Blue Eclipse, 1955 by Albert Bloch (1882-1961)
Blue Eclipse, 1955 by Albert Bloch (1882-1961)
Ulrich had been quiet, painting on deck varnish. Now he spoke. “We don’t love each other as much as we used to. You can see the uncertain looks, the calculations, the dismissals. People are not even in the present moment. Everybody’s been futurized. You look in those eyes and see they’re not home, they’re some hours ahead at least. I hate to go into Vicksburg anymore. Anywhere, really. It’s all like meeting people who have just departed. Old men and women don’t look wise anymore. They are just aged children. And who gets the highest pay? Actors. Paid to mimic life because there is no life. You look at everybody and maybe they’re a little sad, some of ’em. They’re all homesick for when they were real.” Ulrich began painting again as the others tried to guess what could have prompted this.
From Barry Hannah’s 2001 novel Yonder Stands Your Orphan.
Deimos, 2015 by Dragan Bibin (b. 1984)
In the evening there was a strange fellow in the bar-room,–a sort of mock Methodist,–a cattle-drover, who had stopped here for the night with two cows and a Durham bull. All his talk turned upon religion, and he would ever and anon burst out in some strain of scriptural-styled eloquence, chanted through his nose, like an exhortation at a camp-meeting. A group of Universalists and no-religionists sat around him, making him their butt, and holding wild argument with him; and he strangely mingled humor, with his enthusiasm, and enthusiasm with his humor so that it was almost impossible to tell whether he were in jest or earnest. Probably it was neither, but an eccentricity, an almost monomania, that has grown upon him,–perhaps the result of strong religious excitement. And, having been a backslider, he is cursed with a half-frenzied humor. In the morning he talked in the same strain at breakfast, while quaffing fourteen cups of tea,–Eliza, all the while, as she supplied him, entreating him not to drink any more. After breakfast (it being the Sabbath) he drove his two cows and bull past the stoop, raising his staff, and running after them with strange, uncouth gestures; and the last word I heard from him was an exhortation: “Gentlemen, now all of you take your Bibles, and meditate on divine things,”–this being uttered with raised hands, and a Methodistical tone, intermingled, as was his expression, with something humorous; so that, to the last, the puzzle was still kept up, whether he was an enthusiast or a jester. He wore a suit of coarse brown cloth, cut in rather a Quaker fashion; and he had a large nose, and his face expressed enthusiasm and humor,–a sort of smile and twinkle of the eye, with wildness. He is excellent at a bargain; and if, in the midst of his ghostly exhortation, the talk were turned on cattle, he eagerly seized the topic and expatiated on it.
While this fellow was enumerating the Universalists in neighboring towns who had turned from their errors on their death-beds, some one exclaimed, “John Hodges! why, he isn’t dead,–he’s alive and well.” Whereat there was a roar of laughter. While holding an argument at table, I heard him mutter to himself at something that his adversary said; and though I could not distinguish what it was, the tone did more to convince me of some degree of earnestness than aught beside. This character might be wrought into a strange portrait of something sad, terrific, and laughable.
The Sabbath wore away lazily, and therefore wickedly. The heavy caravan-man inquired for some book of light reading, and, having obtained an old volume of a literary paper, betook himself to the seat of his wagon, to read. At other times he smoked, and talked sensibly enough with anybody that offered. He is a man of sense, though not quick, and seems to be a fair man.
When he walks, he puts the thumb of each hand into the armhole of his waistcoat, and moves along stiffly, with a knock-kneed gait. His talk was chiefly of hotels, and such matters as a man, always travelling, without any purpose of observation for mental improvement, would be interested in. He spoke of his life as a hard one.
There was a Methodist quarterly meeting here, and a love-feast.
There is a fellow hereabout who refuses to pay six dollars for the coffin in which his wife was buried. She died about six months since, and I believe he is already engaged to another. He is young and rather comely, but has not a straightforward look.
One man plods along, looking always on the ground, without ever lifting his eyes to the mountain scenery, and forest, and clouds, above and around him. Another walks the street with a quick, prying eye, and sharp face,–the most expressive possible of one on the look-out for gain,–of the most disagreeable class of Yankees. There is also a sour-looking, unwholesome boy, the son of this man, whose voice is querulous and ill-natured, precisely suited to his aspect. So is his character.
