his family; when they all showed up an hour and a half later, the bears were gone. “Let’s go out after lunch and follow their trail,” Steve said. “Maybe we can track them to their den!” His enthusiasm was infectious. I had just finished decorating the tree, and would have a few hours free until I’d have to assist with supper preparation. Eva decided to go along, too.

It was a warm day. By two in the afternoon, the snow had turned to slush. We found the spot where the bears had been hanging out that morning without much trouble, and began following their fresh tracks, clambering over and around numerous deadfalls and smashing through thickets of wild grape and blackberry. In many places, a smaller paw print had been pressed inside a larger one, and it was easy to picture the gangly youngster scampering along behind its mother.

Image hosted by Photobucket.com

We were relieved when, after couple hundred yards, the trail led us up over the ridge and down into the relatively more open woods on the other side, where the main hazards were the dense patches of mountain laurel and steep boulder fields. The snow was firmer and crunchier on the northwest side of the ridge, and gave us pretty good footing over the rocks.

Image hosted by Photobucket.com

The trail began to parallel the ridge crest about a hundred feet below it. Steve set a brisk pace, and Eva began falling farther and farther behind. She wasn’t complaining, but I could see that her cheap, low boots were no match for the snow. While I waited for her to catch up, I snapped pictures of the gnarled old rock oaks and black birches that grow among the rocks, the closest thing to old growth on our mountain.

Image hosted by Photobucket.com

This was also the only place on the mountain where paper birch grows, and in the strong sunlight, the contrast between the snow and the off-white bark was striking.

Image hosted by Photobucket.com

Eva admitted that she had a couple inches of water in her boots, so I led her back up to the top of the ridge and pointed the way home. Steve seemed tired of clambering along the steep hillside himself, and convinced me that if we simply followed the crest of the ridge, sooner or later we’d find where the bears had crossed back over. One way or another, we’d have a good walk out to the Far Field, he said, and that much turned out to be true. Through binoculars, we could just make out the bears’ tracks down below, continuing to head southwest along the ridge. “They could be half-way to Altoona by now,” Steve said, and we reluctantly turned back.

I still had to finish wrapping presents, so I took the more direct route home. Steve went back along Laurel Ridge, where he scared up a small flock of wild turkeys. I had a brief encounter with a dead snag I had never noticed, standing along the edge of the field. A woodpecker hole near the top pierced all the way through to the sky beyond, and as I watched, the contrail of a nearly inaudible jet seemed to thread it, fading rapidly away toward the south. Perhaps if I were one of the Magi, I’d know what to make of this perspective-dependent celestial sign.

Image hosted by Photobucket.com

It’s odd. Given their wariness and generally crepuscular habits, we see bears only once every month or two, on average. But twice before when Eva was visiting with her family we’ve had great sightings of black bears, and both were on Easter. The second time, Eva was the first to spot the large, male bear peering in through the bow window while the rest of us sat in the other room. These were our first Christmas Eve bears, but I have a feeling they might not be our last.

In The Sacred and the Profane: The Nature of Religion, the great comparative religionist Mircea Eliade talks about the cyclical nature of sacred time. “Religious participation in a festival implies emerging from ordinary temporal duration and reintegration of the mythical time reactualized by the festival itself,” Eliade wrote. “Hence sacred time is indefinitely recoverable, indefinitely repeatable.” Sacred, ritual time operates almost like a time machine (my image, not Eliade’s), making the participants feel as if they have in some sense returned to the way things were at the very beginning, in illo tempore. In Judaism, and in Christianity after it, every Sabbath permits such a return, and the high holy days even more so.

For most of the last two thousand years, Christians have regarded Good Friday and Easter as the high points of the liturgical calendar, but nowadays, for whatever reason, many seem to have decided that Christmas is a bigger deal. It’s certainly much less Christian in its origins, and the celebration of light and faith at the darkest pivot-point of the year has a nearly universal appeal outside the tropics. The epiphany in the manger also takes us back to Eden in a way that the Passion and Resurrection of Christ cannot. According to widespread folk belief, on Christmas Eve night, the speech of animals becomes briefly intelligible once again, though the traditions disagree on whether it is a good idea for humans to listen in.

