Steve Kemper Talks to Biblioklept About A Labyrinth of Kingdoms, His New Book About Explorer Heinrich Barth

Steve Kemper’s latest book A Labyrinth of Kingdoms tells the story of Heinrich Barth, a German scientist who led a British-backed expedition into the central Sudan. While Barth’s name is not nearly as well-known as Livingstone or Stanley, Kemper makes a solid argument for a reappraisal of Barth’s neglected work. Barth explored Bornu and Sokoto, learned the ways of the nomadic Tuareg people, traveled to Timbuktu, and filled in many of the missing gaps that had been previously left to the guesswork of European geographers. Perhaps most importantly, Barth made numerous cultural connections in his time in Africa.

Barth’s story comes alive in Kemper’s capable hands; A Labyrinth of Kingdoms is erudite but never stuffy—at its core, the book is an excellent adventure story. Kemper’s first book, Code Name Ginger, traced the arc of invention and commerce by telling the story of the creation of the Segway transport. His work has also appeared journals like Smithsonian and National Geographic. To find out more about A Labyrinth of Kingdoms, check out Kemper’s blog .

Kemper was kind enough to talk to me about his book and Barth’s life in a series of emails.

A Labyrinth of Kingdoms is new in hardback from W.W. Norton on June 25th, 2012.

Biblioklept: What drew you to the story of Heinrich Barth? What made you want to write A Labyrinth of Kingdoms?

Steve Kemper: I got interested in Barth when I read a couple of paragraphs about him in Ryszard Kapuścińksi’s The Shadow of the Sun, a book of dispatches about Africa. In Timbuktu, Kapuścińksi notices a plaque on a house where Barth spent many months in 1853-1854, and he calls the explorer “one of the greatest travelers in the world” for his five years exploring the Sahara. He says that Barth survived death many times, including once by drinking his own blood. Kapuścińksi added that despite Barth’s accomplishments, he died young, unappreciated and almost forgotten. All of that sounded like the bones of a great story.

Biblioklept: Obviously, Barth’s tale is a great adventure story—but what are his greatest accomplishments?

SK: One of the reasons Barth isn’t better known is that he didn’t return with a headline accomplishment—the source of the Nile, a traverse of the continent, the location of a lost explorer. He did “discover” the Benue River and showed that it flowed into the Niger (that river’s major tributary) rather than into Lake Chad, and he settled the exact location of Timbuktu. But the reason that his work remains important to scholars is that he came back with reams of invaluable information and data about geography, anthropology, ethnography, and languages. He traveled across an immense territory and spent time with the major peoples of north-central Africa—Hausas, Kanuris, Tuaregs, Arabs, Songhais, Fulanis. The material he collected is still relevant. That can’t be said of most of Barth’s more famous peers. But then as now, headlines are more likely than scholarship to capture the public’s attention.

Biblioklept: North Africa, and the Islamic world in-general have captured more of the Western public’s attention in recent years though—what can we learn from Barth’s travels and experiences?

SK: Many things. First, that the region and the religion are not monolithic. Barth’s work (and my book) are full of a tremendous variety of peoples and cultures. Most Westerners—and I include myself in this, prior to writing this book—have a vague, fuzzy, and simplified image of the region that distorts everything about it—its many cultures, its complicated history, its complexity. Barth returned convinced that Islam was a great religion—not a popular view, then as now—but added that in some places it had been hijacked by thugs who used it as an excuse to pillage non-Muslims, or by fanatics, who used it as an excuse to kill or enslave non-Muslims. This still sounds familiar. But he also added that Islam wasn’t much different in this way from Christianity, another great religion sometimes hijacked by the greedy or the self-righteous. Barth met Muslim scholars and Muslim thieves, and tried to be clear about both. I could keep typing on this subject for a while but I don’t want the answer to get too long. I plan to write a couple of op-eds on the subject in time for the book’s pub date.

Biblioklept: In A Labyrinth of Kingdoms, you point out that Barth’s open-minded ideas were not well-received by his contemporaries, in part because these ideas conflicted with the emerging age of imperialist Europe. Is this also one of the reasons he hasn’t been canonized like other explorers?

SK: The short answer is yes, I believe so, though there are not straight lines connecting the two. But it seems clear that Barth’s ideas at least contributed to the reception of his work, along with Britain’s changing commercial and political goals, the interests of the public, and Barth’s own difficult personality.

