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mackerel sky   PART FIVE: THEORY OF RELATIVITY

1.

It was Thanksgiving and Stuart and Genevieve were fixing a big dinner.

Outside, it was a Maine November, dry and crisp but not yet cold. The fallen maple leaves textured the ground at the base of the trees. There was a mackerel sky.

Bernard was there with his wife. Stuart’s younger brother was there, too. Mitch came in from New Jersey with his new lady friend. Bernard’s two children had come, also. Both now grown and Liz had her own children. She came with her best friend, Dell. Jason came with his girlfriend. They all drove in from Allentown. Stuart’s father sat in the corner; he barely moved all day, taking in the scene — probably. It’s hard to know. Bernard and Ellen had picked him up on the way.

It was full house. Mia hadn’t shown up yet.

Bernard: “So, little brother, how’s life treating you?”

Mitch: “Just fine.”

In Stuart’s family, this counted as an extended conversation.

Liz: “Dell, can you take the brussels sprouts off the burner? I have to mix the Jell-O.”

Dell: “Which are the brussels sprouts? I’ve never had brussels sprouts.”

Pots were steaming, with rutabagas, potatoes, brussels sprouts and green beans. In the oven were the turkey and two pans of oyster stuffing. The gravy was yet to be made. That was Stuart’s job. He was the gravy man.

Mitch: “Hey, you’ve got Coltrane here.”coltrane

He was flipping through the CD collection.

Mitch: “A Love Supreme. Geez, what music.”

Stuart: “Put it on if you want.”

Thanksgiving was the only holiday Stuart enjoyed. The others seemed like obligations, but Thanksgiving seemed like a warm, humid, cozy indoors played against a cold, dry outdoors: You could feel it when you touched the window.

There was a brief discussion, as Bernie wanted to watch the game, but Mitch wanted to play Coltrane. They compromised and watched silent football with a jazz soundtrack.

Stuart: “Now that’s what I love about Thanksgiving.”

Meanwhile the grandkids were pinging and buzzing their Gameboys. The women gravitated to the kitchen. Mitch’s girl, Jerri, came in to help.

Jerri: “Pie!”

Liz: “Pumpkin”

Dell: “Cherry.”

In the living room, Mitch and Jason had taken to comparing political theory. Uncle Mitch was a Democrat; Jason was a Republican. It is one of the anomalies of history that as the millennium winds down, it should be the younger generation who turn conservative. It is as if time were out of joint.

Mitch: “Yeah? What do you know? You’re just a kid.”

Jason: “Well, I know Bush is going to trounce Gore.”reagan-bonzo-in-bed-time-for-bonzo

Mitch: “God help us. We’ll have gone from Reagan to Bonzo.”

Politics brings out the analytic elegance in people.

The doorbell rang and Stuart opened the door. Mia came from the bright blue sunny outdoors to the dark, warm inside, thick with the scent of turkey, dressing and nutmeg and cloves. With her came Michael. Yes, they were still together, 10 years later.

Mia: “Everyone, this is Michael.” Mia went around the room introducing everyone and they all shook hands.

Dinner was a feast; everyone ate till their bellies hurt. Conversation was warm, funny, by turns nostalgic.

To Mia, this was family, even if she wasn’t related by blood to any of them. She knew many of them well — Stuart and Genevieve might as well have been family; Bernie and Ellen; even Mitch, although she had never met Jerri. Others were more peripheral, but Mia knew which was which, for the most part. It was hard, though, to tell the twins apart at that age.

With the meal packed solidly in their collective guts, like sausages stuffed into their casings, the evening wore on. The women put up the leftovers. Stuart told them to leave the pots and dishes; he would get them in the morning. The men sat on the sofa; Mitch’s head was cocked back and a slow stertorous snore echoed in his gullet. Stuart began to talk about ancient Egypt.

“Not now,” Genevieve said, heading him off. It was not bossy, but teasing. He stopped.

After dessert and coffee, when the evening wore down, Bernie and family, along with dear old dad, left for the motel. A pile of others found a place in the guest room or on the sofa, wrapped in a down comforter.

2

Mia and Stuart stayed up late.

“Gen is great,” she said. “But you realize, don’t you, that you have been with her for more than a decade. You are breaking precedent.”

“Well, yes. But I have gotten old. It isn’t as easy to wander aimlessly. And we get to travel a lot, as she gets gigs all over. Spent most of the summer up in Hancock for the Monteux Festival. She got to play the Shostakovich sonata. It was great.”

“She’s a steady presence,” Mia said. “I can’t tell whether Michael is a steady presence for me, or if I’m the steady presence for him.”

“Does it matter?”

“Maybe not.”Dirty dishes

They stood over the kitchen sink, piled with dishes. Stuart had his arms up to the elbows in suds.

“Let me tell you about my first official marriage. Before I married your mother.

“I was unfaithful to my first ex-wife before we were married. I loved Ruth, although she drove me nuts. She was always worried about things like window curtains and insurance. She wanted kids; I wanted to continue being able to sleep late for the next 18 years and I knew that her plan would have made that impossible.

“But Ruth was really a great woman. She was beautiful. Had great eyes. And she was smart as hell. Maybe a little skinny. But there was this conventional side to her. In my lovesickness for Ruth, I pretended I didn’t see that, or at least pretended that it didn’t matter. She insisted we wait till marriage. I was so smitten, I didn’t even question that.

“Oh, but there was Helen. This was a different Helen. She wrote poetry. It wasn’t bad poetry, considering we were all just sophomores in college. Helen was not a beginner at love. In fact, she was the ‘college widow,’ as Groucho Marx might call it. A completely free spirit. I fell hard; Helen admitted me to the inner circle — so’s to speak — inner circle: I’ve never heard it called that before —  as one of many admirers.

“You should have seen me. I panted like a puppydog, waiting to be patted on the head. Helen and I hitchhiked one week to the coast and spent the nights sleeping in the sand. We made love in the dunes, in full sight of anyone. A fisherman in a passing boat waved to us.

“We left love stains all over campus. Our favorite was a practice room in the music building, and boy, we got lots of practice.”

“Yes, I remember you told me about the Organ Room on campus.”

“At night, it was unlocked for some reason, and we snuck in.

“Oh, but there was Ruth. And I loved Ruth, too. I didn’t know what I wanted. Sensible Ruth or crazy, passionate Helen? Should I go with the sensible choice or should I go with my gonads? Thrill or stability?

“I knew I was not terribly stable, that I was not really a fully mature human being, that I was flamboyant in my irresponsibility, and so I finally decided that I needed Ruth for balance. I did the sensible thing; we got married. I learned my lesson: Never do the sensible thing again.

“I made life miserable for her and without trying, she made it miserable for me. Years later, friends told me they knew it wouldn’t last and I wanted to slap them — Why didn’t you say anything then? But I also knew it wouldn’t have made any difference if they did.”

Mia looked confused.

“Wait a minute,” she said. “Isn’t this what you’re doing right now, with Gen? Aren’t you making the ‘sensible’ choice all over again?”

“Of course,” Stuart admitted. “Of course, I’m doing the same thing all over again. I’m a lot older now, so it’s different.”

“Different?”

“Well, maybe it’s not different. As you get older it isn’t so much you get wiser in the sense that you make better choices, but that you get wiser in that you recognize the fact that you’re never going to get any smarter and you’ll always do the same stupid thing.”

“That’s wisdom?”

“I dunno. Maybe.”

“That’s depressing.”

“No, not really. It’s liberating. That’s the thing about getting older. All the stuff that used to drive you nuts, you let go of. It no longer matters.”

“So, it’s OK to be comfortable in a relationship? Without fireworks?”

“Violas seldom break out in fireworks,” he said. “But I’m happy.”

“But you said it was a mistake.”

“Did I?”

3.

I’m coming out of my duck blind for the last time. I just turned 40; I got tenure. I published a book last year — a new translation — or retelling, really — of Ovid for children. I’ve been living with Michael for about as long as Stuart has lived with Genevieve. I’m not sure it’s a good idea to compare my life with his, but there is no one I’ve known as long or as closely as I’ve known Stuart. He is the only touchstone I have.

This has been a strangely skewed memoir — I have left out so much: my career at the university, several relationships that went nowhere, the whole world of Greek and Roman letters that are so central to my life — because I wanted to focus on this single aspect of my life that has been so muddled. Family. What is it, why is it, does it need to be?

When my dad died, it hit me in a way I didn’t foresee. I always thought of Stuart as my father; he’s the one who was there when I was a little girl, and he has remained there through my life in a way Dan never did. Yet, I felt so odd when I went to visit Dan in the hospital. I saw something in him — gesture, voice — that caught me unawares: They were mine, too. Dan had tried to tell me about it, but I didn’t have ears to hear, or to pay attention. He was dying, after all. Other things seemed more important.

It was the day after that Thanksgiving, when I talked with Stuart’s brother, Bernie, that he brought it all together for me. Stuart and Ellen went to the kitchen to finish cleaning up what we hadn’t washed the night before, and Gen was in her study practicing. The dulcet tones of the viola filled the house like dinner had the night before. Bernie and I sat in the front room and talked.

4.

“What do you think about family? Why is it important? Stuart always says his friends are his family — except for you, he says. You are more friend than family, he says.”

Bernie had bad knees, and sat on the sofa. His hair was mostly gone and his mouth had settled, the way they do as you get older: Younger mouths show off the upper teeth; aged mouths show the lowers.

“I take your point,” he said. “Families can be quite a burden. We have to take care of dear old dad, for instance. He’s barely there anymore. But I have the example of my wife.

“You’ve been with her a long time.”

“Thirty years …”

“Can’t fathom that. Mind you, Ellen’s great. You hit the lottery, as it were.”

“Ellen has a take on family I’d never really considered,” he said. “Family is something different for her. For her, it is where she came from.”

“You mean, like genealogy?”