We have another with Indian blood in him, and the straight, black hair,–something of the tawny skin and the quick, shining eye of the Indian. He seems reserved, but is not ill-natured when spoken to. There is so much of the white in him, that he gives the impression of belonging to a civilized race, which causes the more strange sensation on discovering that he has a wild lineage.
From Nathaniel Hawthorne’s journal entry for August 19th, 1838. Collected in Passages from the American Note-Books.
On the Sofa, 1871 by Berthe Morisot (1841-1895)
Earlier this summer I visited Alias East Books East in Los Angeles, where the clerk kindly let me handle a signed first edition of Barry Hannah’s novel Ray. It was like sixty bucks, so I didn’t handle it too fondly. But somehow the image of the signature rattled around in my silly skull all summer—probably because I spent a big chunk of July slurping up Long, Last, Happy. I wanted to find out some info about Hannah’s last quartet of stories—the last four stories in L, L, H—and doing a search of his name in Twitter led me to a link for a signed first-edition hardback copy of his slim 1985 collection Captain Maximus. (The title is a joke on his then-editor, Gordon “Captain Fiction” Lish, who apparently Hannah referred to as “Captain Minimus” in some of their letters). I might have had a scotch or two, but I bid on the book (eighteen bucks). No one else bid on it, so it’s mine now.
The cover is lovely, purple and orange, designed by Fred Marcellino, and under the bright shiny jacket is this:
I love the reserved arrogance of those initials!
And of course the signature, dated five years after the book’s publication and geographically anchored to the town my grandfather and namesake attended college in—
I didn’t actually own a copy of Captain Maximus beforehand, and I think the only stories from it included in Long, Last, Happy (which, by the way is a great starting place for Hannah) are “Fans,” “Ride, Fly, Penetrate, Loiter” and “Even Greenland” (you can read “Even Greenland” at Ben Marcus’s website). This particular copy has clearly never been read. Which leads me to this afternoon. I went to my favorite used bookstore to pick up a copy of Ishmael Reed’s The Terrible Threes—I just finished The Terrible Twos, a novel that is too prescient and too funny and too cruel and you should read it read it read it—and well anyway, I went to see if maybe they had a copy of Yonder Stands Your Orphan, which they didn’t the last time I was there, but they did today. Under it was a well-thumbed 1986 Penguin paperback edition of Captain Maximus. I need to read Yonder (which hell by the way my god what a bad cover c’mon people) before I can write the Thing I want to write on the final stories in Long, Last, Happy (or at least I think I need to read it, or anyway, I want to). And the second copy of Captain Maximus, at three dollars in store credit, is something I don’t have to worry about cramming into a pocket or dropping into a bathtub or eventually giving away to a friend.
Kronos and Kairos by Carmen Chami (b. 1974)
Mother with Two Children, 1917 by Egon Schiele (1890-1918)
Zora Neale Hurston
We Negroes in Eatonville know a number of things that the hustling, bustling white man never dreams of. He is a materialist with little care for overtones. They have only eyes and ears, we see with the skin.
For instance, if a white person were halted on the streets of Orlando and told that Old Man Morgan, the excessively black Negro hoodoo man, can kill any person indicated and paid for, without ever leaving his house or even seeing his victim, he’d laugh in your face and walk away, wondering how long the Negro will continue to wallow in ignorance and superstition. But no black person in a radius of twenty miles will smile, not much. They know.
His achievements are far too numerous to mention singly. Besides, any of his cures of “conjures” are kept secret. But everybody knows that he put the loveless curse on Bella Lewis. She has been married seven times but none of her husbands have ever remained with her longer than the twenty-eight days that Morgan had prescribed as the limit.
Hirma Lester’s left track was brought to him with five dollars and when the new moon came again, Lester was stricken with paralysis while working in his orange grove.
There was the bloody-flux that he put on Lucy Potts; he caused Emma Taylor’s teeth to drop out; he put the shed skin of a black snake in Horsos Brown’s shoes and made him as the Wandering Jew; he put a sprig of Lena Merchant’s hair in a bottle, corked it and threw it into a running stream with the neck pointing upstream, and she went crazy; he buried Lillie Wilcox’s finger-nails with lizard’s feet and dried up her blood.
All of these things and more can easily be proved by the testimony
of the villagers. They ought to know.