Biblioklept: In what ways was Barth a difficult personality?

SK: During his journey and afterwards in England, Barth occasionally felt that he was being slighted by the British government or that his honor was being questioned (especially by one tormentor at the Royal Geographical Society). He was often right, but he reacted to these things with the touchiness of an anemone. An anemone’s touchiness is pretty to see; Barth’s was blunt and haughty and could even verge into petulance. His own strict sense of honor and proper conduct left him appalled at some of the machinations against him in England (and also in Germany). Barth’s brother-in-law and close friend wrote about him, “Heinrich is always too gruff and unyielding, and yet too modest and too imprudent. His pride doesn’t permit him to give in at the right moments. In the river of life he is a bold and persevering swimmer, but not a very agile one.”

Some of Barth’s difficulties stemmed from the fact that he was German, and the British liked their heroes home-grown. Some people in England couldn’t gracefully accept that the success of a British expedition had depended almost solely on a foreigner. (The British government funded the expedition, which began with an English leader. Barth was contracted as an independent scientist.)

Another part of Barth’s difficult personality stemmed from his sense of high calling. He truly did devote his life to science and the pursuit of truth, and he could be harsh when lesser mortals fell short of his standards.

It interests me that when he was in Africa, Barth showed far more patience and diplomacy than he did when back in Europe. In Africa, patience and diplomacy were often necessary to accomplish what he wanted and even to survive, but in Europe I think he expected better conduct and sometimes reacted poorly when he was disappointed.

Biblioklept: Barth’s story is one of culture and discovery, but it’s also an adventure story—can you share a favorite anecdote about Barth the adventurer?

SK: Tough question, since there are so many good ones, including death threats and narrow escapes. But I prefer the ones that reveal something about Barth. So: early in the journey, when he still considered himself nearly indestructible, he foolishly set off on foot one morning, with little water and no food, to climb a distant mountain. He soon ran out of water, got lost, and began to die of dehydration. Eventually he cut his arm and drank his own blood, which didn’t help. The following morning, at the caravan, the Tuareg guides told the expedition’s leader that no man could have survived the long Saharan day and night without water, but they agreed to search for him. Late that afternoon they found him, nearly comatose. The Tuaregs were amazed at his survival. They were also amazed the next day when, even though he couldn’t eat or speak, he rode seven hours with the caravan. This close call was a tough lesson, but Barth took it to heart and learned from it.

Another favorite, because it epitomizes how understated Barth always is about his adventures, occurred when he entered Kabara, a village on the Niger River not far from Timbuktu. Barth took up lodgings and was eating supper when a Tuareg warrior entered, glaring, and attempted to intimidate Barth into giving him a fine gift. Barth said he was eating and to go away. The Tuareg replied that he was a very dangerous man who was about to do something terrible. Barth writes, “After a very spirited altercation, I got rid of him.” I love the dry modesty of that. Imagine how Burton or Stanley would have handled it. After Barth expelled the warrior, 200 other men came in and silently eyed the stranger. Barth responded by staring back while lying across his smaller bags and protecting the bigger ones behind him. Very cool. Very Barth.

Biblioklept: I ran a blurb of your book the other day and a reader asked if the theologian Karl Barth might be a descendant of Heinrich’s. Any clue?

SK: I wondered the same thing, but haven’t come across anything that suggests they were related.

Biblioklept: You provide a fairly extensive set of end notes as well as a large bibliography for Labyrinth–clearly a lot of reading and research went into the book. Can you describe how you synthesized the information? What were some of your most important sources?

The principal source, of course, was Barth’s colossal book, Travels and Discoveries in North and Central Africa, which was originally published in five volumes and covered nearly 3500 pages. Other crucial primary sources were the extensive Foreign Office files in the British National Archives, which include dispatches from consuls, receipts, letters, and all the thorough bureaucratic documentation of the Victorian age. Barth’s brother-in-law and close friend, Gustav von Schubert, wrote a biography that I had translated; it provided many private glimpses of Barth.

The scholarship, of course, was invaluable, and I immersed myself in it to understand the era. Remember, I’ve spent the last 30 years as a journalist, writing about living people. I knew how to write narrative, but I had to learn how to do that with history. My goal with the book was to write an exciting, informative narrative that put readers inside the expedition with Barth, so all the scholarship is all folded into the action. I don’t quote many scholars in the text proper, because I didn’t want to intrude on the readers’ experience of the expedition. That’s all writer’s talk about technique and is probably more than your readers want to know.

