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Wednesday, May 11th, 2011
Below the fold, something that might become a first paragraph of a longer piece. I'm sort of wondering if it's worth pursuing; if you have any reaction to the piece I would be interested to know what it is. I'll post a comment a bit later concerning where I'm thinking about going with it; my hope is that its rhythm will grab the reader (or a particular few readers) and make him/her/them want to come along wherever I am going with it.
↷read the rest...
posted evening of May 11th, 2011: 3 responses
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by J Osner
Sinking into the warm black pillow of night. I’m dreaming
Masks, new faces, costumes I will wear
Internally, so I won’t know myself,
My face, my clean white tablet lies
There on the pillow looking up at me.
So paint! Draw crazy patterns on your cheeks;
Sculpt horns and wild protuberances, scars
Where your clean virgin skin is lying smooth.
Add blemishes and warts around your mouth,
Sprout tufts of wiry hair beside your nose --
just let yourself go,
make a May Day parade
of masks:
We’ll set them up
For all to see
We’ll let you know
Which ones will work,
Which ones will trick you out obscenely sinister unrecognized and sneaking stealthy sliding past
the doorways of your ego lurking dark around the alleys of your childhood memories;
And when I've gone to sleep I’ll see
My costumed armies waiting
And the desolation staging
Where they play.
posted morning of May 11th, 2011: Respond
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Tuesday, May 10th, 2011
I picked up Ferlinghetti's Landscapes of Living and Dying again this weekend and found myself entranced again by the crystal clarity of his images and by the sparse beauty of his syllables.
For years the old Italians have been dying
all over America
For years the old Italians in faded felt hats
have been sunning themselves and dying
You have seen them on the benches
of the park in Washington Square
the old Italians in their black high button shoes
the old men in their old felt fedoras
with stained hatbands
have been dying and dying
day by day
This old Italian (nearly 60 when he was writing these poems, in his 90's today) paints his landscapes all over America, from Washington Square to Spartanburg, SC, to Washington, DC, Wisconsin, Michigan, Springfield, San Francisco, San Jose... In each location he captures the perfect details to bring the scene to life.
posted evening of May 10th, 2011: Respond
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Monday, May 9th, 2011
I am traveling by train in central Europe, with a beehive in my suitcase (packed in Tupperware). My current destination is a town called Letze Oido -- I had thought based on my reading of the timetable that the train I was on stopped there, but it turns out I have to make a transfer, so I'm waiting in the station. A Serbian man is transporting beehives; I open my suitcase to show him my setup and notice that a couple of bees have gotten out of the container and are buzzing around in there among my clothing. He smiles and asks me in decent English whether I speak German; I say "ein Bißchen" and he asks me in extremely broken German whether I know where the bathrooms are. Another passenger sitting nearby directs him. I'm still not sure on which track the train for Letze Oido will be stopping --I notice a train pulling out and worry that I may have missed my train. I make a mental note to write this down in my journal.
posted morning of May 9th, 2011: Respond
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Sunday, May 8th, 2011
Ellen and I went out to a club last night, for the first time in a while, to see a band we had never heard of... What a great time! What a great find! I'm a fan now.
Ellen heard from Shelley on Wednesday that their old friend John was playing guitar with The Shirts on Stanton St. on Saturday, and did we want to meet her. So we did! The opening band was Suzanne Real, backed up by John on guitar and the bassist and drummer from The Shirts. A hot set but not very many people were there yet... The club really filled up for The Shirts' set though. Ellen and I were surprised to find ourselves dancing, starting early in the set when Artie Lamonica (the guitarist on the left above) sang his new song "Mochaccino" -- an addictive beat and a fun lyric. I was dancing my trademark, spastic I-can't-dance step (which I have not had occasion to use for a long time now), Ellen a more reserved swaying to the beat, but it got us together in the rhythm. And it was all right. The Shirts played an hour set and I could have listened to them for another couple of hours. I'm listening to their record now (the new one, the one that was on sale at the merch table, the one that John is playing on) and having a blast. Recommend it.
 Oh: John was not in the spotlight much during The Shirts' set -- he played some stellar solos, but the lighting guy was not on the ball -- but I got a nicely impressionistic photo of him during the opening set:
posted afternoon of May 8th, 2011: Respond
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Today, the readin household has two new members; Sylvia's new pets Woodstock (on the left) and Cheepers. Click through for a closeup.
posted afternoon of May 8th, 2011: Respond
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Saturday, May 7th, 2011
One of my very favorite-ever pictures of myself is this one, taken 8 years ago, when Sylvia was 3 and my parents were visiting -- I believe it was their first visit at our new house, the house we live in today. My dad took this picture of 3-year-old Sylvia on my shoulders, entranced by the dogwood blossom.Every year since then, the dogwood has produced fewer blossoms, fewer leaves; and this year it is well and truly dead. I spent some time this afternoon cutting off its limbs. For Sylvia's documentation of the process, look at our family album.
 Update -- a year later, it is down.
posted afternoon of May 7th, 2011: 1 response
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 A question I need to ask myself about The Origin of Consciousness in the Breakdown of the Bicameral Mind: What does it mean for me to say I like this book, to say that it has influenced my thinking?
I read a lot of novels and stories, and the notion of being influenced by a book I've read is a familiar one to me in the case of fiction -- it means the images from the story have become part of my intellectual currency, part of the landscape of imagery on which I live my internal life... Jaynes' book is clearly not a novel; in order to assimilate his imagery do I need to make the assertion that I believe his psychological theory to be true? That would be
a difficult assertion for me to make. I am not a historian or a neurologist -- while some of the historical and neurological evidence he lays out to back up his theory sounds convincing, some sounds strained, I don't ultimately have the background to judge it valid or not. I appreciate his literary analysis of The Iliad -- it greatly enriches my reading of the poem -- but have trouble accepting that as the basis for a historical theory of consciousness. So I am going to go with the much weaker assertion that Jaynes' model resonates with me: that it gives me a plausible means of understanding my own consciousness, one that matches up with the moments of inspiration which have been part of my experience.
