It must have been a long time before men thought of giving a common name to the manifold objects of their senses, and of placing themselves in opposition to them.
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READIN
READIN started out as a place for me
to keep track of what I am reading, and to learn (slowly, slowly)
how to design a web site.
There has been some mission drift
here and there, but in general that's still what it is. Some of
the main things I write about here are
reading books,
listening to (and playing) music, and
watching the movies. Also I write about the
work I do with my hands and with my head; and of course about bringing up Sylvia.
The site is a bit of a work in progress. New features will come on-line now and then; and you will occasionally get error messages in place of the blog, for the forseeable future. Cut me some slack, I'm just doing it for fun! And if you see an error message you think I should know about, please drop me a line. READIN source code is PHP and CSS, and available on request, in case you want to see how it works.
See my reading list for what I'm interested in this year.
READIN has been visited approximately 236,737 times since October, 2007.
One of the most arresting passages in Feeding on Dreams -- and one which incidentally made me think of Saramago's All the Names -- is this distinction between official, archival memory in the First World and in Latin America:
Memory is important throughout this book, shading into and conflicting with nostalgia, being lost and refound and disputed and defended; in one of the diary entries from Dorfman's 1990 return to Chile which make up the core of the book, a MAPU comrade of his is telling about a reunion dinner with his Pinochetista parents —
...His mother noticed that he was dragging his left foot slightly as he shuffled towards the living room. "What happened to you, hijo?" she asked. "Did you hurt yourself?"
"You know perfectly well why I'm limping, Mamá. I was tortured, that's why. I'll never walk normally again, you know that."
Tortured? His mother looked at the other members of the family as if to excuse the wayward child and his pranks. Of course the boy hadn't been tortured, hasta cuándo was he going to engage in that sort of political propaganda, let's not dwell on such unpleasant topics...
(in which I take a carving chisel to my fiddle and fail to destroy it)
Ever since I got my Stroh fiddle last May, I have felt like the bridge was not quite accurately fitted to the violin, in in two regards. The way it transmits sound to the resonator is via a brass extension -- the bridge rests on the metal, so vibrations from the strings pass into the brass and move the resonator cap. But the brass ledge is not quite as wide as the feet of the bridge; they extend into the air a few millimeters on either side, so some fraction of the sound is being lost. Not a whole lot I can do about that; but furthermore, the bridge was slightly too tall -- when the strings were at full tension it buckled slightly. This meant the feet were not fully in contact with the brass, and sound was being lost that way as well.
So all this year and a half I have been meaning to whittle a little bit of height off the top of the bridge. It seemed like it would be a really easy repair to make; the odds of screwing up were low and in a worst case scenario, I would only need to replace the bridge. Still I felt squeamish about taking a knife to the fiddle... Tonight after a year and a half of procrastinating, I finally did it -- it was quick and easy and the sound post-repair is noticeably cleaner and brighter than before. Nice! As far as the width of the brass, I think to fix that would involve finding a new brass extension of the correct size -- a narrower bridge would be a poor solution. But for now I am quite content with the fix; doing this kind of work on the instrument brings me into closer contact with it and makes it more fully my fiddle.
Update: This did not really work very well. See this post for an analysis of why not, and what I ended up doing.
posted evening of September third, 2011: Respond ➳ More posts about Fiddling
Ariel Dorfman's saga of exile in Feeding on Dreams is also a saga of language, language lost and rediscovered. Heinrich Böll puts into words the younger man's predicament when the two authors meet in Paris, a few years after the coup in Chile:
What he shared with me was the problem that German writers had faced after the Third Reich. "Hitler contaminated the language," he said. "We could no longer write the word comrade, the words joy and exultation and brotherhood. It was kidnapped, the language itself, by the Nazis. That was the task we could not avoid, that is what you must worry most about. Not allowing them to control the language with which you will tell the story of your times. This is something that needs to be done now, before you overthrow Pinochet. It cannot wait till tomorrow or it may be too late."
posted evening of September first, 2011: Respond ➳ More posts about Ariel Dorfman
The living sleep for their time, the dead sleep for their time,
The old husband sleeps by his wife and the young husband sleeps by
his wife;
And these tend inward to me, and I tend outward to them,
And such as it is to be of these more or less I am,
And of these one and all I weave the song of myself.
The Compagnia de' Colombari theater company is going to be performing "More or Less I Am" around the city next week -- it is a musical theater piece based on Whitman's Song of Myself. The Times has a schedule, and you can read a review of an earlier performance at the New Yorker. All performances are free of charge. We're going to the show at The Calhoun School on Friday and looking forward to it!
posted evening of September first, 2011: Respond ➳ More posts about Readings
This post is inspired partly by a conversation I had with Ellen last night. I asked what she thought of the poem I had posted about writing poetry, and she said she thinks that kind of writing is worth while mostly for working it out of your system in order that you can write more immediate poetry... I'm finding interesting that much of Spring and All, at least the prose sections of it, is just this kind of writing about writing, about what I can write and how I can expect the reader to respond to it.
This is from the opening section of Spring and All (perhaps what Williams needs to work out of his system before he can move on to poetry) --
The reader knows himself as he was twenty years ago and he has also in mind a vision of what he would be, some day. Oh, some day ! But the thing he never knows and never dares to know is what he is at the exact moment that he is. And this moment is the only thing in which I am at all interested. Ergo, who cares for anything I do ? and what do I care ?
I love my fellow creature. Jesus, how I love him : endways, sideways, frontways and all the other ways -- but he doesn't exist ! Neither does she. I do, in a bastardly sort of way.