Biblioklept: Actually, our readers seem to enjoy insights about writing technique, so I’m sure they’ll be interested in this stuff. (I’m interested, anyway). How long did it take to research and write the book?

SK: It’s hard to say, because I was also working on smaller jobs while researching and writing the book. The research just for the proposal was time-consuming, starting with Barth’s 3500 pages. Because I’m not a scholar of 19th century Africa or Europe, the background research took many months. The writing, including interruptions from other jobs, took about 9 months—probably 7 months net.

Biblioklept: What’s your next big project?

SK: I’m working on another book for W. W. Norton about another undeservedly obscure adventurer whom I stumbled across in my reading. An American this time, who lived the sort of epic life that’s no longer possible, on frontiers in several countries. I think I’ll keep his name to myself for the time being.

Biblioklept: Have you ever stolen a book?

SK: Yes, once, while in college—a paperback of several Sean O’Casey plays. It was also a library book, which I later realized compounded the crime, since I deprived others who could have gotten pleasure from it. I’ve since donated hundreds of dollars’ worth of books to libraries. Maybe I’ve subconsciously been seeking atonement.

Reading (Family Scene by Lamplight) — Salvador Dali

Object Lessons from The Paris Review, Where Writers Present Some of Their Favorite Short Stories from Other Writers (Book Acquired, 6.11.2012)

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Okay: This one is really cool: Object Lessons features a bunch of short stories, some you may have read, each with a short lead-in (two-five pages) by another writer. So, we get Jeffrey Eugenides on Denis Johnson, or Ben Marcus on Donald Barthelme, or Lydia Davis on Jane Bowles, or Ali Smith on Lydia Davis. You know what, let me just share the table of contents (review down the line):

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David Foster Wallace on David Lynch’s Dune

1984’s Dune is unquestionably the worst movie of Lynch’s career, and it’s pretty darn bad. In some ways it seems that Lynch was miscast as its director: Eraserhead had been one of those sell-your-own-plasma-to-buy-the-film-stock masterpieces, with a tiny and largely unpaid cast and crew. Dune, on the other hand, had one of the biggest budgets in Hollywood history, and its production staff was the size of a small Caribbean nation, and the movie involved lavish and cutting-edge special effects (half the fourteen-month shooting schedule was given over to miniatures and stop-action). Plus Herbert’s novel itself is incredibly long and complex, and so besides all the headaches of a major commercial production financed by men in Ray-Bans Lynch also had trouble making cinematic sense of the plot, which even in the novel is convoluted to the point of pain. In short, Dune’s direction called for a combination technician and administrator, and Lynch, though as good a technician as anyone in film, is more like the type of bright child you sometimes see who’s ingenious at structuring fantasies and gets totally immersed in them but will let other kids take part in them only if he retains complete imaginative control over the game and its rules and appurtenances—in short very definitely not an administrator.

Watching Dune again on video you can see that some of its defects are clearly Lynch’s responsibility, e.g. casting the nerdy and potato-faced Kyle MacLachlan as an epic hero and the Police’s resoundingly unthespian Sting as a psycho villain, or—worse—trying to provide plot exposition by having characters’ thoughts audibilized (w/ that slight thinking-out-loud reverb) on the soundtrack while the camera zooms in on the character making a thinking-face, a cheesy old device that Saturday Night Live had already been parodying for years when Dune came out. The overall result is a movie that’s funny while it’s trying to be deadly serious, which is as good a definition of a flop as there is, and Dune was indeed a huge, pretentious, incoherent flop. But a good part of the incoherence is the responsibility of De Laurentiis’s producers, who cut thousands of feet of film out of Lynch’s final print right before the movie’s release, apparently already smelling disaster and wanting to get the movie down to more like a normal theatrical running-time. Even on video, it’s not hard to see where a lot of these cuts were made; the movie looks gutted, unintentionally surreal.