I’d be lying if I told you that any of these ideas were passing though my head on Christmas Eve, however. After supper, we gathered in the living room according to time-honored family custom and listened while Mom read the Gospel accounts of the birth of Jesus from her battered old copy of the King James Bible. My ten-month-old niece Elanor rested quietly in her mother’s lap.

Then Mark takes the seat at the piano, and it’s carol time. We begin with a few of the more light-hearted songs, courtesy of Steve, who has an excellent memory for lyrics: “Jingle Bells” in Latin, the Grinch song, and Tom Lehrer’s cynical take on the holiday. Then it’s on to more serious carols which everyone is expected to join in on, such as “Silent Night” and “O Little Town of Bethlehem.” Only the light above the piano competes with the colored lights strung on the tree and threaded through the greens on top of the fireplace mantle.

Mom has a good, rich, mezzo-soprano voice and took a lot of voice lessons in her youth, but with advancing age, each year it’s an open question whether she’ll be able to hit the high note in “O Holy Night” – always the last carol of the evening. As she works her way up to it, her younger granddaughter gets more and more into the spirit of things. Guarded closely by her mother and her cousin Eva, she crawls up onto the coffee table next to the piano, where she sits waving her arms rapidly up and down as if to urge a faster cadence in the music. Eva gets the idea of putting a small plastic toy into one of her wildly gyrating hands. Elanor clutches it for a second or two, then releases her grip, sending the toy flying. She shakes with laughter, her eyes squeezed shut with pleasure. Eva hands her the toy again, and again. I can’t remember when I’ve ever witnessed such pure, unmitigated delight, and it makes me feel something I haven’t felt in a long, long time. Meanwhile, Mom and Mark have made their way into the third verse of “O Holy Night,” after some rusty piano accompaniment in the first verse, and skipping the second.

Truly He taught us to love one another,
His law is love and His gospel is peace.
Chains he shall break, for the slave is our brother.
And in his name all oppression shall cease….

She hits the note. Elanor is bubbling over with joy. Oh holy night.

Letting go

Image hosted by Photobucket.com

The first frost came on Friday night as we sat around drinking. At a certain point, we had to bring the beer in from the porch to keep it from freezing. While I slept the dreamless sleep of inebriation, the air was crystallizing around every leaf and blade of grass, like frozen foam from the season’s drained cup.

Image hosted by Photobucket.com

I love the way a beer with good head retention leaves a record of its passing in the white, lacy rings on the side of the glass. It’s a good argument for sipping rather than chugging. But that’s the funny thing about consumption, isn’t it? The more attached you become to the act of consuming, the less you enjoy it. To get the most out of a beer – or anything, really – you have to take it one sip at a time.

Image hosted by Photobucket.com

The bark of pignut hickories forms rings, too, healing over the lines of holes drilled by yellow-bellied sapsuckers. They are slow-growing, long-lived trees, seemingly unaffected by the intensive tapping of their sap. Their nuts aren’t as sweet as those of shagbark hickories, but the squirrels still seem to catch most of them before they hit the ground.

Image hosted by Photobucket.com

The red, black and scarlet oaks are the last trees on the mountain to turn color, long after the understorey black gums, sassafras, witch hazel and spicebush have shed their leaves. By holding onto their leaves so long, they risk damage from early snows or ice storms, but oaks are very good at sealing off wounds to prevent infection from spreading to the rest of the tree. And shedding leaves, it turns out, is about more than just letting go; new research suggests that trees attempt to poison the ground against competitors with the chemicals that form in their leaves as they turn color.

Image hosted by Photobucket.com

Within the space of a few days last week, high winds stripped the ridges mostly bare, and now suddenly one can see for hundreds of yards through the woods. The rising sun hits my front porch an hour earlier, even as the dawn comes later. I don’t think of winter as a dark time, but a time of clearer light and more interesting shadows. While vistas are opening up, life is turning in upon itself, rediscovering the rewards of contemplation and of altered states.

Image hosted by Photobucket.com

Who can blame shamans for trying to become bears, those champion sleepers and masters of retention? Right now, they’re living quite literally off the fat of the land, but when a bear enters hibernation, its large intestine forms what is called a fecal plug. Winter, in other words, is the one time of the year when a bear does not shit in the woods. You can walk along enjoying the dawn or sunset sky without a thought for where you put your feet.