“Sort of, but she isn’t so much into the family tree as such, or into whether or not she has a coat-of-arms, but rather, that she is made up of the hand-me-downs, genetically, of the ancestors, the piling up of character — of meaning — that has concentrated in her. Her family is her roots, deep in the ground, and she is connected to them as literally as the tree is to the root ball, all of a piece.Great grandmother

“She sees her hair in her grandmother’s hair, her jawline in her father’s, her love of nature — and, I might add, her stubbornness — in her grandfather. She grew up with her great-grandmother in the house, who was a Civil-War widow, and sees history not in paragraphs on a page in a book, but in her wrinkly skin. She wants to know how her great grandfather came to live in North Carolina, whether he is Scots-Irish, why they eat collards or sing certain hymns as opposed to others. Obviously, this is not all genetic. A good deal is cultural, but I don’t think Ellen makes that much distinction: It is all roots, all the long line of ancestors, which, for her, go back — and I’m not kidding — to Adam and Eve, or whoever you want to pick as the ur-progenitors. Her interest in cave men is part of the same thing. She calls it ‘the long man,’ the person drawn from one generation to the next the same way a plant goes to flower, a flower to seed, a seed to seedling, to plant, to flower, to seed and so on in a continuous recreation of the same life — the same DNA shuffled around — of which she is merely the latest flowering. Or the antepenultimate: She has now sprouted a daughter, and that daughter twin granddaughters. So now Ellen  can see she isn’t the end of a long line of ancestry, but only one link in a continuity.

“Thus, family for her isn’t simply the people who she shares Thanksgiving dinner with, as if they were all discrete entities, but rather as if they were the acorns hanging on the same oak tree, in a sense, a single person with multiple incarnations. At Thanksgiving, even if she is alone, she is having dinner with all of them.”

“Well, that is Ellen, through and through, isn’t it?”

“Yes, and it has made me think differently about family. I share your sense of relatives as something you’d rather not have to spend time with. I have chosen my own ‘family’ of friends, who mean a great deal to me. But I also have come to see the ‘mystic bonds’ of family — again, not as a question of whether I want to spend time with them. I don’t, really. But rather as a continuation of a process.

“Looked at another way, I am a bit of my parents planted in the future to grow, and to plant my children there in the future that extends beyond my harvesting.

“I had the oddest experience a few years ago. Did I ever tell you about it? You know, before Ellen, I was married and divorced. We had a son. When we split up, she took our son and I didn’t see him for something like 30 years.”

“I didn’t know.”

Mia was surprised. Bernie always seemed so rock solid. How could he have not seen his son for so long?

“I was young and a prat,” he explained. “So I moved on without much thought of it. Most men are prats when they are young; I was no exception.

“But a few years ago, I got a phone call and on the other end a voice said, “Are you my father?” It was my son. I had not seen or had any contact with him for 30 years.

“Well, Ellen and I went to Austin, Texas, where he was living and we met him and the shock was palpable: He looked exactly like I did when I was his age. Not just in physiognomy, but he wore the same kind of thick-rimmed glasses, the same plaid shirts, the same long hair I had back then. It was uncanny. He was living with a woman who came from the same county in North Carolina that Ellen came from. His house was a mess of books and CDs and DVDs. He worked, at the time, in a used bookstore and was in charge of the classics section and the poetry section. His favorite literature was the classics. The resemblance was uncanny.

“I had always assumed that in the ‘Nature vs. Nurture’ controversy, that nurture was by far the more important. We were raised at a time when we thought, ‘It’s all cultural.’ But here was evidence in front of me that perhaps it wasn’t all cultural. Perhaps DNA ruled not only the shape of our noses, but the preference we might have for Manhattan or New England clam chowder.globe

“The real clincher came when we walked through his office at the back of his house and there, on the top of a bookshelf, he had a world globe with the ball taken off, turned upside down with Antarctica now at the top, and replaced. I laughed. Back home, on top of my bookshelf in my office was a world globe that I had reversed to put Antarctica on the top. It was almost scary. How many people have done that with their globes? What are the chances that father and son, with no interaction for three decades, would each do the same peculiar thing?”

“So, you’re saying then, that as opposed to the question of whether you choose family or friends, that the question is basically irrelevant: That family is who you are, that ancestry defines your nature and you have family to thank or blame for it.”

“I remember having this discussion many years ago with a colleague. We had both grown up in New Jersey in the 1950s and ‘60s. We shared a good deal of nurture and could understand many of the same cultural references. But he was from an Italian family and I was from a Norwegian family. Despite how much we shared, he had a preference for Fellini films and I had a preference for Bergman.

“Not that I couldn’t appreciate Fellini — I do — but that deep in my bones, I knew the Bergman world; it was my interior world. While the Fellini was tremendous, but exterior to me. There is something in my genes that responds in a family way to the world of Bergman that Fellini doesn’t hit. But it was the reverse for my colleague. Italian genes felt at home in Fellini.

“In the old days, I would have chalked it all up to culture: He grew up in an Italian family and so the folk ways would have felt familiar. But now, I think — it’s only tentative, of course — but I think perhaps it may be something genetic. This may be the collective unconscious that Jung wrote about. The pile of chromosomal tendencies, tastes, judgments, behaviors, that have been reinforced over the generations by the distillation and concentration of DNA.

“I’m sure that upbringing and culture plays a part, no doubt, but I now think that there may be something inherent, that if I had been adopted by an Italian family, I would still feel more at home in Bergman. Not provable in my case, perhaps, but I think plausible.”

“So, I think you are saying, that you are inevitable in terms of family as you are in terms of history, that you may not like the times in which you are born, but you simply have no choice in the matter, and that all those relatives who bore you on holidays are just the titrations of chromosomes and you are thus embedded in your family like raisins in a muffin. No choice. Just is.”

“Yes.”

“Still don’t want them over for dinner.”

ceiling 2

PART FOUR: JE NE C’EST QUOI

1

Two people sat in the front room; they obviously had never met before. He was about 60 years old, with a full head of gray hair, brushed back neatly. She was several years younger, but with a shock of white in her forelock, giving her a kind of Susan Sontag look. Their respective others were in the next room talking seriously. Their respective others used to be married to each other. It was late afternoon and no one had turned on the lights. All color in the room was grayed out.

“Portland,” said gray hair to forelock.

“Me, too,” she said in an accent that implied “Moi, aussi.”

“Oregon,” he said.

“Maine,” she said.

It was awkward. They had all flown in from their respective corners of the map to see Mia for the holidays. And now Esther and Stuart were in the bedroom with Mia. She had something important to tell them.

“I heard from Dan,” Mia said. “He’s dying. Lung cancer.”

“He never smoked,” Esther said, sitting on the edge of the bed.

“I know,” Mia said. “But it’s far gone. He’s asked me to come.”

“Back to Poughkeepsie?”

“Yeah.”

Esther now lived in Oregon with gray-haired Roger. They had been married for a decade and it seemed to have taken. She didn’t expect to find any more Waynes or Bobs or Eds — or Stuarts. He was a good man, and he suffered patiently while Esther discussed her first husband with her second husband in the next room. Current husbands must face the closed door of their wive’s previous lives. But not a closed door, one left just enough ajar to let him know there will always be a portion of his mate’s life that will be strange to him, even as it remains vital to her. He hears the stories, but they are like fictions read in books. Esther’s life with Dan, her later marriage to Stuart and her briefer liaisons have formed the woman he inherited, and he was grown up enough to know he must not be jealous of those earlier men, but grateful to them for creating the woman he now loved. But still. It can be hard to live with all those shadows on the bedroom wall.

Mia didn’t see her mother all that much anymore, now that Esther had moved to Oregon. But the holidays gave them an excuse to travel back east to Morgantown, where Mia now had her Ph.D. and was a novice instructor teaching classical literature in translation, first-year Latin and the mythology course that was her great pleasure.

Stuart also lived in Portland, but Maine, not Oregon.

“I may be an old hippie, but I’ve aged out of Portlandia,” he told me. “I’m more Whole Earth Catalog than I am fair-trade coffee.”

He was now living with a viola player who teaches and plays part-time with the Portland Symphony. “I’m learning to listen to the middle of the music,” he said. “I’m ignoring the tunes and the bass and hearing the filler. It’s hard. Have you ever tried to listen to a viola part in a symphony? It takes great ears.”

She was the other sitting in the front room with Roger. Her name was Genevieve.

“It’s Je-Ne-Vee-Ev, not Jeneveev,” said Stuart. “Je ne vieve pas,” he punned. “Je ne c’est quoi.” She was born in Belgium and took the same offense as Hercule Poirot for being assumed French.

This was the undercurrent as Mia explained to Esther and Stuart about the cancer that had appeared out of their shared past. Stuart stood in the corner He was never good at real stuff. He wasn’t sure what to say.
“So, should I go?” she asked. “I think I should.”

Esther took Mia’s hand; Mia sat on the bed next to her. They hugged.
To fill in: Dan was alone in the world. He had no living relatives other than his daughter, and had been something of a hermit for many years, moving back and forth from the job to the house and back. It was believed there were cats. Mia had not seen him in years, and what contact they had was awkward.

“Can you take me?” she asked Stuart.

“Me?”

“I need support.”

2.

In the front room, Roger waited for the confab to conclude.

“Mia’s rather quiet,” he said. “Isn’t she?”

“Well, she keeps her own council.”

“I’ve tried to talk to her, but it’s like pulling teeth,” he said.

“She is maybe a little withdrawn,” said the French accent. I mean, Belgian.

“Not like Stuart,” he said. “He talks a lot.” He tried to be neutral about it.

“It is true,” she said. “He won’t shut up. But that is why I like him. He is … inextinguishable.” She said the word slowly, with no syllable accented. Was she thinking of the Nielsen symphony?

“How long have you been together?”

“A long time, I think. Maybe eight, nine months.”

“Can you take it?” Roger was letting his tact slip.

“We shall see.”

December 01
3.

Sometime here, we will have to admit that Mia was not a normal woman, had not been a normal girl. Her mother was voluble, friendly, chatty, even. Moved easily from man to man in her earlier days. There was a brightness to her that lit a room and attracted many a keen suitor. But Mia inherited none of that; rather, she had her father’s melancholy — at least that’s the old word for it. It probably didn’t rise to the diagnosis of depression, but it edged the border. Mia took few chances in life, let it flow around her, accepted what came her way, but seldom took the initiative. She kept to herself, found building relationships difficult, but in return, felt a kind of quiet satisfaction in those little things that floated her way. She would never have called herself unhappy, but there was not a great deal of effusive joy in her bearing, either.

In a way, Stuart provided that effusion for her, and she enjoyed his silliness. He had enough for both of them.

And so, they drove from Morgantown to Poughkeepsie, a December thaw left clods of melting snow hung on the trees higher up on the hills. The roads were all clear, but often still wet, even in the sunshine.

“What do we believe?”

Stuart said that with an emphasis on the “we.” His arm crossed the steering wheel with his left hand at the 2 o’clock position, he leaned in to Mia riding shotgun.