And ultimately that is really what I'm looking for -- a way to understand inspiration. What I'm looking for is a way to write, and to write I need inspiration. The idea that the inspiration coming all-too-seldom to me is the pre-conscious voice of an internal God, and that the perspiration necessary to turn that voice into writing is the process of giving birth to consciousness, well... it works for me. YMMV. (And note, this blog post like most of my posts is almost completely inspiration-free -- a couple of wording choices may have the freshness of inspiration, but in general it is written self-consciously, a product of striving to get at the source of inspiration... That is for me a necessary part of the process.)
posted morning of May 7th, 2011: 2 responses
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Thursday, May 5th, 2011
I've been rereading Julian Jaynes' The Birth of Consciousness in the Breakdown of the Bicameral Mind -- a book which I read shortly before I started blogging about reading and which has pretty strongly influenced my ways of thinking -- and thinking there is a lot I want to write about it; but nothing is coming together yet when I sit down to write about it. Instead I want to quote a passage from another book, from William James' The Varieties of Religious Experience, a passage which surprised me when I happened across it this afternoon. I was raised a Quaker but never really learned much about George Fox. I guess to the extent that I have any image of him, it is as an ethereal, meditative pacifist, a thoughtful, reflective man. Below the fold, James quotes a passage from Fox' journals which shows him in full-on bicameral, hallucinatory prophet mode. Check it out.
Even more perhaps than other kinds of genius, religious leaders have been subject to abnormal psychical visitations. Invariably they have been creatures of exalted emotional sensibility. Often they have led a discordant inner life, and had melancholy during a part of their career. They have known no measure, been liable to obsessions and fixed ideas; and frequently they have fallen into trances, heard voices, seen visions, and presented all sorts of peculiarities which are ordinarily classed as pathological. Often, moreover, these pathological features in their career have helped to give them their religious authority and influence.
If you ask for a concrete example, there can be no better one than is furnished by the person of George Fox. The Quaker religion which he founded is something which it is impossible to overpraise. In a day of shams, it was a religion of veracity rooted in spiritual inwardness, and a return to something more like the original gospel truth than men had ever known in England. So far as our Christian sects today are evolving into liberality, they are simply reverting in essence to the position which Fox and the early Quakers so long ago assumed. No one can pretend for a moment that in point of spiritual sagacity and capacity, Fox's mind was unsound. Everyone who confronted him personally, from Oliver Cromwell down to county magistrates and jailers, seems to have acknowledged his superior power. Yet from the point of view of his nervous constitution, Fox was a psychopath or détraqué of the deepest dye. His Journal abounds in entries of this sort: --
"As I was walking with several friends, I lifted up my head and saw three steeple-house spires, and they struck at my life. I asked them what place that was? They said, Lichfield. Immediately the word of the Lord came to me, that I must go thither. Being come to the house we were going to, I wished the friends to walk into the house, saying nothing to them of whither I was to go. As soon as they were gone I stept away, and went by my eye over hedge and ditch till I came within a mile of Lichfield where, in a great field, shepherds were keeping their sheep. Then was I commanded by the Lord to pull off my shoes. I stood still, for it was winter: but the word of the Lord was like a fire in me. So I put off my shoes and left them with the shepherds; and the poor shepherds trembled, and were astonished. Then I walked on about a mile, and as soon as I was got within the city, the word of the Lord came to me again, saying: Cry, 'Wo to the bloody city of Lichfield!' So I went up and down the streets, crying with a loud voice, Wo to the bloody city of Lichfield! It being market day, I went into the market-place, and to and fro in the several parts of it, and made stands, crying as before, Wo to the bloody city of Lichfield! And no one laid hands on me. As I went thus crying through the streets, there seemed to me to be a channel of blood running down the streets, and the market-place appeared like a pool of blood. When I had declared what was upon me, and felt myself clear, I went out of the town in peace; and returning to the shepherds gave them some money, and took my shoes of them again. But the fire of the Lord was so on my feet, and all over me, that I did not matter to put on my shoes again, and was at a stand whether I should or no, till I felt freedom from the Lord so to do: then, after I had washed my feet, I put on my shoes again.
After this a deep consideration came upon me, for what reason I should be sent to cry against that city, and call it The bloody city! For though the parliament had the minister one while, and the king another, and much blood had been shed in the town during the wars between them, yet there was no more than had befallen many other places. But afterwards I came to understand, that in the Emperor Diocletian's time a thousand Christians were martyr'd in Lichfield. So I was to go, without my shoes, through the channel of their blood, and into the pool of their blood in the market-place, that I might raise up the memorial of the blood of those martyrs, which had been shed above a thousand years before, and lay cold in their streets. So the sense of this blood was upon me, and I obeyed the word of the Lord."
↻...done
posted evening of May 5th, 2011: 1 response
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Wednesday, May 4th, 2011
Alas! It looks like Sylvia and I are not going to make it in to the city to see Cave of Forgotten Dreams before the end of next week, when its run will be ending. I am hoping against hope that it gets a broader distribution, either now or at Oscars time -- how could something like this not get nominated? If not, well, I guess we'll watch it at home, without 3D... Julian Bell's review in the current NY Review of Books makes it sound unmissable.
posted evening of May 4th, 2011: Respond
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