In a strange way, though, Dune actually ended up being Lynch’s “big break” as a filmmaker. The version of Dune that finally appeared in the theaters was by all reliable reports heartbreaking for him, the kind of debacle that in myths about Innocent, Idealistic Artists In The Maw Of The Hollywood Process signals the violent end of the artist’s Innocence—seduced, overwhelmed, fucked over, left to take the public heat and the mogul’s wrath. The experience could easily have turned Lynch into an embittered hack (though probably a rich hack), doing f/x-intensive gorefests for commercial studios. Or it could have sent him scurrying to the safety of academe, making obscure plotless l6mm.’s for the pipe-and-beret crowd. The experience did neither. Lynch both hung in and, on some level, gave up. Dune convinced him of something that all the really interesting independent filmmakers—Campion, the Coens, Jarmusch, Jaglom—seem to steer by. “The experience taught me a valuable lesson,” he told an interviewer years later. “I learned I would rather not make a film than make one where I don’t have final cut.”

—From “David Lynch Keeps His Head” by David Foster Wallace; collected in A Supposedly Fun Thing I’ll Never Do Again.

“To hear of a Frenchman eating a frog, is no news; / But to see a butcher stuck by a hog, is strange indeed!”

(From The World turned upside down, or, No news, and strange news (1820) by J. Kendrew. More/via.)

Siri Hustvedt’s Living, Thinking, Looking (Book Acquired, 5.15.2012)

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The whole point of these books acquired posts is to try to document interesting stuff that comes in before it winds up in my pile for months (to put things in perspective, I got a reader copy of Adam Johnson’s The Orphan Master’s Son back in January, and have finally gotten around to reading it just now). I usually spend a week or two looking over the book, maybe  publish a blurb or an excerpt of the book along with a photo, and then file it in one of three stacks — now, later, or never. Anyway, Siri Hustvedt’s new collection of essays Living, Thinking, Looking ended up never getting stacked anywhere, because I kept going back to it, poking into her essays on Goya, Gerhard Richter, Freud, reading her riff on sleeping, which somehow synthesizes Macbeth and Nabokov and REM science, pausing over her consideration of the Bush admin’s rhetoric. I haven’t finished the book but I will. Hustvedt combines her keen intellect with a range of ideas to explore her subjects (primarily, if the title didn’t tip you, living, thinking, looking). There’s a lot of lit here, a lot of psych, and plenty of art. Good stuff.

Old Woman Reading — Rembrandt

Hobo Symbols

(Via; for more on tramping read W.H. Davies’s The Autobiography of a Super-Tramp).

Nausicaä of The Valley of the Wind, Vol. 7 (Book Acquired, 6.07.2012)

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A birthday gift from my daughter. I got volumes 4-6 for Valentine’s Day from my darling wife, but have held off on reading them because I didn’t have the final volume, which is this one, volume 7.

“An Equal Amount of Blueberries in Each Muffin”

The Abdication (Book/Ero(t)icomic Epic Aquired, Sometime Last Week)

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Rainer J. Hanshe’s The Abdication. Started this one the yesterday. Very weird, very cool. More thoughts to come, but here’s the blurb:

Spring 2032: an enigmatic bandleader named Triboulet arrives by helicopter in Rome, where his carnivalesque troupe awaits with a legion of animals and unruly kids. When provoking states of joyous panic through their ritualistic frenzies, the troupe’s arrival proves restorative, for the world is beset with famines, plagues, and religious conflicts, which Triboulet seeks to neutralize with freeing laughter. As he and his troupe begin constructing strange edifices in the Eternal City, sacred sites around the world suffer terrible, often beguiling forms of vandalism, and rumors abound that the Christ has actually finally returned.
Although radical Islamic sects claim responsibility for the vandalism, the culprits remain unknown: is it the Jihadists, anarcho-atheist intellectuals, or eco-terrorists? Religious and political authorities grow leery of the troupe and suspicious of Triboulet, whose true identity remains a mystery. The very future of the world is at stake, and while touring Israel during Christmas, Triboulet and his raucous band of pranksters bear witness to the world’s pivotal crossing into a new reality.
Albert Camus noted that ‘the metaphysics of the worst’ expresses itself in a literature of damnation and argued that ‘we have still not yet found the exit’ from such literature. With his second novel, Hanshe has found the way out, offering in fact something not only promising, but astounding, a pathway that is into a new reality, into a ‘physics of the best.’ The Abdication is a true ero(t)icomic epic.