“Yes, I don’t mean ‘What do we believe?’ the way so many people question what our nation or society stands for, or if we anymore stand for anything. I’m not asking what we as a culture believe in, or if we have a common spine of belief to stiffen our civic polity. I leave that to the punditocracy.

“No, what I’m wondering about these days is what do we take so for granted we never even think about it, the way ancient people believed the earth was flat, or that the daytime sun moved in procession across the sky and ducked under it at night. What we believe to be true without question, indeed, we don’t even recognize it as a question, or a possible question. What is the water we swim in?”

Mia watched Pennsylvania out the window pass by, hoping to stop soon for lunch.

“You mean,” she said, “like the Medievals believed in a Christian god, or the 18th century believed in a rational order to the universe?”

“Yes, that sort of thing. I’ve been wondering because it is such a tough question. It is asking to see the invisible, to step out of the zeitgeist and look at it from above, like we were watching rats in a psychology lab wander in a maze. Can we even begin to see what we don’t recognize as the ether of our universe?”

“Maybe what we’re talking about is a slow dawning,” she said. “I mean like slavery. At one point in history — actually, in most points in history — slavery was seen as right and proper, the order of the universe, even sanctioned by God. In Greece and Rome, slavery was as much a part of everyday life as bread and wine. In America when they made the Constitution, slavery was accepted by a large segment of the population as being the natural order. But there were those who saw it differently. Slowly, the majority began to see slavery as an evil and nowadays, we unquestioningly assume slavery to be indefensible.”

“Of course,” he said, “that hasn’t stopped slavery, but only changed its face: Slavery is still accepted in parts of Muslim Africa and the sex trade is hardly anything but slavery.”

“Yes, but the issue you have raised is whether slavery was at one time the water we swam in — that for most people, there was no issue at all. The sky was above, the earth below, kings ruled the domain and slaves had their eternal link in the Great Chain of Being. It was only the exceptional person who asked if the scheme were moral or just.”

“This is true, but it is also such a hot-button item that we may fail to grasp what I’m really asking. In the case of slavery, we can now feel superior and look back on our forefathers and judge them for their failure to see the obvious. But I’m certain we are no less blind today than they were, but in other areas. What are we going to be judged for a hundred years from now?”

“Animal rights, perhaps?”

“Maybe. Certainly, there will be those who wonder why we didn’t do anything about the ozone or overfishing or nuclear proliferation. But in part, these are political failings rather than what I’m asking about.

“I’m asking rather, what do we not even question. The issue came up when I started rereading Plato. God, I hate that man. But it was the Greeks in general I’m talking about.”

Stuart had no humility about bringing up the Greeks to the classical scholar sitting next to him.

“They had a peculiar relation to their language,” he went on. “They had what we now take as a naive belief that language and existence were one: If there was something in creation, there was a word for it, and likewise, if there was a word, it described something real in the world. There was no disjunction, no sense that language had its own structure and limits, and they were different from the structure and limits of existence. No sense that if there were a word, it might describe something false, something that doesn’t really exist, or really happen. The fact that there was a word was proof that the thing existed. They could not see outside their language. This led to some kinds of absurdities, like Zeno’s paradox. The language describes a problem: Achilles and a tortoise are in a race, but with the latter given a head start, Achilles can never catch up to it, and hence can never win the race.”

Before Achilles can catch up to the tortoise, he has to go halfway to catching up with the tortoise, and then before he can close the gap, he has to cover half the remaining gap, and then half that, and half that, onto infinity, and therefore, never catch up.

“An obvious absurdity if you set the experiment up and see what happens. The problem is only in the language, not in the reality. ‘Half’ and ‘half,’ and ‘half’ are merely concepts, not observable, not physical.

“There are many versions of this problem: It is the essential problem of Plato, who sees his ideals in terms of language, in terms, more specifically, of nouns. His ideal forms are ideal verbal, linguistic forms. Being Greek, he cannot transcend that constraint. Language is reality, reality language. That is all they know and all they needed to know.”

“Sometimes, I think we’re not much better,” Mia said. “We still seem to believe words more than experience. Politics is full of such things: Welfare mothers, for instance, or tickle-down economics. Make the verbal classification and you have proved that such a thing actually exists. Maybe you can’t really find any out there, but you’ve set up the idea with the word.”

Stuart: “My favorite has always been the international conspiracy of Communist Jewish bankers. Communist bankers — have they thought this one through?”

He went on. “Of course, philosophy these days — especially in America — is practically nothing but philology, a study of in how many ways language obscures reality or is at least in serious disjunction with it.”

“So, what is our equivalent of Greek language blindness?” she said.

“I can think of a few things that might count, but I despair of being able to escape my own swimming water,” he said. “This language-reality dilemma is never gone.

“Take a sentence like ‘Whales are mammals, not fish.’ It seems to most of us that this says something about cetaceans, but in fact it is a statement about language, not biology. It says ‘We have created a language class — a noun — that we apply to some sea creatures and not others. ‘Whales are mammals not fish,’ is a statement about language.”

He was thinking about his copy of Oliver Goldsmith’s History of the Earth and Animated Nature, from 1825, which divides fish up into ‘spinous fishes,’ ‘cartilaginous fishes,’ ‘testacious fishes’ — that is, shellfish — ‘crustaceous fishes’ and ‘cetaceous fishes.’

“A whale, after all, is shaped like a fish, swims like a fish, has fins like a fish and lives in the ocean. Like the old saying, ‘If is looks like a duck and quacks like a duck…’ But nowadays, we accept the Linnean classification system as describing reality, while in fact, it is merely one way — one very useful way in a scientific and technological society, I might add — but only one way or organizing reality. The Bible doesn’t say Jonah was swallowed by a whale, but by a ‘great fish.’ We naturally make the leap, because a whale is, in some manner, a big fish. Just one that breathes air and gives birth to live young. There are many ways of organizing experience, but we assume the primacy of only one.

“Genius is being able to shift from one to the other seamlessly.”

“I have another good example,” she said. “Anti-abortionists say that abortion is murder. But murder isn’t a fact, it is a legal class. And we change laws all the time. Taking of life comes in many forms, some which we justify and others we criminalize, and different people draw the line at different points. Would it have been justifiable to kill Hitler in 1933 to prevent the millions of deaths in World War II? Would it have been justifiable to suffocate the infant Hitler in his crib? There is homicide, manslaughter, justifiable homicide, and, of course, war. Eichmann maintained that the Holocaust was merely the justifiable death of war, but we have chosen to draw the line differently. And what now of those now being ethnically cleansed in Bosnia? So, is abortion murder? It is killing, but for some it is justifiable, even necessary. Many on the anti-abortion side nevertheless justify executions for some crimes, but for that, they don’t use the word, ‘murder.’ For some it isn’t. But ‘murder’ is a verbal classification, not a fact.”

“Bingo,” he said. “It is hard to recognize what is mere language and what is genuinely out there, existent in the world, divorced from the language we use to describe things.

“Perhaps one thing — and this is related to the Greek problem — is our belief, unexamined, in the permanence of certain things.” Stuart went on.  “We have a tendency, not only to believe, but to actually create wars to defend the idea that national borders are something other than temporary lines drawn by powers that be. Just look at Poland: It moves around the map like a ball of mercury in a dish. First it’s here, then it’s there. It grows, shrinks and sometimes disappears altogether. There’s an idea that national borders depend on ethnicity, but that clearly isn’t the case. Poland, when it has existed, included Polish speakers, German speakers, Ukranian speakers, Lithuanian speakers, Yiddish speakers and Czechs, among others. Yes, most French speakers live in France, but some live in Quebec, and others in Belgium, where half the population doesn’t speak French at all, but Flemish …”

“‘In France they speak French; in Belgium, they speak Belch.’”

She was talking about Genevieve.

“… and just look at the shifting borders of the United States through the 19th century,” she said. “Nationhood is always a momentary thing. Yet we think of it as heaven-ordained.”

“Exactamente. We swim in an ocean of conceptual habits that we seldom give any thought to. Like our expectation of a beginning, middle and end. We want that in a play we watch or a song we sing. But there is no beginning, middle and end in our existence: It is all just flow. ‘Panta horein,’ Heraclitus has. ‘Everything flows.’ But the idea of beginning, middle and end is how we think of our own lives, not just that we are born and die and have a few years in between, but that each step in our life is a story that follows, episode on episode, in a coherent pattern that we recognize as our ‘self.’ We tell stories about our lives as though we were writing novels or short stories. The connection we make — the through-line — is something we cast over events, not something inherent in them.

“Experience, like the stars in the heavens, is a welter, a chaos of instances, but we make constellations out of them to be able to make sense, but if we take the constellations as something ‘real’ — like astrology does — then we mistake the pattern for the substance.”

Mia had her own example, thinking of life in academia and faculty meetings.

“The other example I can think of is hierarchy. This is perhaps beginning to be exploded, but we reflexively think of things in hierarchy. The real world of experience doesn’t provide immutable hierarchies, but in our thoughts, we make them line up in marching order and pretend there is this rank and file. Where once we had kings, knights, yeomen, vassals and serfs, now we have department chairmen, academic deans, provosts. We still have this idea that some organisms are “higher” on the evolutionary scale than others. The vestigial concept of the ‘great chain of being’ remains in our culture, even when the full-blown version has disintegrated into a confetti of vestiges.

“We decry the ‘patriarchy,’ or at least some of us do, while a good part of the population unthinkingly assumes as the default that the husband is head of the household. Real families are no longer like that.”

“Don’t get me started,” Stuart said, but the horse was out of that barn.

“The number of things we accept without thought is probably infinitely more than those things we do think about. Seven day weeks? Any real reason for that? Weekends are such a part of our experience, yet, I doubt cavemen ever thought about constantly recycling work weeks. And the decimal system. A duodecimal system would work just as well, or even a system based on 8 or 15. The 10 is just a convention.”

“Well, we have 10 fingers…”

“And 10 toes, so why not base it all on 20? In fact, I’ve seen this — in some cultures the counting is based on 12 because if we use our thumb as a counter, we can reel off a fast dozen, by first counting the fingertips of the remaining four fingers, then the second joint and then the third, adding up to 12. And with the other hand, we can keep track of the groupings of 12, and count quite efficiently on our fingers up to 144. You can see the foremen doing this on South American rivers as they load bales onto the boats. Inventory is kept on the knuckles.