...
And if when I pompously announce that I am addressed -- To the imagination -- you believe that I thus divorce myself from life and so defeat my own end, I reply : To refine, to clarify, to intensify that eternal moment in which we alone live there is but a single force -- the imagination. This is its book. I myself invite you to read and to see.
In the imagination, we are henceforth (so long as you read) locked in a fraternal embrace, the classic caress of author and reader. We are one. Whenever I say „ I ” I also mean „ you ”. And so, together, as one, we shall begin.
Well, this seems great. I can picture myself saying this, can identify fully with Williams, as he is quite explicitly inviting me to do. Of course my project is not complete there -- I want to say something of my own, that's why I'm writing...
(A side note: the introduction to this edition (New Directions, 2011), written by C.D. Wright, is just great.)
The poem I posted this morning started out as a response to William Carlos Williams' Spring and All -- I've been reading it in fits and starts over the past week or so and loving the physical and the auditory texture of the words, but far from sure they are making any semantic impact on my consciousness -- when I turn the page, the words I was reading do not seem to persist much as imagery or meaning. This is a common response of mine to long poetry and to dense prose, and the answer always seems to be, just enjoy the sounds and let the meaning follow if it will.
I got interested in this book when I realized that after so many years of pastiching "Red Wheelbarrow" and "This is just to say" on Making Light, I still don't have much knowledge of Williams beyond those two poems. In the interests of repeating the text, here are a few passages I am enjoying. (Generally I am pretty psyched and amazed by the use here of paragraphs within poetry.)
If anything of moment results -- so much the better. And so much the more likely it will be that no one will want to see it.
There is a constant barrier between the reader and his consciousness of immediate contact with the world. If there is an ocean it is here.
Meanwhile, SPRING, which has been approaching for several pages, is at last here. ...
The farmer in deep thought is pacing through the rain among his blank fields, with hands in pockets, in his head the harvest already planted.
o meager times, so fat in everything imaginable ! imagine the New World that rises to our windows from the sea on Mondays and on Saturdays -- and on every other day of the week also. Imagine it in all its prismatic colorings, its counterpart in our souls -- our souls that are great pianos whose strings, of honey and of steel, the divisions of the rainbow set twanging, loosing on the air great novels of adventure !
Ah -- here's the excerpt I was looking for -- the one that initially, when I was reading it, made me want to write this post, but which, when I went back to look, I could not find.
Even the most robust constitution has its limits, though the Roman feast with its reliance upon regurgitation to prolong it shows an active ingenuity, yet the powers of a man are so pitifully small, with the ocean to swallow -- that at the end of the feast nothing would be left but suicide.
That or the imagination which in this case takes the form of humor, is known in that form -- the release from physical necessity. Having eaten to the full we must acknowledge our insufficiency since we have not annihilated all food nor even the quantity of a good sized steer. However we have annihilated all eating: quite plainly we have no appetite. This is to say that the imagination has removed us from the banal necessity of bursting ourselves -- by acknowledging a new situation. We must acknowledge that the ocean we would drink is too vast -- but at the same time we realize that extension in our case is not confined to the intestine only. The stomach is full, the ocean no fuller, both have the same quantity of fullness. In that, then, one is equal to the other. Having eaten, the man has released his mind.
The path to understanding verse
must lie through repetition --well,
that's where my thoughts are leading me,
internal iteration linking
letters on the page to solid
consonants and sibilation
nothingness, annihilation
pausing where there's punctuation--
Write the letters large enough,
inscribed inside my skull, retraced,
and give my mind no choice except
to follow where they lead, to paint
the pictures they express, to put
myself inside the poet's psyche:
See what he sees, maybe, or self-
consciously be made to see
exactly where my failure lies
to get across what's bugging me
my fault as reader or as writer,
guilt external to the page, the
page can feel no guilt, it's paper,
blank until I taint it with
my thoughts, my visions, my regret,
my happy-ever-after longing;
Strike a key and watch the letter
print itself, its inky form
laid down forever with its partners.
Sing in silent chorus from the
blankness of the page.
posted morning of August 28th, 2011: Respond ➳ More posts about Poetry
Many thanks to Holly Hughes for introducing me to The Kinks' song "Lost and Found" -- I had never heard it before today, and boy is it a beautiful song. So John came over this afternoon and of course we had to try and work out a cover version of it... It is as John says "a little too perfect" for today.
How did we do? Well... I am by no means any Ray Davies. But I think what we came up with after a couple of takes is starting to sound pretty good. See what you think:
Notes: I need to sing it a step lower I think, or something. It was very happy-making, successfully to modulate to a new key at the end of the song though -- I don't think we've ever actually done that before.
At Cornell's Creative Machines Lab, Cleverbot and Cleverbot are having an anxious conversation. The Techniuminterviews Jason Yosinski and Igor Labutov, the students who came up with this.
via a brass extension -- the bridge rests on the metal, so vibrations from the strings pass into the brass and move the resonator cap. But the brass ledge is not quite as wide as the feet of the bridge; they extend into the air a few millimeters on either side, so some fraction of the sound is being lost. Not a whole lot I can do about that; but furthermore, the bridge was slightly too tall -- when the strings were at full tension it buckled slightly. This meant the feet were not fully in contact with the brass, and sound was being lost that way as well.
Ariel Dorfman's saga of exile in Feeding on Dreams is also a saga of language, language lost and rediscovered. Heinrich Böll puts into words the younger man's predicament when the two authors meet in Paris, a few years after the coup in Chile:
This is a 