Ash fruits

An impressionistic review of the article “Night of the Growing Dead: A Cult of Virabhadra in Coastal Andhra,” by David M. Kline, in Criminal Gods and Demon Devotees: Essays on the Guardians of Popular Hinduism, edited by Alf Hiltebeitel and published by State University of New York Press in Albany, 1989.

A cobra moves into the termite mound, which has grown tall & full of turrets, like a Disneyland of dirt. The villagers build a shrine around it as a home for orphaned spirits, who inhabit large, gray, egg-shaped fruits that the potters fashion out of tree semen & the ash from burnt cow dung. Those who could not be burned are jealous of ashes.

And the ash fruits grow, year after year. They swell with offerings – the rounded towers of rice – having no way to take a shit. Every dead thing resembles a fruit, the sum of long-ripening actions. But these ones, with all chance of future action cut off, ripen only in their rage.

They are the pills too bitter to swallow, the gray implacable grief that drives every cycle of violence. The deaths of innocents violate the law of the universe, so the world must burn. The spine of Sati crumbles in the funeral pyre & God smears her ashes all over His skin, as sealed off now as a stone in these avatars of ash.

One night a year when they travel in procession to the river to be dipped & blessed, they can seize anyone by the throat – an onlooker, or their own former mother – & make him or her throw up the indigestible pits of their words. Which, however disjointed, always add up to a single, non-negotiable demand: more life.

Cover

Seven points in search of an argument

1.
Friday’s photo-essay about windows got me thinking about self-effacement, and how dangerous it can be. Think of guerrillas lying in ambush, or the CIA operative in deep cover. Then, too, privacy issues have been in the air lately with all the discussion about nominations to the U.S. Supreme Court. I don’t know whether the Constitution contains an implicit right to privacy or not, but I’m pretty sure than any government that denies the existence of such a right for its citizens, while multiplying arguments for higher and higher levels of government secrecy, is one badly in need of being overthrown.

2.
I’ve also been following an exchange about blog privacy on a listserve I belong to, and feeling more and more baffled as one blogger after another talks about his or her fear of being read by the wrong person. They talk longingly about anonymous blogs where they would have complete freedom to say what they want.

What’s wrong with me that I don’t feel thwarted by my inability to say what cannot be said? I’d always thought that near the core of every relationship there lay a little bundle of forbidden things – those terrible words that, once uttered, can never be retracted. One’s consciousness of this (or any) taboo creates a kind of tension that is ultimately creative. For me, the challenge is to find the words behind or beyond those terrible ones, which in a certain sense are only fuel for the spark that enlivens and illuminates every authentic, I-Thou encounter. But maybe for others this just sounds like an argument for self-censorship.

3.
I’m wondering whether poetry might not serve as an outlet without which I, too, would feel terribly constrained. Growing up, I had the benefit of a stable and supportive family, where every creative effort, no matter how minor, received praise from one or both parents. But at the same time, we were (and are), like many WASPs, not much given to talking about our feelings. That’s not to say I didn’t emote much; far from it – I was a rage and self-pity junkie. I threw tantrums almost constantly up until the age of twelve, when I began to get good enough at writing poems that I could start channeling my affective energy into that instead.

And what is a poem, after all, if not an attempt to say what is otherwise unsayable? To pick a well-known example: if you want to tell someone you like them, but are afraid of making yourself too vulnerable by baldly saying so, what do you do but write a poem in their praise? Poetry allows us to elevate ordinary discourse, to turn our words into a gift. Writing at that level leads one to focus on something outside oneself. For me, writing is not and has never been about self-expression; I’m not even sure I know what that would entail. Even when I write in prose, my main motivation is to try and share my insights with other people. I’m not interested in anonymous publishing because I don’t think that my words have any value beyond whatever connections they help me forge with a reader.

4.
I must admit, the idea of writing in different, assumed personas or “heteronyms,” Fernando Pessoa-style, has some real attraction, adding another dimension to the game-like back-and-forth between author and audience. But otherwise, apart from the need to elude criticism-intolerant employers or censorious family members, I don’t understand why one would ever need a disguise more impenetrable than one’s given name. I’ve always had this sense that “Dave Bonta” was a completely arbitrary place-marker, and I guess that’s the primary reason why I don’t mind the thought of anyone finding the stuff I put up on the web. I honestly don’t think of it as mine in any essential way; a good poem belongs to itself. If someone tries to assert their own authorship of it, of course I’ll object. But if they tease me about writing it, I’m happy to join in. And if they want to lob brickbats, so much the better: there’s no writing so flawless that it wouldn’t benefit from a strong critique.

