Ever more there’s the problem of a “missing middle” where—like the firefighters unable to find affordable housing in the metropolia where they work—writers struggle to get published, find an audience, and get paid, let alone have the longevity to let a creative vision root and grow and be pruned and strengthened by contrapuntal conversation with an audience.
I heard of shy Caedmon, sneaking out of the feast before the harp was passed to him, for he could not sing, and he fell asleep in the barn by the animals he was charged to keep and dreamed of an angel who told him to sing, so sing he did, of the creation first and then of every other holy tale until no great thing God had done had failed to find its way into English.
The process of translating from one language to another is often called an art. The late Italian medievalist and novelist Umberto Eco, aware of translation’s inherent difficulties, called it, “the art of failure.” Every attempt is inexact and partial, getting some things spot on, whiffing at others. Translators are continually forced to compromise, choosing the least flawed option while rendering the original in the target language and—devotees of the King James version aside—no one translation proves definitive, once and for all.
In the year 1990 the German artist Martin Kippenberger made a sculpture, of sorts, that he called Zuerst die Füße, or Feet First. Actually he made five versions of the sculpture, each with slight variations. I’ll concentrate on the green one, since that’s the version I first encountered. I say ‘the green one’ because in different versions of the sculpture, Kippenberger made the frog in different colors: green, blue, silver, purple and brown.
It’s the last place I’d have expected to find my Uncle Karl. That’s Karl Shapiro: my mother’s brother, 1945 Pulitzer Prize winning poet who was celebrated in his time, appointed Poet Laureate in 1946-7, editor of Poetry 1959-56, awarded the Bollingen Prize in 1968. But Karl is practically unknown today.
When our son died, I was struck by a phrase my wife repeated both shortly after his death and in the nearly five years since: “Where are you, Daniel?” We need to imagine a somewhere for those we love. I think, in part, that need is connected to our greatest fear—that those we love simply disappear without a trace as time passes.
Once I lived in Jerusalem. Two years in the late 1970s. I went to the Kotel, the Western Wall, many times to pray. Face of flesh to face of stone, I felt heart. I felt soul. My heart, my soul, my my: too small, too confined to one human body set apart to characterize what I experienced there in prayer.
Music was easily the most enjoyable aspect of writing my novel Absolute Music. I mean the sheer amount of contemplative time spent listening to the great range of music mentioned in the novel, all of which I’ve assembled in a Spotify playlist. Not included in that playlist is nearly an album’s worth of Bob Dylan songs which are only alluded to in the text, not mentioned outright.
If there are a thousand ways that we allow what we think are tensions between love and reason to destroy the one or the other, what a miracle it is that the poet has a vision of what is possible when a love and a reason hold together, and remain faithful. The poet says, “This is how transparency was constructed.”
In previous books, both prose and poetry, Bodo has returned to his childhood in Gallup, New Mexico and his going off to seminary in Cincinnati at the age of fourteen. Now, at eighty-five, he wonderfully conflates his youth with his present life. Take the long poem “To Go to Assisi.”
Cormac McCarthy’s early novels are set in Appalachia—books populated by poverty-stricken characters who can’t comprehend the forces at work in their lives. McCarthy brings a rural culture to life through an examination of morality, personal beliefs, and the darker side of humanity. The author’s language viscerally draws readers into the themes that seem to pulse and breathe on the page.
We are not living in an age of synthesis—let alone humility—in public dialogue, whether about art, literature, or religion, Rather, the dominant pose (and take note of how I framed that) is one of the endless, exhausting refinement of distinctions, the chopping up of this not that. If you’ve ever been the target of a long Twitter pile-on, you know what I mean.
My cat died in Germany once. In Cologne. I remember the city being very ugly and the famous cathedral being so black, completely covered in soot. I’m not against ugly cities and truth be told I rather enjoy them. Cities should be ugly. Of course, that’s an absurd thing to say. There’s nothing more lovely than a lovely city. I was reminded of this recently when I traveled from Berlin to Paris. Berlin is so ugly and Paris is so beautiful.
For Plato, the fleeting, sensible things of this world (Doxa in Greek, from dokein, “to appear” or “to seem”) are no more than poor copies of their permanent, ideal forms (eidos in Greek) above, a sharp distinction called “Platonic dualism.” Saint Paul, however, gets a bad rap as a radical dualist, having for so long been viewed through a distorting Platonic—and later, a Cartesian—lens.
A couple of months ago I re-read some of the work of an anonymous fourteenth-century figure known as the Pearl Poet or the Gawain Poet. There is little poetry in the English language that affects me so profoundly as that of the Pearl Poet. His two chief works after which he is called, Sir Gawain and the Green Knight and Pearl, form the bedrock of my understanding not just of fantasy literature, but of fiction generally.
I look up from Cherry Hill. Between the rhododendrons and camellias on the steep hill that drops from the road down to my yard, I catch a glimpse of a woman walking by my house. A neighbor? I can’t see clearly enough to know. Is she walking with someone else? I can’t see. Is she wearing earbuds, talking on the phone? I want to know: what sparked her emphatic oh my god?
My favorite Fitzgerald novel is The Blue Flower (1995). It’s a historical novel, focused on the life of Friedrich von Hardenberg (1772-1801). Hardenberg—or Fritz, as he’s called by family and friends—became famous when he began publishing under the name of Novalis, the` major German Romantic poet.
When, exactly, did this grammar of grief emerge? In my lifetime, it would seem to be the daily pages of biographies of 9/11 dead published in The New York Times’s landmark project, A Nation Challenged. And the homemade posters of the missing that flocked the walls and telephones of the city.
By exploring the consciousness of a narrator—which, as I say, is depicted as a landscape and its human families, a consciousness which he calls the invisible world or the mind, not limited to the individual perspective of an octogenarian Australian—novelist Gerald Murnane discovers that reality is much larger than the one described by the disenchanted materialism of contemporary culture.
Lately I’ve been browsing in my 1906 Century Dictionary and Cyclopedia—not an easy task, since each volume weighs in at about ten pounds, so lifting one from the bottom shelf where the volumes reside could be literally back-breaking. Also, the typeface gets so tiny for encyclopedic details that I need a magnifying glass to read them.