Seven Sci-Fi Films That Are Smarter Than Prometheus

A list of great sci-fi movies would undoubtedly include Ridley Scott’s signature films, Alien (1979) and Blade Runner (1982), but I don’t know if there’s enough room on that list for Scott’s latest  Prometheus, a gorgeous collection of set-pieces smeared onto a messy, hole-filled plot, signifying nothing. I’ve already written at some length about Prometheus’s metaphysical shortcomings, but I’m never especially happy to write negative reviews without providing alternatives. Here are seven movies that demonstrate the best in depth of intellect that the genre has to offer.

 

1. Metropolis, 1927 (Dir. Fritz Lang)

Metropolis foregrounds many of the tropes that will come to dominate serious sci-fi (film and literature alike). The dystopian future of Metropolis imposes a strict division of classes, relegating the poor workers to underground drudgery while the (literal) upper class enjoy privileged leisure. Lang explores this divide via a Romeo & Juliet story of sorts—Freder, son of the city’s Master becomes infatuated with Maria, a girl from the underworld. He follows her into the labyrinth under the city and soon witnesses industrial horrors that harm the subterranean workers. The plot becomes more complicated when a mad scientist unveils an automaton—a robotic Maria—that he will use as part of a nefarious scheme. Metropolis’s expressionistic design and camera work still seem fresh and innovative almost a century after filming, and the film’s take on class disparity is as affecting as ever.

 

2. Alphaville, 1965 (Dir. Jean-Luc Godard)

Godard’s dystopian New Wave crime noir talkie follows the strange exploits of Lemmy Caution, who drives in from the Outlands in his Ford Galaxie to find a missing agent, capture the founder of Alphaville, and destroy Alpha 60, the totalitarian computer that keeps Alphaville’s citizens from indulging in poetry (or other forms of free expression). Godard makes no attempt to design a future: Alphaville is filmed in contemporary Paris. The effect is baffling; Alphaville is an exercise in uncanny realizations. The dialogue is pure New Wave stuff—crammed with literary and art reference—and will just as likely bore as  many audience members as it enthralls. In the end though, Anna Karina as Natacha von Braun is reason enough to watch this film.

 

3. 2001: A Space Odyssey,1968 (Dir. Stanley Kubrick).

Watch it. Then watch it again.

 

 

4. Solaris, 1972 (Dir. Andrei Tarkovsky)

Tarkovsky’s Solaris is a slow, engrossing meditation on grief. Based on the novel by Polish writer Stanisław Lem, Solaris centers on psychologist Kris Kelvin, who goes to the space station orbiting the planet Solaris in order to investigate the series of emotional collapses that the crew have suffered. Kelvin soon slips into his own existential crisis, as a ghost–or psychological construct—of his dead wife appears to him. Solaris is gorgeous and measured, using its near-three-hour running time to grand effect.

 

 

5. The Thing, 1982 (Dir. John Carpenter)

Antarctic  research station. Shapeshifting parasites. Kurt Russell. Dogs. Flamethrowers. Blood tests. Kurt Russell’s beard. Ennio Morricone’s score. Wilford Fucking Brimley. Paranoia. Paranoia. Paranoia.

 

6. Nausicaä of the Valley of the Wind, 1984 (Dir. Hayao Miyazaki)

A millennium after apocalyptic war destroys human civilizations, the groups that remain scramble to control the few resources left on the planet. A toxic jungle swarming with mutant insects—and dominated by the giant Ohmus—encroaches on the few bastions of clean soil that remain to humankind. Adventurous Princess Nausicaä though learns the secrets of the jungle—and also knows how to communicate with the Ohmus—only she has to navigate sides in the emerging war between rival kingdoms. Miyazaki’s film, based on his manga, is lush and detailed, a fully-realized world that is simultaneously frightening and beautiful. The film’s take on ecology is not so much preachy as it is prescient.

 

7. Primer, 2004 (Dir. Shane Carruth)

Primer was shot on a $7,000 budget, but it never looks or feels cheap. This story of four engineers who invent a time machine in a garage is decidedly unglamorous and consistently engaging; Carruth (who also wrote and stars in the film) throws the audience into the deep end, offering no exposition, let alone explication for the audience to latch onto. The film explores the bizarre moral implications—and possible side effects (and defects) of time travel.