5.
I know the kinds of uncharitable things people say about each other behind their backs, and I assume that I must come in for a certain amount of that. On the other hand, I also assume that people have better things to do than to think or talk about me – and 98 percent of the time, I’m sure I’m right. Then I remember that, from 7th through 12th grade, I was more or less the class pariah, and it occurs to me that my outlook on being self-conscious may not be very helpful to anyone else. Basically, I just don’t give a shit whether anyone likes me or not. As long as I can keep churning out poems that please me, as long as I can keep finding excuses to immerse myself almost daily in the bliss of creation, I’m happier than I feel I have any legitimate right to be.

6.
I guess I’ve been influenced enough by my Christian heritage to believe that self-disclosure, confession, and vulnerability are valid, perhaps essential routes to spiritual understanding. To put it another way, it seems to me that whenever we buy into the modern materialist notion of the self as unique, independent, ideally impenetrable interior space, we are much more likely to forget the fragility of the rest of Creation and thereby participate in its abuse. In Christian terms, we go from the imitation of Christ to the imitation of Pilate. In Jewish terms, we resemble the smooth talker Aaron, ready to build a golden calf if our friends want us to, rather than the hesitant, tongue-tied Moses or the inspired Miriam. I very much fear that my shamelessness, thick skin and too-fluid words condemn me to ignorance of something I have little business even speculating about. My friends who, at first blush, strike me as being excessively wary of self-exposure, may in reality be close to some implausible quarry, some unicorn or behemoth, which I, through my heedless whistling and stomping about, have inadvertently frightened deep into cover.

7.
But poetry has taught me that disclosing one thing always entails concealing something else. To find is to lose, and vice versa; the eye remains invisible to itself. No single identity can encompass the mystery of who we are, whether as individuals or as nodes in social, political and ecological webs. Protecting privacy means, above all, preserving the freedom to become whoever we want. And a government that tries to assert the power to know every aspect of its citizens’ lives is one that, as we’ve seen, will stop at nothing to extract ultimately worthless confessions.

Sacrifice

This entry is part 29 of 42 in the series Antiphony: Paul Zweig

I’m reading Paul Zweig. This is the eleventh poem in the third (“Eternity’s Woods”) section of his Selected and Last Poems, followed by my response. See here for details on this experiment in responsive reading.

The Art of Sacrifice
by Paul Zweig

Our breath on the altar is offered in love.
The fuck-you we smile is offered in love.

[Remainder of poem removed 11-18-05]

* * * *

Sacrifice

The yogi who fears the little death of ejaculation
treats every release of his semen as a sacrifice.
Beyond the bliss of union, he seeks power:
flight; perfect foresight; invisibility;
the ability to possess a body
as the gods do, lording it over the tongue.
He chants religious verses as he comes,
oh light, oh ether.

There are no magic powers, there is no little death,
there is only a letting-go – however fleeting –
of that death-grip in which we hold
our precious ones & zeros,
Shiva, Gauri.

In the half-light, half-dark of dawn,
headlights on the new highway
outshine the moon that hangs full in the cleft
they used to call Skytop,
oh father-face offered into the mother-face.

Beyond building highways, the engineer seeks
a world that yields and merges
with the flawless model.
But moving the mountain laid open
countless veins of pyrite.
That rent web of fool’s gold
now bleeds acid into two trout streams,
svaha.

In the still of the night

by Steven Bonta
Special to Via Negativa. All rights reserved by the author.

In the still of the night, I pay my respects at the Shrine of the Cobra.

Actually, I’m in a tiny sanctum at the fringe of Tattaneri Cemetery, on the edge of a bustling city in Tamilnadu, South India. Here cobras sometimes issue from the fringe of acacias to drink milk offerings left in saucers before the billhook-wielding image of Sonaisami, one of the many ferocious Shaivite demiurges worshipped in the villages and waste places of Tamilnadu. Sonaisami (“Lord of the Tomb”) sports a potbelly and florid mustache, as do the other protector deities, or bhuts, posted on each corner of the roof of the dilapidated shrine. On the back of the building is a terrifying painting of the goddess Kali garlanded with skulls, the corpse of Shiva prone at her feet.