“I’m sure there are so many more things we accept without thought. But my original point is that it is so hard — nearly impossible to discover what you don’t know to be mere convention.”

When they reached the Tappan Zee Bridge, it was hard to know if their exhaustion was from the long drive or the conversation.

poughkeepsie 3
4.

When they got there, it was worse than she had thought. Dan was in bed with tubes in his nose and an IV plugged into his forearm. His eyes were dark, as if he had on eyeshadow, and his cheeks were scoured out; his skin was sallow. He barely spoke above a wheeze.

Stuart waited at the hotel while Mia went to visit.

“I’m going to die,” Dan said. Slowly, very slowly, one word squeezed out at a time before gathering wind to say the next. “You are the only person …” He waited to finish his thought while sucking air. “…” He didn’t finish his thought, hoping Mia would finish it for him.

Dan had spent the three months in hospice, but a turn for the worse had landed him back in the hospital. Mia held his hand; she didn’t know what else to do. Dan closed his eyes and slept. Mia sat there for a half hour, watching the sunlight on the bare trees out the window. Then she got up to leave the room. A nurse came to her with a clipboard.

“There are some forms to sign,” she said.

Mia growled her eyebrows. “What do you mean?”

She hadn’t expected anything official; she was just there to see her father.

“You are next of kin,” the nurse said.

“What about …’ Mia realized that an ex-wife didn’t count. All of Dan’s blood family was gone. She was all there was. She signed whatever she needed to and went back to the hotel.

“It’s bad,” she said to Stuart. “He’s barely able to speak.”

“Is there anything we can do?”

“I signed a bunch of papers.”

“I mean, anything to help?”

The air was crisp, the sun was sharp, the day seemed at odds with Mia’s mood. They went to the hotel cafe for dinner.

Motel 1

5.

The next morning, when they went back to the hospital, a different nurse, this one much taller and older, met them with the news that Dan had sunk into a coma and was not expected to come out of it.

“We need to know your wishes,” she said.

“My wishes?” Mia frowned. She didn’t think her wishes were important. “What can we do for him?” she asked.

“I mean, at this stage, we are only keeping him alive with feeding tubes and a respirator. We need to know if it is your wish to continue life support or should we let him go.”

This is not a decision anyone should have to make. Mia certainly didn’t think she should have to make it. She barely knew the man; it was only an accident of DNA that she was being asked to make this choice. For the first time, she started crying. She found a chair in the hall and lowered her head and let the hot salt water drain. Her brain was seized up; the tenuous connection between her birth father and the grown daughter was made sensibly, palpably real. She reached for Stuart’s hand; she held it in both of hers.

“I don’t see that I have a choice,” she said. She told the nurse to let him die. It felt so cold; it felt so unfair to be made to choose.

“He’s going to die anyway,” Stuart said, trying to comfort her. “You are only helping him get there.”

The trip back to Morgantown was much quieter than the trip to New York.

6.

There was a lot to manage after Dan died. What to do with his remains, what to do with his apartment and all his stuff. It was all strange to Mia; she hadn’t known Dan in any real sense, so the books on his shelf were a surprise, the clothes in his dresser, the foods in his pantry. They all spoke of someone who had had an actual existence, but no longer did. Where did he go? Vanished, except for the cans of tomatoes and the box of Cheerios, the bottle of soured milk leftover in the fridge. Throw it all out, she thought.

An estate sale was arranged, the body was cremated, the gas and electric turned off, the deposits promised to be returned, the key given back to the landlord. Mia felt a deep sadness, but it wasn’t grief. She barely knew the man, so that wasn’t why she was feeling this profound emptiness. She had now a personal connection, a bodily connection with death, with non-existence. It didn’t matter whether she ever spent time with Dan; there was a cause-and-effect connection with a dead man: He had caused her to exist in the world, and his world was now over. The flower had give way to seed. Was this, perhaps, what it meant to be grown up?

Mia is grown up, living alone in West Virginia; Stuart has found another woman. She asks his advice. I’m not sure why.

1955 Dodgers

PART THREE: AD HOMINEM

1

“Tell me about men.”

“What?”

She repeated the demand. Stuart didn’t know what she meant.

“I don’t know anything about men,” he said.

“You are one,” she said.

“You think that gives me some special insight? I don’t know anything about myself, and that includes being a man. Why are you so interested?”

“I’m new at this game,” she said, with the same expression she might use to say, “it’s still raining.”

“I’ve never done it.”

Stuart did a double-take inside his head, although he showed nothing on his outside. Why are you telling me this, he wanted to know, but was afraid to ask out loud.

“I consider virginity to be a form of ignorance,” she said.

“A minor form at best,” Stuart said. “Compared to bigotry, patriotism or not being able to name the starting lineup of the ’55 Brooklyn Dodgers, it’s hardly anything.”

“But it is a kind of ignorance, and I think I’m too old now to maintain that ignorance.”

“You have someone in mind?”

“No.”

“So this is theoretical?”

“Not exactly. I intend to lose my ignorance, and I need to know the other camp. You are my spy.”

“I’m not sure I qualify. I haven’t had a successful relationship, or rather never had one that lasted more than a few years.”

“But I can’t talk to anyone else. You’re it. So, tell me about men.”

Stuart did, in fact, have a theory. Like all his theories, it was more about spouting off than about solid sociological, theological or scientific research.

“OK, here goes.

“Men are all fetishists. This is the primary distinction between men and women,” he said.

“I don’t mean all men are into leather or vinyl, but that men localize their interests. It all comes down to a focus on a single issue, and all others can fend for themselves.”

“You mean men can’t multi-task?”

“That’s a good way of putting it.

“Think of porn. Why do women not respond? Why do men? People say it’s because women are not visual and men are, but that’s not the main problem. After all, women don’t respond to verbal porn either. It’s because men localize their sexual interest in one spot on their bodies. And, believe me, it’s always the same spot.

“By the way, if you attend to that spot, it doesn’t matter what else you do, they’ll be happy. It’s really rather simple. Everything about men is really rather simple. I know that’s hard for women to understand, because women are wired for complexity.”

“That seems like a stereotype,” she said. “As in: Women can multitask.”

lady chat 3
“But it’s true. Look at D.H. Lawrence. He adds a religious layer to the whole thing, and makes a god of that spot on his body, and believes that both men and women worship that dangling deity. But it’s really only a man’s religion.

“It colors everything in a man’s life. But it especially colors his attraction to women. Not only does he believe that women care about his equipment, he actually believes women go around talking about it in hushed, worshipful tones. Is it big enough? Am I man enough? Very little thought goes into anything else that might be thought manly.”

Mia knitted her eyebrows and shifted in her seat. This wasn’t what she was asking about really, but Stuart was always interesting, so she let him go on.

“So now, when a man looks upon a woman, that same single-mindedness makes him pick out a single attribute of the woman for worship. It is seldom her equipment. Why? I don’t know. Ask Freud. Wait. No, don’t ask Freud.

“So, for a man, it is her boobies he fixates on, or her hair, or her legs. Her big booty or the light down of hair on her arms. It becomes the trigger for his attraction.

“You see it all the time. A man loves a woman because her hair is blond, or because she has a turned-up nose, or pouty lips. She can weigh 200 pounds, but because her hair is curly, he sighs and pines.

“It can be something less tangible, like a sense of humor, but it seldom is. Mostly it is a physical endowment. Some like saggy boobs, some like a high arch on the instep. Some like just the hint of a mustache on her upper lip.”

“Gross!”

“But it’s true.

“When in the act of love, it is usually this one particular that the man is obsessing on. He is wildly in love with her hair, or the mole on her cheek, or the way she cuts her fingernails short.

“It can be perfume. It can be the fact she wears short pants. It can be the one button left undone on her blouse. But it is one thing.

“Women, on the other hand, tend to see the whole man, to see him as a person. When women complain about the objectification of themselves by men, they are right to do so, but they also miss a central truth of existence and the propagation of the species.

“Men simply don’t see the counter-indications: If that blonde in fact does weigh 200 pounds, or is a shrieking harpy, it doesn’t figure into his erotic calculations.

“The woman, however, always takes all the conflicting data into account and makes a profit-loss calculation. Is there enough there to work with? Does the good outweigh the bad.”

Mia objected, the way you do when presented with something you know is true but don’t wish to acknowledge, hoping that denying it will make it go away, at least for the moment.

“It can’t be that simple,” she said.

“It isn’t. Actually, it’s really quite complicated. What’s most interesting is to see it play out in the long run. Then the whole thing reverses.”

“What do you mean?”

“I mean that after living with a woman for 20 years, a man finally learns to see the whole woman, to access all the other parts of her personality and personhood that he was blind to in the first rush of ‘let’s-make-babies.’ She grows in his estimation. What he should have seen from the beginning, he now understands. The fire has spread into a circle, leaving the grass in the middle burnt, but a wider horizon of concern and interest expanding.

“By the way, learning more about the woman isn’t always a good thing. It also may lead to divorce.

“But the reverse is true for the woman. After living with the man for years, she is likely to latch onto the one thing, the one attribute, the one saving grace he has that makes up for all the failings.

“So, his appreciation for his wife grows, her appreciation for him narrows, but deepens.”

“At some point, though, it would seem there should be a crossing of the lines on the graph,” Mia said. “There should be a point when her narrowing and his expanding meet at one perfect moment of mutual understanding.”

“Well thought. I don’t know,” Stuart said. “That’s what you will have to find out. I never got there.”

2

It was a few days later. Mia sat in her room with no lights on. It was getting dark. She just sat. It was the time of day when nothing has any shadows.

3

It’s me again, come out from behind my mask.

You can see I’m not very forthcoming. I’m more than shy; I really don’t like getting personal, but you can see that already, I’m sure. But why write this story if I don’t want to let on?

So, I should tell you that a few weeks after talking to Stuart, I ended my ignorance. The gentleman was very pleasant. We spent a nice evening talking, and when it came down to it, he was more attentive than I expected, caressing me and talking softly. I could have no complaints.bike messenger 2

In fact, he spent rather more time on me than on himself, which surprised me. He didn’t know I was a novice and I didn’t tell him. He seemed interested in me, and my body, and he spent most of his time, even after I had taken off my clothes, looking me in the eye as he talked. At least, up to a point, after which he seemed to be more like a bicycle delivery boy with a deadline, pedaling faster and faster to deliver his parcel, well wrapped and waterproofed, I should add — I said he was a gentleman. Job completed, he began once more to pay attention to me.