 

A Young Woman Reading — Rembrandt

Book Shelves #24, 6.10.2012

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Book shelves series #24, twenty-fourth Sunday of 2012: In which we glance at canonical comics.

So we’ve hit the last shelf in a series of triplets; next week: new room.

This shelf holds graphic novels, including stuff by Alan Moore, Marjane Satrapi, David Mazzucchelli, Jeff Smith, Art Spiegelman, and Chris Ware. There’s also most of Dave Sim’s epic series Cerebus here.

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I wrote about Dave Sim and Cerebus back in week 6 of this project, when I looked at the actual comic books I owned in the series. From that post:

 I bought issues of Cerebus intermittently for years at a time, usually getting frustrated and then waiting for the “phone book” graphic novel editions of the series. Sim, along with background artist Gerhard, produced 300 issues of Cerebus over 25 years. The issues from the early ’80s to the early ’90s are brilliant; eventually Sim cracked though and went on an insane, reactionary (and arguably deeply misogynistic) bent. He created his own religion, a mix of hardline Judaism, Islam, and Christianity, and the later books in the series suffered greatly, as the book detoured to chronicle projects that seemed far outside its original scope (including strange, long satires of Hemingway and Fitzgerald).

These are the phone books I referenced. Looking over them again, I keep reminding myself to try and reread the last two books to see if I missed anything.

Somewhat at random, I opened Reads, the novel that signaled the beginning of Sim’s estrangement from sanity. It opened to this page, part of a climactic scene between Cerebus and Cirin, leader of the matriarchy that will rule Iest (don’t ask):

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“Give me half a bottle. Justice reigns” — Charles Olson in The Paris Review

Charles Olson’s interview with The Paris Review is one of the best things I’ve read in ages. Here’s a nice big chunk from the beginning:

CHARLES OLSON

Get a free chair and sit down. Don’t worry about anything. Especially this. We’re living beings and forming a society; we’re creating a total, social future. Don’t worry about it. The kitchen’s reasonably orderly. I crawled out of bed as sick as I was and threw a rug out the window.

INTERVIEWER

Now the first question I wanted to ask you. What fills your day?

OLSON

Nothing. But nothing, literally, except my friends.

INTERVIEWER

These are very straight questions.

OLSON

Ah, that’s what interviews are made of.

INTERVIEWER

Why have you chosen poetry as a medium of artistic creation?

OLSON

I think I made a hell of a mistake. That’s the first confidence I have. The other is that—I didn’t really have anything else to do. I mean I didn’t even have enough imagination to think of something else. I was supposed to go to Holy Cross because I wanted to play baseball. I did, too. That’s the only reason I wanted to go to Holy Cross. It had nothing to do with being a priest.

INTERVIEWER

Are you able to write poetry while remaining in the usual conditions of life—without renouncing or giving up anything?

OLSON

That’s the trouble. That’s what I’ve done. What I’ve caused and lost. That describes it perfectly. I’ve absolutely.

INTERVIEWER

Are the conditions of life at the beginning of a work . . .

OLSON

I’m afraid as well at the end. It’s like being sunk in a cockpit. I read the most beautiful story about how Will Rogers and Wiley Post were lost; they stomped onto a lake about ten miles from Anchorage, Alaska, to ask an Indian if Anchorage was in that direction and when they took off, they plunged back into the lake. The poor boy was not near enough to rescue them, so he ran ten miles to Anchorage to get the people to come out. He said one of the men had a sort of a cloth on his eye and the guy then knew Post and Rogers were lost. Wiley Post put down on pontoons; so he must have come up off this freshwater lake and went poomp. Isn’t that one of those great national treasures. I’ll deal you cards, man. I’ll make you a tarot.

INTERVIEWER

Does poetry constitute the aim of your existence?

OLSON

Of course I don’t live for poetry; I live far more than anybody else does. And forever and why not. Because it is the only thing. But what do you do meanwhile? So what do you do with the rest of the time? That’s all. I said I promised to witness. But I mean I can’t always.

INTERVIEWER

Would you say that the more you understand what you are doing in your writing, the greater the results?

OLSON

Well, it’s just one of those things that you’re absolutely so bitterly uninterested in that you can’t even live. Somehow it is so interesting that you can’t imagine. It is nothing, but it breaks your heart. That’s all. It doesn’t mean a thing. Do you remember the eagle? Farmer Jones gets higher and higher and he is held in one of the eagle’s claws and he says you wouldn’t shit me would you? That’s one of the greatest moments in American poetry. In fact, it is the great moment in American poetry. What a blessing we got.