Ordinarily, Lord Sonai’s shrine is neglected, competing as it must with thousands of more attractive temples housing more charismatic gods in a city that styles itself the heartland of Dravidian Hinduism. But tonight, on Shivaratri — the Night of Shiva, nearest thing in the Hindu world to Halloween — Sonai has taken center stage. His niche is lit by oil lamps, and an offering of coconuts, rice, and arrak liquor is spread on the dusty brick floor.

“Do you believe there are such things as cannibals, white man? Here in India, I mean?”

I fumble for a reply to such a typically Indian non-sequitur, setting aside my sweaty barbell as a rat scurries across the dirt floor of the gym.

“I’ve never thought about it, but I suppose not.”

“That’s my saying, too, but this man, he is from the south, from Tirunelveli, and he says his family worships a god whose priests are cannibals.”

The man indicated, a burly, taciturn laborer performing dumbbell curls, speaks no English, so I ask him in Tamil what he is talking about.

He assures me, in perfectly measured tones, that his kuladevan, or family deity, is propitiated by priests who actually eat the flesh of corpses, and that he has seen this rite performed. I ask the name of this god.

“Sudalai Madan,” he answers — “Fiend of the Burning-ground.”

“Is it possible for outsiders to see such rites?” I ask.

“Perhaps.”

My friend Balu and I grow restless. It is well past midnight, and the only living thing we have seen in hours of waiting, besides the swarms of insects buzz-bombing a pair of feeble streetlights, was a lone bicyclist who shot past the silent cemetery grounds without a sideways glance. The dead, however, are very much in evidence. Human remains unearthed by stray dogs from shallow graves lie scattered among the weeds, and some thoughtful soul has placed several bones, including a nearly-intact skull, on the ground in front of Kali’s leering image.

Underneath each of the three large metal pavilions that mark the crematory portion of the cemetery, a corpse is burning. Beside one of these corpses, we find something else: a large circle, marked with tika powder and sprigs of various plants, inscribed in the ashes left from decades of cremations. In the middle of the circle is a small heap of human bones, gathered from the cemetery and broken into bite-sized pieces. A tangle of acacia branches has been dragged over the site, to prevent trespassers like myself from getting a closer look.

Finally, past 1 AM, I hear from the deserted street the sound of voices and the hypnotic wheeze of an udukku or squeeze-box drum.

The sightless eyes stare back at me from a ruined, bloodied face. By his appearance, the man was the victim of some reckless truck driver and, without kin, has been dumped unceremoniously at the entrance to the cemetery, only partially wrapped in a bloody sheet. He will presumably be cremated anonymously, by some of the rough-looking men who labor in the necropolis. On a whim, I approach several of them and ask, feeling somewhat foolish, if they have ever heard of such a thing as people coming into the cemetery at night and eating human remains.

“Oh, that’s tomorrow night,” one of them says, without a twitch of surprise.

“Is a velaikkaran [white man] allowed to see such a thing?”

“Sure. You come tomorrow, around midnight. You’ll see.”

An odd and unexpectedly noisy procession has arrived at Tattaneri Cemetery. Twenty or thirty men, including a uniformed policeman, surround a terrifying figure dressed in colorful black trunks, wearing a wig of long, black tresses, and carrying on his head a gorgeous, flower-draped, spindle-shaped object known as a kapparai. The figure is in a state of frenzied possession, which the Tamils call avesam; he howls and screams and spins wildly, while several of his acolytes help to support him. At the head of the group, a kodangu or soothsayer, who is playing the squeeze-box, along with another drummer, keep up the mesmerizing rhythm as the group pauses right in front of me.

“They worship the god Irulappan [Lord of Darkness],” one of the cemetery workers informs us, “who is the same as the one they call Sudalai Madan in the south.”

At this, Balu becomes uneasy. Later, he tells me that he has heard of this dark god and the fearful secret rites his followers practice. There may be some danger, he suggests. Good Hindus do not worship in the dead of the night. I offer to pay more than the usual fee to Balu, who is a trishaw driver, and his concern appears to abate.