He lives alone in a two-room hut down by Lake Blue Sink, the bottomless . His eyes are reddish and the large gold hoop ear-rings jangling on either side of his shrunken black face make the children fly in terror whenever they meet him on the street or in the woods where he goes to dig roots for his medicines. Continue reading “Read Zora Neale Hurston’s short story “Black Death””
Diomedes Devoured by His Horses (after Moreau), 2009 by Sandra Yagi
Angel of Anatomy, 1949 by Leonor Fini (1907-1996)
Boy on Fence, 1965 by Ken Danby (1940-2007)
Two Views, 2007 by Samuel Bak (b. 1933)
The Reader, 1916 by Grace Cossington Smith (1908-1971)
“The Fourth Day Out from Santa Cruz”
Ramón signed on at Cádiz. The ship’s first call was at Santa Cruz de Tenerife, a day and a half out. They put in at night, soon after dark. Floodlights around the harbor illumined the steep bare mountains and made them grass-green against the black sky. Ramón stood at the rail, watching. “It must have been raining here,” he said to a member of the crew standing beside him. The man grunted, looking not at the green slopes unnaturally bright in the electric glare, but at the lights of the town ahead. “Very green,” went on Ramon, a little less certainly; the man did not even grunt in reply.
As soon as the ship was anchored, scores of Hindu shopkeepers came aboard with laces and embroidered goods for the passengers who might not be going ashore. They stayed on the first-class deck, not bothering to go down below to third-class where Ramón was scullery boy in the passengers’ cocina. The work so far did not upset him; he had held more exacting and tiring jobs in Cádiz. There was sufficient food, and although it was not very good, nevertheless it was better than what was taken out to the third-class passengers. It had never occurred to Ramón to want privacy in his living quarters, so that he was unmoved by the necessity of sharing a cabin with a dozen or so shipmates. Still, he had been acutely unhappy since leaving Cádiz. Except for the orders they gave him in the kitchen, the sailors behaved as if he did not exist. They covered his bunk with their dirty clothes, and lay on it, smoking, at night when he wanted to sleep. They failed to include him in any conversation, and so far no one had even made an allusion, however deprecatory, to his existence. For them it appeared that he simply was not present. To even the least egocentric man such a state of affairs can become intolerable. In his sixteen years Ramón had not been in a similar situation; he had been maltreated but not wholly disregarded.
Most of the crew stood at the prow smoking, pointing out bars to one another, as they scanned the waterfront. Partly out of perversity born of his grievance, and partly because he wanted to be by himself for a spell, Ramón walked to the stern and leaned heavily against the rail, looking down into the darkness below. He could hear an automobile horn being blown continuously as it drove along the waterfront. The hills behind backed up the sound, magnified it as they threw it across the water. To the other side was the dim roar of the sea’s waves against the break-water. He was a little homesick, and as he stood there he became angry as well. It was inadmissible that this state of affairs should continue. A day and a half was too long; he was determined to force a change immediately, and to his undisciplined young mind kept recurring the confused image of a fight—a large-scale struggle with the entire crew, in which he somehow finished as the sole victor.
It is pleasant to walk by the sea-wall of a foreign port at night, with the autumn wind gently pushing at your back. Ramón was in no hurry; he stopped before each café and listened to the guitars and shouting, without, however, allowing himself to be detained by the women who called to him from the darker doorways. Having had to clean up the galley after an extra meal had been served to sixty workmen who had just come aboard here at Santa Cruz, bound for South America, he had been the last to get off the ship, and so he was looking for his shipmates. At the Café del Teide he found several of them seated at a table sharing a bottle of rum. They saw him come in, but they gave no sign of recognition. There was no empty chair. He walked toward the table, slowed down a bit as he approached it, and then continued walking toward the back of the café. The man behind the bar called out to him: “You were looking for something?” Ramón turned around and sat down suddenly at a small table. The waiter came and served him, but he scarcely noticed what he was drinking. He was watching the table with the six men from his ship. Like one fascinated, he let his eyes follow each gesture: the filling of the little glasses, the tossing down the liquor, the back of the hand wiping the mouth. And he listened to their words punctuated by loud laughter. Resentment began to swell in him; he felt that if he sat still any longer he would explode. Pushing back his chair, he jumped up and strode dramatically out into the street. No one noticed his exit. Continue reading “Read Paul Bowles’s short story “The Fourth Day Out from Santa Cruz””