I can’t say it wasn’t a pleasurable experience. I’m sure I didn’t know what to expect. And one instance is not a large enough sample from which to make any generalizations. As to whether I felt “release,” I really cannot say. Certainly I had a warm feeling that flowed through my body and ended the experience relaxed in a way that I could not altogether call familiar.

I did not see him again.

As to the question of ignorance and enlightenment, I can only say that the older I get, the more I realize that the end of one ignorance is only the beginning of another. I’m going back to my shell now.

4

“What was your fetish?”

“What do you mean?” asked Stuart. For once, she was visiting him.

He was putting together a model airplane and concentrating on gluing a wing strut without leaving a bead of glue on the fuselage.

“I mean,” said Mia, “what gets your oomph in gear?”

Stuart stopped, cocked his head and tried to figure out what Mia meant.
“Don’t you remember,” she said, “last year you told me that men focus on one thing only?”

“Oh, that,” he said. “I’d forgotten. Well, let me see. I’d say I am very lucky.gatsby eyes 2

“Why is that?”

“Because my thing is eyes. I always notice eyes first. I get turned on by eyes with a slight puffiness in the lower lids. I think it gives a woman’s eyes a slight squint that I take for implied skepticism, and I find skepticism highly attractive. I always notice a woman’s eyes first.”

“Why do you say lucky?”

“Because a woman never has to say to me, ‘I’m up here.’ My particular fetish means that any woman I’m with thinks I’m looking deep into her soul. It gives the illusion I’m interested in her. And that illusion is like the lure an anglerfish dangles in front of his prey. It gets’em every time.

“I don’t mean that I consciously use it as a technique — it comes natural. I really do love eyes and usually, I really am interested in them. But it has made me very lucky, in both of the word’s common senses.”

Then Stuart said something he truly believed, although you don’t have to: “I have never had sex with a woman I wasn’t in love with.”

5

As you have guessed, Mia is rather introverted. She has a hard time making friends and meeting potential mates. When you spend your life parsing the aorist tense in Aeolian Greek, that sort of thing can happen.

Mia now had her masters degree and was obviously headed on for a piled-higher-and-deeper in Greek and Latin, and when she wasn’t dug in with a Loeb Library volume, she was trying to figure out how to keep her apartment from turning into a midden. Everyday life was not her strong suit.

But she had met someone. His name was Michael and they did four things: They went to the movies; they ate dinner in restaurants; they had sex; and they talked about the meaning of life. But, they were both 23, so what did they know?

As for movies, they both loved subtitled films, although he favored the German films and she favored the French ones. The German films always seemed to be about someone having power over someone else, or over some group. The French ones were always about how loves flutters like a flake of soot on a fire grate, not ever knowing quite when to let go.

As for restaurants, in this they agreed. They both loved finding new and more unusual ethnic restaurants. Ethiopian food, or Dravidian food, or some new restaurant featuring food from the Maldive Islands. Not that they weren’t happy with Greek or Thai. But they both loved to spend long hours over that final cup of coffee discussing the meaning of life, and how the latest German/French film meshed with the latest Peruvian/Estonian food in their gut.

You might expect them, therefore, to be adventurous in bed, as well. But there you would be wrong. Neither Michael nor Mia required anything other than an intimacy that reinforced their ties to each other, and gave them each the momentary limbic whoopie.

Mia was happy with her life.

6

“OK, kiddo, tell me about it.”

Stuart had wandered through town. He was writing a book about traveling with no itinerary. It seemed to be a way of turning his natural talents toward monetary good. He actually had a book contract and a deadline. He also had an editor with a whip. Literally. It wasn’t his thing, but he didn’t mind. Yes, they were living together, and no, she didn’t mind when Stuart left for weeks on end.

“What?”

“Michael.”

“It’s nice,” Mia said.

“Nice is for turnips,” he said. Mia didn’t know what that meant, and Stuart probably didn’t either.

7

“Tell me about Liz,” Mia said.

“She keeps me in line. After Helen left me, I knew I needed someone who would provide more structure. Liz is an editor; sometimes, I am a writer. It seemed like a match made in, well, maybe not heaven. Maybe a corporate lawyer’s office.”

He shuddered. The image gave him the willies.

“We have fun,” he said, although it sounded maybe a touch insincere when he said it, and also, beside the point.

“It’s interesting you should say that,” Mia said. “Because, I have a problem.”

8

“My Dear Mia,” the letter began. She was rereading it.

“I’m sorry about having come to see you. I feel I couldn’t say what I wanted to.

“Perhaps it is because when I see you it is like looking into a mirror.”

It was a letter from Dan. The first letter she had received in something like 20 years.

“I have trouble saying what I need to say, and it seems as if you do, too. It must be genetic. It is a trait no doubt handed down from your great grandmother, who everyone remembers said nothing at all when her house in Cincinnati burned down. I was just a kid then, but I remember her face never changed. Grandad fell apart; he was never the same. They lost everything. But Nannie stood there, in front of the fire and pulled her shawl around her shoulders and said nothing.

“What I wanted to say is that as I’ve gotten to be an old man, I’ve come to understand something about family that I never would have guessed. It is why I wanted so much to see you, even if we have almost no shared experience. It is that family matters.

“I don’t mean in the simple way, like your granny and pops used to tell me, when I was a kid, and the aunts and uncles would come back to the house after church on Sundays. I mean something with deeper roots. I mean your German and English forebears, the ‘long man’ of history, the single strand of DNA that has been forwarded from the past and you will pass on to the future.

“If you want to understand yourself, you need to know where that braid of amino acids came from, and why it is stuck in you. I couldn’t say these things to you; it would have sounded silly. But I can write them. Writing is a way of saying things you cannot speak.

“Since your grandmother’s family came from Germany, their past is lost, at least to me. I don’t even know what boat they came over on. But my dad’s family, your grandfather, came from England. I have traced their genealogies back. I have them back to 1621. Pop’s family goes from London back to York, so there’s probably some Scandinavian blood in there, too.Nana "Sam" Gerry Esther

“If you remember seeing the photographs of Granny when she was young, dressed like a flapper in the 1920s, you can see yourself, or at least, your nose and eyes. Your mouth rather favors my father’s side of the family. But there they are, showing up in your face. That gesture you use to express disdain — you used it to me when I visited — that is the same gesture my mother used to use when she was scolding me. It was a shock to see it reflected in your hands and arms.

“This is why I felt I had to see you. I know I haven’t been a father to you, but what I’ve come to realize is you cannot deny family. It is what I wanted to tell you; it’s what I’m trying to tell you now. And now, except for you, I have no family left. I am alone.

“I may have screwed up as a dad, but I have an interest in you. You are, after all, my way of projecting myself into the future, when I will no longer be there. You are also projecting Granny and Nannie, and everyone back to 1621. Each of us, while we are alive, is a pivot, a fulcrum, on which the past and future see-saw. Each of us is a root, growing from the dark past into the dark to come. A seed that becomes a plant that flowers and grows fruit that produce seeds again, over and over, one flower growing out of another, out of another and out of another. You are my flower.”

9

She woke up in the morning. The sheets were all crumpled. Bill was on his side with one arm up over his head, snoring. This is the time to look closely at your partner, to see if you really want him, with a bit of spittle drooling out of a corner of his mouth, the underarm hair bristling in the pit of the distended arm, the little grits of sleepsand in the angle of his eye. If he can stand this test, he might be worth keeping.

But Mia wasn’t sure. It wasn’t the drool she minded, or the stertorous breathing. Perhaps it was the sense she had that Bill made the assumption that he could stay the night without asking. That he presumed on their bed.
She got up, leaving him there, like a beached porpoise, and went to the kitchen, turned on the light, squinted her eyes still used to the dark of early morning, and turned on the kettle and reached for the instant coffee.

In two more days, she would turn 30.

To be continued

Steppe“Don’t make me shoot,” he said. “There’s too much paperwork afterwards.”

The guard, Bamki, was only half joking. I call him a guard, but he was more like an administrator. He was the only one left on this hill, surrounded by chain link. He got to live in the quonset hut. There was a coal stove there. We were surrounded by the fence, not so much to keep us in as to mark the edge of the compound; after all, the gate had fallen to ruin long ago, so there really was nothing to keep us in.

From the open front of the garage at the top of the hill, you could see for miles. Nothing out there but grass and scrub, except for the four birch trees under which the quonset hut was pitched. You could drive for hours from here and not find any mark of human activity other than the road, if you can call it that. More like a tractor path.

The five of us were there to fix things. Once a week or so, a truck would arrive. We would drag the load into the garage — more like a barn with a corrugated tin roof — and see what was on offer. A transmission, a desk, an entire load of crowd-control barriers, smashed by some uncontrolled crowd, maybe a sofa or coffeemaker. We never knew, but it was our job to repair and send it out with the next truck.

It was cold. It was always cold. Except in July, when it was hot. Now, it was November and ice glazed the water buckets in the morning. At least we had a brazier in the corner of the garage, although, with one whole wall open to the weather, the only heat was within a few inches of the fire. The tips of the fingers poked through the worn, frayed cloth of our gloves.

“How far do you think it is to Omsk?” Dentril said.

“I don’t know. Maybe 250 miles.”

We didn’t really have a clue. We didn’t really know exactly where we were. No one thought it important to tell us when they dragged us here. What was it. Seven years ago. Maybe eight.

“I think I found a cabbage leaf in my soup,” Dentril said. “No, wait, it is only the cellophane that wrapped the cabbage.” The soup steamed in the corner of the garage on a little propane stove. It was a joke he repeated every day.

Around us were the bones of old tractors, trucks, automobiles and bicycles. A wheel here, a frame there, gathering rust like moss. A crow sits on the fence outside the garage. Now two of them.

Dentril tossed the remains of his soup out the door at them. They didn’t move.

“How far did you say?”

“I don’t really know. Two hundred, three hundred miles. Maybe more.”

“Maybe less?”

“Could be.”

“Which direction?”

“Take your pick.”

“Toward the sunrise, or away from it?”

“What sun?”

The sky was always gray, although it seldom actually rained, or snowed. Winter saw a shadow of snow clumped around the roots of the grasses, where the wind couldn’t sweep it away.

“I mean, are we east or west of Omsk?”

“Or south. And why do you want to know? What difference does it make?”

“I was thinking of going there.”