The votaries of Irulappan are surprised and delighted to find a Tamil-speaking white man waiting for them in this secret, desolate place. No white man has ever seen their rites before, and they are eager to show an outsider how religion is really done.

The priest carrying the kapparai suddenly gives a bloodcurdling shriek and races towards the pavilion where the ritual circle has been prepared. The kapparai is jammed into the ash next to the burning corpse, and the priest, still jerking and babbling under the influence of the spirit that controls him, sits down cross-legged in front of the pile of bones. The rest of us crowd around, a ring of expectant dark faces and one pale face, imperfectly lit by a pair of guttering oil lamps. I am ushered to the priest’s side, so that my view will be unobstructed.

“I have heard of such things,” my Brahmin landlord tells me earlier that evening. “These people are not Hindus at all, and I don’t understand why they worship such dark gods. We always say that puja should not be held after midnight, but what they do is not really puja. I think you should be very careful.”

With another howl, the priest scoops up the bones with both hands and stuffs them in his mouth, molars crunching improbably through brittle, sun-bleached fragments of femurs, skulls, and ribs. In a moment, Irulappan has finished his meal, and is ready to grant a wish or two. Leaping to his feet, the wild-haired vessel for the god begins barking auguries to the circle of devotees, who merely look deferentially at the ashes and murmur “Aama, sami” (Yes, lord). One of the acolytes suddenly keels over into a possessive swoon and, as his comrades crowd around trying to revive him, Irulappan departs, and his bone-weary human vessel goes over to the water pump to revive himself.

After a few minutes’ break, in which I am allowed to photograph a cluster of grinning Irulappan sectaries standing around the colorful kapparai, the ritual resumes with the mukkavu, or triple sacrifice of a goat, rooster, and pig. A black kid is presented with a circle of banana leaves, on each of which is placed a pile of rice. As soon as the animal noses one of the rice piles, its throat is cut and the blood mixed with the chosen portion. The other two animals are similarly dispatched, and then the head priest, with two acolytes (including the one who swooned earlier) retires into the acacias to perform the most secretive part of the entire ritual: the rice/blood mixture is hurled into the air, and Irulappan takes it. From within the trees we hear a loud scream, and then the cadre returns. They will say only that the offering was accepted, as always.

*

Two nights later, I return to the cemetery for a sequel to this ritual (dare I call it osteophagy?), which can only take place during one week out of the year. This time, the same group appears with a different kapparai, a triangle enclosing five faces. A similar rite is performed.

Another group from a different temple shows up as well, larger and more boisterous. Their priests arrive first, eat bones, and then greet the large procession of followers as it surges down the street to the cemetery. Among them are mummers dressed as bhuts, with black mustaches and carrying billhooks and whips. Tonight, evidently, will feature the initiation of one of their acolytes.

A young man in manacles is thrown into the ashes next to a pile of bones, while the rest gather around to watch. The whip-wielding bhuts lash at the devotees, screaming at them to kneel, while the initiate manages to choke down bones and corpse-ashes in roughly equal portions. While all this is going on, in a surreal twist, one of the onlookers hands me his business card. He’s an engineer, he wants me to know.

“Irulappan is a crazy (paitiyam) god,” the head priest of the Irulappan cult tells me several days later. Gone are the trunks, the saidai (black wig), and the garlands of flowers that had been hung over every idol in the temple, including that of the goddess Ankalaparamesvari, the temple matron. In the niche of Irulappan, to the left of the entranceway, the generic black statue within no longer sports the silver pieces that limned its features during festival time, nor the leopard skin denoting his association with Shiva.

“Irulappan is the same as Sudalai Madan in the south, and Mayandi (‘Lord of Illusion’) in the east,” the priest tells me. “He is the crazy son of Shiva, and like his father, frequents cemeteries and burning grounds where he sometimes eats human remains.”