On the wall, a rack of wrenches lined up, with more empty places than wrenches. Usually, if we couldn’t fix it with a hammer, it just added to the pile of spare parts and wrecks.

Dentril sucked some cold snot back into his nose and wiped the rest on his sleeve.

“I’m thinking Omsk must be nicer than this.”

“I’ve been there,” I said. “It’s OK.”

It was Tuesday, I think. A new truck was coming in. We waited.

“If we go on the truck, we could leave,” he said. “Who’s going to stop us? Bamki? He’s just as stuck here as we are.

“He’s got a gun,” I said.

“So?”

“It’s his job to stop us.”

“And it’s our job to escape.”

He said this as if it reflected some sort of incontrovertible logic. Like the next move in a game of chess, or the changing of tides.

The truck came. It was loaded with boots. Hundreds of them. No laces. They weren’t paired, either. Just a pile of boots. Some had holes in their soles; most looked almost new. They were dumped in the center of the floor. Dentril looked to see if any were his size. He found one, threw out his old shoe and put the newish boot on his left foot, keeping the other shoe on his right.

“What do you think?” he said. “Should we get in the back?”

It was an old army truck, with a canvas cover over its back half and a drop at the back end and a large red star on each cab door. We loaded three re-upholstered sofas on in exchange for the boots. The driver never left the cab. He smoked one cigarette after another without so much as rolling down his window. He didn’t look at us, and seemed mildly annoyed when the loading of sofas made the truck bump.

“I’m going,” Dentril said. “You coming?”

He jumped into the back and ducked behind one of the sofas.

“What you going to eat?” I asked him. “What you going to drink?”

Who knew how long the ride would be. Or where it was actually going, for that matter.

“I’ll eat in Omsk,” he said. That kind of optimism was bred by years of having none at all.

“Come on, don’t be silly,” I said. “Get off.”

“Make me.”

“I would but I don’t want to fill out the paperwork.”

We only had three jokes among us, so we reused them frequently. They were just another set of spare parts.

The driver started up the engine and made a grinding noise with the clutch. I jumped on to pull Dentril back. He crawled deeper into the cargo hold. I went for him just as the truck pulled forward. Dentril grabbed my ankle and held me.

“We’re going. We’re going to Omsk.”

Bamki watched the truck leave through what used to be the gate. He waved at us. He didn’t want to fill out the paperwork.

Two hours later, we were still on the dirt road, going somewhere. I  pulled the flaps shut in the back, to try to keep a little warmer.

Three hours later, the same. Six hours the same. Dentril was bored. He reclined on one of the sofas and went to sleep. It began to get dark, and with the flaps closed, we could not see outside. But I could hear that the sound had changed: We were in a town. There were other people. The grinding of the truck echoed off the building faces and made a wholly new soundscape in the darkness.

“Wait till we get to the river,” Dentril said. “Then we’ll jump off.”

We waited, but the soundscape reverted to its former lonesome emptiness. If there had been a river, we missed it.

“Wait till the next town,” Dentril said.

We slept in a jostle of bad truck suspension and bad road.

In the morning, we both peed off the back of the truck.

“Where do you think we are?” Dentril said.

All we could see out the back was more grass. The road was better, paved, even, though full of potholes. By the angle of the sun, I could see we were headed west.

“That’s good,” Dentril said. “That’s toward Omsk, isn’t it?”

“It would be if we knew where we started from.”

He took comfort in that answer, although I don’t know why.

About noon the truck pulled to a stop. We could hear other people outside. They said “sir,” and “yessir,” and it sounded military. This was not good.

After an hour or so, the truck started up again. Dentril said he was hungry.

“I told you,” I said.

“What?”

“That you wouldn’t have any food.”

“Oh, yeah. But I’m hungry.”

We drove another six hours, and entered another populated space. The sound bounced off walls. We slowed. I heard a train pass.

“We should get off now,” I said.

Dentril looked at me, then bolted. He jumped off the back of the truck into what remained of the November sunlight.

“Halt!”

That was the familiar bark of authority. It repeated, more urgently. Then a gunshot and the sound of someone — Dentril — sighing like the air had been squeezed out of him, and a flop on the ground.

The truck took off again. I was alone in the back.

Another night was spent sleeping fitfully on a sofa. Another morning lit up the canvas top of the truck. Another pee out the back. When I looked, the landscape was flat. There was a lake in the distance. A big one. There were geese. The road rounded the shores; nothing else in sight. I was thirsty.

I was hungry, too, but it was the thirst that spoke louder. I damned Dentril for making me take this trip; I prayed for him, too.

As the second night descended, and I was faint from dehydration, the truck came to a stop once more. It was quiet. I peeked out. There was a chain link fence and a gate swung shut.

“Hoy,” said a voice. “Help me get these things out of here.”

He was looking at me. Blank face. No surprise. Like I was supposed to be there.

“Let’s unload,” he said, and turned his back. Another climbed in the back and grabbed one end of the first sofa.

“Let’s go,” he said, looking at me impatiently.

I grabbed my end and we carried the sofa off, into a large warehouse with a tin roof. Went back got the next and then the last, and lined them all up against the inner wall of the building. There were at least 20 other sofas there, all lined up. Beside them were bicycles; on the other wall were transmissions and truck doors. A brazier burned in the corner.

“Cabbage soup again for supper,” he said.

I took the bowl gratefully and slurped down the salty liquid.

“I think I found a cabbage leaf,” I said. “No, it’s only cellophane.”

“Comedian,” he said.


RW ca 1975Although almost everything I write is in some way about myself — I call it all “Nilsenology,” after all, very little is overtly autobiographical. I am by nature rather private. But there was a moment in my life when I realized I could be private by being completely open: that if I put it all out there, it would be possible for me to be left alone, no one would have to pry.

This came after several personal catastrophes in the 1970s, a year of fleeing to Seattle and then returning, tail between my legs, to North Carolina. I was basically homeless, no job, no ambition, no career, no future. My friends Alexander and Mary Lou had offered me a room in their house in Summerfield, about 10 miles north of Greensboro, N.C., and gave me a year and a half to recover. My life is in debt to their generosity. Aside from cooking and maintenance — part of the agreement — mostly what I did was write letters, rather like Moses Herzog, going through his own crises. In a single month — March of 1980, I wrote 500 pages of letters on my aqua-colored plastic portable typewriter, using a tree stump as a desk by the barn out back of the house. I am including one of those letters here. 

It was during this time I became a writer. Alexander in Summerfield NC

Alexander in Summerfield

In the first year I spent back in North Carolina, I worked for Manpower a total of six days; I substitute taught at a school for juvenile delinquents a total of about 15 days; I worked at The Carolina Peacemaker, the black weekly newspaper in Greensboro, for two stretches of three weeks each; I shot two freelance photo jobs. The money from that, from my income tax refund and $600 I made selling my Hasselblad camera is everything I earned and lived on, November 1979 to November 1980.

Alexander had given me his old Ford Falcon. It was a dark blue bomb, with no heat, no windshield wipers and a hole in the floor under the driver that let you see the road flash by under the chassis. When I had some money, I could fill it with gas and try to find some extra work.

But I really never had any money. I managed to live for a month on $20 and use the change for the following month. There were those few Manpower stints — one working in an electronics hardware factory was as close to Dante’s hell as I ever hope to know: My job for 8-hours a day was to collect the vacuum-molded plastic sprues from the individual machines and carry them back to a jet-engine-noisy room where I dumped them handful by handful into a grinding machine that chewed them back into pellets that could be reused in the molding machines.

I enjoyed my retreat from society; I enjoyed it too much. But I wrote so often for that year and a half that, although almost nothing was published (and what was published was only bits and pieces for the black newspapers), I reckon the beginning of my existence as a writer from that time. 

I took a perverse pleasure in my poverty, I got down to my lowest point: a point that remains one of the cruxes of my life, the node or nodule of meaning around which I build a sense of my selfhood. I had no job, no prospect, old ragged clothes, a jalopy but no money for gasoline. It was icy cold, December, no heat in my room. I had exactly two nickels and three pennies to my name; nothing more was coming. 

A few times, my poverty grinded me into pellets, too. In December, 1980, I wrote this letter:

When I read about the poverty in Dickens or in a monster Russian novel — read about stealing an overcoat or sleeping in an icy room with no heat — I respond out of recognition. C’est moi.

Take for instance, last Wednesday. I got up early, watching my breath condense before me and feeling my lungs disabused by the frigid air. I planned to drive downtown on the last gallon of gas in the car. It would not be enough gas to get me back from downtown. I was going to stop at the Plasma Center and donate — sell — my blood. My conscience bothered me terribly, but I could see no other way out. I had borrowed money from friends and I never liked the feeling, and my friends, Alexander and Mary Lou — my “family” — were so short of money themselves that they were borrowing off their credit card.

So I got in my car and headed for town. The car has no heater, so the half-hour’s drive to Greensboro was as bad as trying to get out of bed in the morning into air cold enough to preserve a mastodon. In town, I kept trying to put off going to the Plasma Center, first by going up to my old office at the Peacemaker, and then by seeing my old boss at the camera store, where I had worked in the early ’70s.Peacemaker

At the newspaper, I found them late for press because the typesetting machine was busted. I fixed it for them, saving them a $75 IBM service call, but when Rosie, the editor, asked me to stay and help proofread, I said I had another appointment.

So I went to see Bill Stanley at the photo shop. His face lit up when he saw me. “Well, look what the shit drugged in,” he said. “So, how’s it going Richie? You still living out in Summerstone? Didja have a good vacation?” A wry smile tortured his face as he explained to his current helper, “Richie here has been on vacation for … How many years is it now?”

The helper  sat passively, probably thinking if I was any friend of Stanley’s, he’d better stay out of it.

“Hey, you want some lunch?”, asked Stanley.

“I’m afraid I don’t have any money.”

“Shit, I didn’t ask you if you had any money. Listen to what I say, willya. I asked if you wanted lunch.”

“I’d love some.”

“That’s more like it.”

I was hungry as a dung beetle. I hadn’t eaten any breakfast since there was nothing in the house, and I couldn’t afford to stop at Dunkin’ Donuts for coffee and a cruller. So we left the kid in charge and went across the road to Matthews Bar and Grill, the regular lunch spot.

Mat’s is another story. It is run by a Greek, Mihaious Daskilakis, and his wife. Everyone calls him Mat and calls her Mrs. D. When I first worked at the camera store about 10 years ago, she was a knockout, looking dark and earthy like Irene Papas. And even now, she is good looking, though the years have filled out her rump and her hair is mostly grey. And she can still barely speak English.

She is pleasant to the customers, but a termigant to Mat. He is a thinner version of Mel from Mel’s Diner, with black hair. He speaks a broken English and types amusing menus because of it. Mrs. D is unspeakably jealous and the waitress, though it is a new one every few months is invariably over 300 pounds. Mrs. D has last word in hiring waitresses. Once, when she was back in Greece for a family visit, Mat hired a good-looking, friendly, intelligent woman. She lasted until Mrs. D got back and was gone the next day.

The food at Matthews is slophouse diner food, drooling with grease. And the coffee, which I grew to love, is officially classed as a carcinogen by the FDA. The waitress has to pour it from a reagent bottle. The daily lunch special is something like meatloaf with a choice of two vegetables — from a list of peas, corn, okra, cottage cheese, french fries and “You wanta da gravies?”

“I’ll have the meatloaf,” says Stanley, “and okra. Just okra. Hold the other vegetable. And I want only one piece of bread.”

“Coffee?”

“I guess so.”

“And you?” She turned to me.

“A cheeseburger, with lettuce and tomato. And coffee.”

“Izatall?” butts in Stanley. “Have what you want. Shit, man, don’t be bashful.”

“A burger is all I need, but thanks, Willie.” I always called him Willie or William; everyone else called him Stanley.

As the waitress sets down the coffee, its surface swirled with grease or detergent, I thought, cripes, just like Henry Miller, bumming meals off the old buddies. And it was true that the burger was all I needed. Probably all I could have stood. My stomach had shrunk out of disuse. (Oh, I eat well enough at dinner, which I cooked, but breakfasts and lunches are often meager or non-existent.)

“Do you think the Old Man might need some Christmas help?”, I asked.

“Yeah, it could be. But you’d better ask him. I’m too close to retirement.”

I didn’t ask what that might mean.

“Has he been around yet today?”

“No. He’s out on his rounds now. I dunno if he’s coming downtown.” Willie slurped his coffee like an air raid siren and began sopping up the last of the gravy with the half-piece of bread he had left.

I knew I couldn’t put off my errand any more, so I thanked Willie for the meal and walked out into the cold and up the street to the seedy storefront that served for the Plasma Center.

I have given blood many times, but it has always been a free donation at a Red Cross bloodmobile. I strongly believe that is as it should be. I am appalled by the idea of selling part of me to make a buck. It is almost like “percentage slavery:” If I can’t sell whole human beings, at least I can sell of parts of them — or parts of myself, anyway.

It’s all too mercenary. But I was desperate.

What a marvelous word: “Desperate.” I had not a dollar to my name and no hopes of getting any. My clothes were wearing out and I was skimping on food. I was hitting on old friends for a meal. I was wearing summer sandals because they were all I owned and my feet were stiff with cold. Without the money from selling my blood, I doubted I could even drive home, let alone look for a job.

Behind the reception counter was a fine-looking woman of maybe 18 or 19. She looked surprised to see me: I was dressed in my Sunday best — my good pair of trousers and my last clean sports jacket. Even so, I must have looked a class apart from the derelicts who habituate the joint. Puzzled, she asked, “Can I help you?”

“Yes. I’ve given blood before …”

“So, we draw out a pint and then extract the red blood corpuscles and shoot them back into you. Then we have to do it all again to make a whole pint of plasma. If you have ever felt faint after giving blood, you won’t feel that, since we give you back all your red blood. The whole process, the first time, takes at least a hour and a half. We pay seven dollars the first visit, because of the physical, and eight dollars each time after that.

“But the doctor’s already gone for the day, so we can see you whenever you can come back.”

A real disappointment. I was hoping for at least $10. And now I was in town with no way to get out. So I drove out to Guilford College, where I had been doing some work in a professor’s darkroom. I thought I might as well get some production out of the day.

But when I reached into my coat pocket to get the car key, I found $4. A drop of luck hits the day! And as I drove towards Guilford, I tried to remember where the money came from, why I should have $4 I hadn’t known about. Then I remembered: I had picked up a few groceries for Mary Lou and she had given me a tenspot to cover them. This was her change that I had forgotten in my pocket. After a short moral argument with myself, I pulled into a self-serve gas station and bought $4 worth of gas.

The darkroom I use at Guilford is built in a short corridor running from the drama department’s studio/stage to the outside of the building. The corridor is unheated and unfortunately very public. The enlarger and supplies have to be locked up in a giant metal cabinet in a corner of the room. I had brought a portable electric heater to warm up the air and I plugged it in and started setting up my chemicals.

Just then, Matthew’s coffee reached overflow in my bladder, so I walked across the stage and into the dressing room, where the nearest mens’ room was. The dressing room was filled with costumes and makeup. Old bobbies’ uniforms and patched cutaways. I relieved myself and as I was leaving, I noticed a line-up of shoes under the clothing rack. I looked at them and they all seemed to be normal size — much too small for my feet. But one pair was larger than the rest. I picked them up and looked them over.

They were a very plain pair of oxfords, a little worn, with tilted heels, but not badly scuffed. On the sole was a Salvation Army pricetag for $2.25 I sat down on the linoleum and tried them on and, though they dug into my heel a bit, they fit. Another short moral argument and I wore them out of the dressing room. Providence and a lax conscience had provided me with the pair of shoes I needed.

I have always thought of myself as honest. It it true that I stole a few paperbacks from the drugstore in New Jersey when I was in high school — mostly for the illegal thrill of it. But since then, I have been basically honest. Not that I ever felt particularly proud of it. I feel strongly in my bones that we are all capable of enormous crimes. The human heart is foul and devious. I don’t abide with those happy-face people that feel humankind is basically “good” and has only been driven to crimes for socio-pathological reasons. We are all potential murderers. That we don’t kill, for the most part is incidental. We all could.

Henry David ThoreauI believe most great writers — probably most great people — have understood this. Gentle soul Henry Thoreau says of himself, in Walden, “I never knew, and never shall know, a worse man than myself.” If my crimes are paltry — a stolen pair of worn-out shoes or a pocket of unreturned change — then it is only, I think, that I have not had the opportunities that others have had. I was not born to the Third Reich or to the Inquisition. It is easy for me to abhor the enormities of Auschwitz from my distance. It is easy to feel that I could never allow it to happen here. But I am fooling myself, as others do themselves continuously. Evil is, as they say, banal and everyday. My conscience will bother me little about the shoes: I needed them. What glib rationalization is harder to come by to steal someone’s silverware? To murder the pissant who robbed me of my redhead? To rape and pillage a whole country?

I know of few people more gentle than myself; slower to wrath, slower to find fault. I live much of my life according to “Judge not, lest ye be judged.” But when I found out how my redhead’s new husband had forbidden her to communicate with me, I felt such a welling of bile that I know I could have murdered him. I saw red. Reason drained from me. For those few hours, as I wrote the first and only vicious hate letter of my life, I was a murderer. I know in my heart that though I would likely never actually kill anyone, I was nevertheless capable of hating with a passion that rationally allowed murder. Nothing is more false than the myth propounded by the NRA that “the criminal element” is responsible for murders and rapes. Murders are committed by fathers, rapes by uncles. The Mafia really touches few of us in any direct way. If there is a criminal element, it is in each of us — a Caliban in our hearts.

And I believe that if we are to live morally — to refrain from blowing the face off our brother-in-law — we must acknowledge this beast in our bosom. If we behave morally because we believe ourselves moral and good, then what is to stop us from punishing those who are not, in our eye, also moral and good? But as I know I am capable of crime, I do my best to control myself and will spend little effort controlling others. The Inquisition was run by men who knew they were moral. They had their God on their side. They were certain; they harbored no doubts. Be we smaller people, admitting the rancor in our breasts, how can we condemn that rancor in others? If there is any Satan, surely his name is Certainty. If there is an angel who can save us, that angel is Doubt. Hitler was Certain. Anita Bryant is Certain. Jerry Falwell is Certain. The Ayatollah is Certain. Let us not be so sure. Let us not send Jews to the showers.

So, when I finished in the darkroom, I drove home on the gas I bought with Mary Lou’s money and wearing stolen shoes and not feeling too badly about myself. I could have been Raskolnikov.

 
 
 

arrow earth
“Beauty is truth, truth beauty,” wrote John Keats. He may have intended that ironically, although it has been taken literally by many. Truth is beauty — well, at least in this: that artists have always sought to express the truth, at least as they have known it.John Keats

Art is, in large part, an attempt to discover truth in the welter of the chaos and confusion that is our lives. We write a play and test whether the ideas our characters believe can hold up under scrutiny. We paint canvasses in an attempt to discover what the world looks like. We write music to explore our emotional coherence.

In short, science is the test we give to hard fact; art is the test we give to everything else.

If you look at the broad expanse of cultural history (including art, literature, music, architecture — even politics and religion), you find each generation attempting to ameliorate the fallacies, misconceptions and naivete of their parents’. It is an ongoing march.

(The 20th century was deluded into thinking that there was a directional arrow to this process, and that they were the conclusion of the historical process, the end result of all that dialectic. That was their naivete.)

But the process continues: Our children see right through us. Their children will see through them.

The real “truth” is that our experience is too multifarious, to contradictory, ever to be summarized by a single cultural moment. This does nothing to minimize the efforts of all those generations before us to attempt to understand their lives. Each attempt is heroic in its own way. And each is truthful in its own way.

This constant shifting can be seen in the back-and-forth of certain cultural constants, which I call the pendulums. They swing back and forth. In gross outline, they are the classic and romantic ideas, the Apollonian and Dionysian impulses. But the pendulums are more complex than that simplicity implies. There are dozens, scores, hundreds of competing and repeating ideas that jostle each other out of the way temporarily, only to reappear in their turn and push back.

In the previous blog post, I discussed one of these ideas — the primacy in their turns of the generalized, universalized image, versus the individualized and particularized.

But there are many more oppositions, many more pendulums, swinging back and forth over our shared history.

(My survey encompasses primarily Western art tradition, because it is the one I know best, the one I swim in, but other cultures share the dynamic, albeit with differing permutations. Just consider the Chinese art that swings from the formality of Chen Honshou to the spontaneity of Mu-Ch’i or Pa-ta-shan-jen).chen hongshou and bada sharen

Society or Cosmos

I wanted to look at just a few of these other oppositions in Western culture.