He points to the wall behind him, festooned with the portraits of head priests stretching back several centuries. “This temple is very old, at least four hundred years. When it was built, this was all countryside. Now it is all city, but we keep the old forms of worship alive. I worship like my father, and he as his father before him.”
_____________

Author’s note: Transgressive forms of Hinduism featuring some form of ritual cannibalism appear to be very ancient, and center on the so-called “Brahminicide myth,” in which Shiva, in a fit of pique, lops off one of the heads of Brahma. As penance, he is cast out from civilized society, and forced to travel through India as a beggar with the skull (Skt. kapala) of Brahma attached to the palm of his hand, frequenting cemeteries and consuming human remains. The rather mysterious order of the kapalikas, alluded to as heretics in classical Sanskrit literature, seems to have adopted the habits of the outcaste Shiva rather literally, and the kalamukhas (“black faces”) of medieval south India may have done the same. In more modern times, the cannibalistic Aghori sect of Varanasi has received some fairly sensational publicity, while rites similar to those I witnessed in Tamilnadu are described (though never witnessed firsthand) by Eveline Meyer, in her surprising book on the cult of the Tamil goddess Ankalaparamesvari (the matron goddess of the temple where Irulappan was enshrined). The Tamil word kapparai is derived from Sanskrit kapala, and suggests a connection between the secret religion of Irulappan and the brahminicide myth of the kapalikas.

Editor’s note: Other posts by Steven Bonta at Via Negativa include Lament for the fisherfolk of Sri Lanka and Favorite authors on ancient history. My brother Steve recently moved back to the area with his wife and child and currently teaches English at the Altoona College of Penn State. He wrote this essay this very morning, after a spur-of-the-moment request from me late yesterday, and thus didn’t have the time to dig up any of the photos he took of the ritual in time to include them here. I think it’s plenty frightening without them, though. Happy Halloween, y’all.

Poetry kicks philosophy’s ass

“Hence, at the basis of the concept of self-understanding lies the fact that all dogmatic assumptions are dissolved by the inner self-production of reason, so that at the end of this self-construction of the transcendental subject it is totally transparent to itself.”

HANS-GEORG GADAMER (discussing Fichte, Hegel and Husserl in an essay called “Heidegger and Marburg theology”)

” . . . the glass house
of wit . . . ”

JOHN HAINES (“Meditations on a Skull Carved in Crystal”)

Love: excerpts from a field guide

Image hosted by Photobucket.com

Love, they would have us believe, somehow endures regardless of the season. The color merely migrates from blossom to leaf and from leaf to scalloped, over-wintering wing.

Image hosted by Photobucket.com

What poets have traditionally celebrated is almost uniformly of a single species. Love when it is young and fresh indeed seems capable of making its own weather: green firmament, endless red moons.

Image hosted by Photobucket.com

But love does age, like any living thing. It follows an arc. Sightless canes tap their way into the soil and take root. They become our flexible stunt-doubles; we, their brittle avatars of death.

Image hosted by Photobucket.com

Love gives and gives until the tree stands bare and the ground lies thick with blowsy fruit. A doe and her grown fawn creep in at dusk and split them open with their hooves. I have stood outside after dark and listened to the grinding of methodical teeth.

Image hosted by Photobucket.com

We draw together less for stimulation than for solace, now. In this damp cold season, the blues can come down, as they say, like showers of rain.

Image hosted by Photobucket.com

The lucky chance that lies at the root of happiness seems all the more miraculous in the dwindling daylight hours, which by government edict we may no longer save. We fall back, trusting in the darkness that blurs and finally erases our sharp-edged grief.

The burden of becoming human

This entry is part 26 of 42 in the series Antiphony: Paul Zweig

I’m reading Paul Zweig. This is the eighth poem in the third (“Eternity’s Woods”) section of his Selected and Last Poems, followed by my response. See here for details on this experiment in responsive reading.

Jacob and the Angel
by Paul Zweig

Like a dried husk, split into a grin,
I stood on the slope of a hill, and listened to
Something rising over the crippled acacia . . .

[Remainder of poem removed 11-06-05]

* * * *

Hiawatha and Deganawidah

A pine knot exploded, & I checked the stew.
I saw my reflection among the floating bits
of what used to be an enemy
& that false face was yours, my prophetic friend.
You had helped yourself.

I heard everything then: the hissing fatwood,
flames licking the kettle’s greasy lip.
Two or three chickadees scolded through the open door.