A second large group of oppositions concerns the subject matter, and whether the artist is concerned with man as a social being, an individual set in a welter of humanity — or whether he is concerned with the individual against the background of nature or the cosmos.

In the 18th Century, for instance, Alexander Pope wrote that “The proper study of mankind is man.”

The novel, which investigates human activity in its social setting, came from the same century. Fielding and Defoe come from that century.Prometheus

The succeeding century is concerned more with man in nature, or man in his loneliness, or fighting the gods and elements. One thinks of Shelley’s Prometheus Unbound or Byron’s Manfred.

Such poetry would have been considered utter nonsense 50 years earlier. One hundred years later, and they were taken for nonsense once again.

One only has to look at Pope and Wordsworth to see the difference.

I said these pendulums swing at different rates: After Romanticism in writing, we swing back to the social nature of Flaubert or Thackery or Dickens. The pendulum tends to remain social through the early part of this century. Eliot, despite his religious conversion, is eminently concerned with man and man, and sees religious conviction as a social good.

But when we hit the mid-century, the pent-up spirituality bursts out with the Beat writers, with the Abstract Expressionists, with Existential philosophy

The social-cosmic pendulum does not swing in synch with the general-particular pendulum.

Social — Cosmic

Limits — No limits

This world — The next world

Political — Apolitical

Regional — International

Active participation — Retreat from world

Rational — Magical

Emblem — Myth

Incarnation — Transcendence

Society — Nature

Nature as desert — Nature as cathedral

Dramatic — Lyric

Irony — Sincerity

Clarity and Ambiguity

The third large category is the fight between clarity and ambiguity. One age likes its art simple and direct; the next likes it textured, complex and busy.

The classic example, of course, is the shift from Renaissance classicism to Baroque emotionalism.

In a Renaissance painting, the artist made sure everything could be seen clearly. He lined everything up with the picture frame, lit it with a general illumination so that confusing shadows would be minimized.

Look at this Last Supper by Andrea del Castagno.

castagno

See how clear it all is. But the Baroque painter Tintoretto had a different vision of the same biblical event. It is writhing, twisting out into deep space, with deep shadows and obscure happenings.

tintoretto

The Renaissance liked stability and clarity, the Baroque, motion and confusion.

Like the David of Michelangelo and the Bernini statue of Apollo and Daphne.

david and apollo and daphne

Or the Birth of Venus of Botticelli

botticelli

and the Calling of St. Matthew by Caravaggio.

caravaggio

In buildings, you can see the shift from the Gothic, with its infinite variety and crenelated detail, obscuring the larger structural designs to the clarity of ornament and design in Christopher Wren’s  St. Paul’s Cathedral in London.st pauls milan cathedrals

You can hardly see the actual walls of the Gothic cathedral, so overwhelmed are they by buttresses and sculptures.

But St. Paul’s is a monument to line and form, clearly seen and designed.

Clarity — Ambiguity

Limits — Freedom

Simplicity — Complexity

Unity — Diversity

Drawing — Painting

Stasis — Energy

Regulation — Impulse

Overall — Detail

Formal — Organic

Codify — Explore

Stability — Change

Rules — Anything goes

Clarity — Obscurity

Old form — New form

Discrete disciplines — Mix and match

Relevant or Isolated

Another shift concerns whether art should serve some wider function, like moral instruction or a search for scientific truth, or whether art has no purpose but to stimulate our esthetic tastes. Art for art’s sake.

Should the art hang on the wall to be looked at, or should it decorate the handle of the shovel or spoon? Should it remain outside the mores of its time, or should it be used as propaganda for a righteous cause? Is it merely to look at, or should a Madonna teach you something about your religion?

This is a concern that has become important in the art of our time. A whole herd of artists arose in the 1960s who saw art as divorced from life. Color Field painters preached the gospel: “Art can make nothing happen.”

noland kruger pair

But Postmodernism is largely about inserting political thought into the paintings. Art for art’s sake is declared “elitist” and “irrelevant” and the new art must be judged on its political truth.

 

Art as Art — Art for Function

Entertainment — Edification

Style — Content

Apolitical — Political

Ignore past — Embrace past

Retreat from world — Active participation

Art on wall — Art on implement

Technical — Visionary

Vocation — Inspiration

Contemplation — Propaganda

Ideal — Practical

Tribal or Cosmopolitan

The history of art also pulsates with the shift from nationalistic to international styles, from that which is specific to an ethnic or identity group, and that which seeks to transcends those limitations. The Gothic style as an international style, but the Renaissance is either Italian or Northern. The Baroque breaks up further into French, Dutch, Italian, Flemish.

In music, Bach imitated the national styles in his English and French suites and his Italian Concerto.

But the Galant and Classical styles that replaced it vary little from country to country. Perhaps the Italian is a little lighter and the German a little more complex, but you can’t get simpler or more direct than Mozart.

Nationalism reasserted itself in the next century, so that you have whole schools of Czech music, French, Russian.

In the early 20th Century, internationalism took charge once more and for a while, everybody was writing like Stravinsky.

The main architectural style of the first half of this century is even called “The International Style.”

But ethnic identity is back, and art is once again seen as a key to identity.

Exclusionary — Syncretic

Limits — No limits

Theocratic — Humanistic

Reinforce ethos — Challenge ethos

Regional — International

Nationalism — Cosmopolitanism

Discrete disciplines — Mix media

Ajax Defending Greek Ships Against Trojans

All of us or just me

One of the big shifts is between what I call “ethos” and “ego.”

That is, art that is meant to embody the beliefs of an age, thoughts and emotions that everyone is believed to share — or art that is the personal expression of the individual making it.

We have so long taken it for granted that an artist is supposed to “express himself,” that we forget it has not always been so. Did Homer express his inner feelings in the Iliad? Or are those emotions described the emotions he expected everyone would understand and share? He tells of what Achilles is feeling, or Ajax or Hector or Priam — and they are deep and profound emotions — but they give no clue to what Homer was feeling.

In music, Haydn’s symphonies were written about as being powerfully emotional. Nowadays, we think of Haydn as a rather cerebral composer. If we want emotion, we go to Beethoven or Schubert. You cannot listen to Schubert’s string quintet and not believe it expresses the deepest emotions that its composer was suffering at the time. It is his emotion. We may share it, but it is his.

Ethos — Ego

General — Particular

Investigate world — Investigate self

Chorus — Individual

Rectitude — Bohemianism

Anonymous creator — Signed art

Vocation — Inspiration

Atelier — Single creator

Talent — Genius

Depiction of emotion — Expression of emotion

Head or Heart

baudelaireThen, there is the fight between wit and sentiment.

To some generations, art needs to take a cool, ironic view of the world. Cervantes in his Quixote, or Pope in his Rape of the Lock.

To other generations, art is about human emotion. The more a person feels, the better the art.

Wit was the hallmark of the 18th century. Sentiment of the 19th. It was a common issue of discussion. Everyone knew just what you meant when you used the terms.

Did you wish to write “what oft was thought, but ne’er so well expressed”? or did you want to release pent up emotions, creating something new, never felt before? That’s what Baudelaire did.

Wit — Sentiment

Irony — Sincerity

Universal — Particular

Intellect — Emotion

External — Internal

Reinforce ethos — Challenge ethos

Artifice — Naturalism

Social — Cosmic

Verbal — Sensuous

Society — Nature

Emblem or Myth

Penultimately, there is the swing from art which uses its symbols emblematically and that which uses it mythologically.

That is, if you use a symbol, does it stand “for” something else — as cupid stands easily for love in so much pastoral poetry — or does it partake of that which it expresses — that is, in photographer Minor White’s wonderful formulation: “what it is and what ELSE it is.”faerie queene

Cupid is an emblem. The Cross on the Knight’s shield in The Faerie Queene is an emblem. Moby Dick is a myth. One is easily translatable, the other is not and opens itself to investigating that which cannot be put in mere words or images.

A Classic age tends to be emblematic, a Baroque or Romantic age tends to be mythic. The one uses symbols as shorthand, the other as incredibly convoluted mental images that point at, but don’t touch, what it means. It is the opposite of shorthand.

Ovid is the acme of the emblematic. Homer of the mythic. Homer’s gods — for all their occasional silliness — are actual divinities. Ovid’s are puppets playacting for our amusement.

Emblem — Myth

Universal — Particular

Intellectual — Emotional0 R

Simplicity — Complexity

Unity — Diversity

Stasis — Energy

Regulation — Impulse

External — Internal

Secular — Religious

Style — Content

Synthetic — Organic

Miniature — Epic

Ironic — Sincere

Mimesis or Poiesis

And finally, there is the issue of whether art should imitate the appearance of nature, or should imitate the processes of nature. That is, whether art is mimetic or poetic. Should it copy or create from whole cloth?

We have seen in our century the change from abstract art to images. Abstraction once seemed unassailable. It was the serious art; anything else was trivial.

kandinsky mondrian pair

lichtenstein 2Well, we got over that. From the time of Pop Art, art has increasingly attempted to look, in some form or other, like the world.

It hasn’t done this in imitation of the look of paintings from earlier centuries. That look cannot come back, or cannot be used without irony.

But artists today paint images of people and things. They are identifiable. Some are almost like the old paintings.

Richard Diebenkorn was hailed as an abstract artist in the 60s.

When he began returning to the figure, he was at first castigated.

diebenkorn before and afterNow he is seen as a prophet.

Abstraction wasn’t only in painting. Waiting for Godot is an abstract play. Gertrude Stein wrote abstract prose. Carl Andre wrote abstract poetry.

Mimesis — Poiesis

Imitation — Abstraction

Particular — General

Individual — Universal

Observed –Stylized

Detail — Overall

Edification — Entertainment

Content — Style

Naturalism — Artifice

Investigate world — Investigate self

Scientific realism — Emotional realism

Stretching the frame

Before we leave the subject, we should point out that oppositions are entirely dependent on context. Baptists and Lutherans are opposites until we pair them as Protestants against Catholics, and we pair those against, say, Islam as the opposite of Christianity, or those paired as religions of the book against, let’s pick, Hinduism, but then we can pair those as religions against atheism, and pair them as belief systems against thoughtlessness, and pair them as philosophies against — well, whatever is the opposite of philosophy.

There are an uncounted number of oppositions; I have listed a few I have considered. I could elaborate blogs about each of pair them.

But you get the picture.