I have been caught like that more than once,
among the pines & yellow poplars
in the next breath after some rare animal
has passed, fur rippling, out of sight.
The air seems fully open, like an undiscovered wound.
One hears distant voices of what may or may not be
other, ordinary walkers.

I stagger; you swing down from where
you had hidden yourself
among the rafters of the longhouse
& hold me up, show me how to make peace between
the factions in my body. Heart, spleen,
the insurgent belly – these separate fires all come
from a single ember, I intone on cue.

Then to dispose of the contents of the kettle:
let us dig its grave between the roots, you say,
in the legend that has already replaced my recollection.
There was never a fresh hole at head height
that leaked slow sap in the November sun.
There was never a cannibal feast.
When next we look in the revelatory muck,
you’re already flashing the antlers behind our heads
& I can’t account for the sudden leap in time.

I give you this epic, says the omniscient narrator,
what more do you want?
The shell beads dangle from his outstretched arms.
__________

Based on the Seneca legend recounted by Paul A. W. Wallace in The White Roots of Peace. The epic referred to is not Longfellow’s poem – a mish-mash of Iroquioan and Algonquin traditions – but the Great Peace (or Great Law) of the Iroquois confederacy, also known as the Book of Rites: equal parts epic and constitution.

The watermelon revelation

watermelon-peace-miracle

They had been eating a large watermelon, each night slicing another cross-section and dividing it in thirds. They agreed that it was one of the sweetest watermelons they had ever tasted. “The last of the season,” the mother said sadly.

It was only on the third night that the father felt moved to get up from his chair and watch the cutting of the melon. And father and son together were given to see what neither of them might have ever have noticed alone, distracted by the task at hand. The pink flesh bore no mere random pattern of splits, they saw, but a sign – and a well-known one at that.

“It’s a message!” the son cried.

“You take pictures! I’ll email the Vatican and the White House!” said the father.

“Oh, for God’s sake!” said the mother, hungry for her slice. “It’s just a watermelon!” But her objections were brushed aside as the son raced for his digital camera.

*

They took still pictures from several angles, then got out the video camera and shot footage of the miraculous melon, which by this time, they noticed, had begun to emit a kind of faint bioluminescence. The father hurried to his computer and began to assemble pictures and text into a basic Dreamweaver template while the son interviewed his mother – “the resident skeptic,” he called her. “Look, it’s just a watermelon!” she reiterated for the benefit of the soon-to-be hordes of virtual pilgrims.

“But can you verify for our visitors that we have not tampered with the natural pattern in any way? You saw me each night. What did I do?”

“You sliced it cross-ways with a bread knife, taking off a third at a time. You started using those splits as a guide last night, I guess.”

“So even though you personally don’t think this is anything special, you can assure our visitors that we did nothing to alter or enhance this Sign?”

“Yes, I can attest to that,” she said, sighing.

*

Less than twenty-four hours later, the site went live – watermelonrevelation.com. Within the first twelve hours of operation, the hit counter logged over five thousand unique visitors. This was going to be big.

The splash page featured simply a photo of the melon against a black background and an audio clip of a church organ playing “Give Peace a Chance.” Inside were more pictures, the videos, and a user-friendly form to allow visitors to record their own reactions to the melon and its message. This quickly took on a life of its own. A man from Connecticut, who described himself as a Quaker, denounced “the primitive, superstitious credulity of anyone who takes this so-called revelation seriously.” If we want authentic revelation, we have to learn to follow our Inner Light, he said. But a “Diana in Phoenix” testified that viewing their website had brought her violent, alcoholic husband to his knees in front of the monitor, weeping and pressing his hands against the glass. And someone with the handle AgnesofBlog sparked a lively debate by wondering whether a watermelon was a vegetable or a fruit.

While the father turned out press releases, the son combed the Internet for suitable Pentecostal, Catholic and New Age blogs and message boards on which to leave provocative comments hinting at a divine message of great import. Creative use of Google and Technorati led him to hundreds of faith-based bloggers who made a habit of reporting similar, albeit lesser, revelations, such as the widely publicized Lady of the Grilled Cheese Sandwich.

That’s when it hit him: a sudden inspiration that flooded his veins with an almost unbearable sensation of melting sweetness.

“E-Bay!” he gasped.

And so it was that, by the grace of God and the invisible hand of the market, peace, in all its pinko glory, finally got a chance.