INTERVIEWER

Does Ezra Pound’s teaching bear any relevance to how your poems are formed on the page?

OLSON

My masters are pretty pertinent. Don’t cheat your own balloon. I mean—literally—like a trip around the moon—the Jules Verne—I read that trip . . . it is so completely applicable today. They don’t have any improvements yet.

INTERVIEWER

Do you write by hand or directly on the typewriter? Does either method indicate a specific way in which the poem falls on the page?

OLSON

Yeah. Robert Duncan is the first man to ask me the query. He discovered when he first came to see me that I wrote on the machine and never bothered to correct. There’s the stuff. Give me half a bottle. Justice reigns.

Claude Monet Reading — Pierre-Auguste Renoir

And I Only Am Escaped Alone to Tell Thee About Ridley Scott’s Prometheus

Prometheus, a big summer popcorn flick is the latest from Ridley Scott, the visionary auteur who gave us Kingdom of HeavenBody of Lies, Robin Hood, and G.I. Jane.  Okay, forgive the sarcasm—Scott is also responsible for some fine films, including Blade Runner and Alien, which Prometheus is most decidedly a prequel to, despite the early incoherent maybe-it-is-maybe-it-isn’t buzz from the studio. I list some of Scott’s recent (and not-so-recent) films as a reminder of what many film fans might be happy to overlook: Ridley Scott may have a keen sense of style and a competent grasp on storytelling and emotion, but he’s essentially a hired gun who happens to make better-than-average genre flicks. Prometheus is another entry in his middling non-canon.

Obligatory plot summary (no spoilers):

At the end of the 21st century, two archaeologists find a series of apparent star maps at ancient sites. Positing these maps as an invitation from “Engineers” — clearly, an alien species who created human life (how they make this inductive leap is never made quite clear) — the archaeologists head to the outer limits of the universe in the spaceship Prometheus. Along for the ride are a host of expendables, a skeptical Captain Janek (Idris Elba), ice-queen/corporate rep Vickers (Charlize Theron), and David (Michael Fassbender), an android who has apparently mastered Proto-Indo-European, the language these alien astronauts presumably speak (again, why this should be is never explicated). The Prometheus’s crew follow the star maps to an Earth-like moon and land near a giant temple, where they discover the remains of the Engineers, as well as some vases filled with black ooze. Being reasonable folks, they break quarantine and bring samples back on the Prometheus (recall now how Ripley tries so hard to prevent Dallas from bringing Kane back aboard the Nostromo in Alien). All proverbial hell breaks loose, and Prometheus begins to rack up a predictable body count as it slowly settles on archaeologist Shaw (played by an excellent Noomi Rapace) as its heroine.

Along the way, Prometheus gloms clumsily on to questions about creation and origin, but these questions lack real depth. The filmmakers rely heavily on clichés, hackneyed dialogue, and overdetermined images to present their creation theme, and the effect is largely divorced from the visceral spirituality we might otherwise associate with such a grand subject. Fassbender’s android is perhaps the clearest symbol of creation, a robot boy with daddy issues. (David’s creator Weyland, portrayed by Guy Pearce, foots the bill for space exploration because, of course, he’s searching for immortality. Quick aside: Why in the fuck is Pearce, a man in his forties, cast as a dying elderly man?). While Fassbender does a marvelous job as David the android, his performance retreads familiar territory (nods to Data and HAL 9000). David’s motivations are never entirely clear, and while some may argue this makes for a more interesting film, the lack of clarity is ultimately part of the film’s deflections. In Prometheus, the refusal to telegraph clear meaning isn’t subtle ambiguity, it’s the mark of empty spectacle, of filmmakers who aren’t entirely sure if they have a thesis or not.

This isn’t to say that there aren’t some fantastic moments in Prometheus. The film is beautiful, the designs impeccable, and Noomi Rapace’s Shaw emerges as an enthralling heroine, a final girl to rival Ripley. The film is at its finest when it focuses its energies on Shaw, as in a bizarre alien-abortion scene, probably the most thrilling segment of Prometheus. However, most of the marginal plots fail to coalesce. Charlize Theron’s Vickers could just as easily have been written out of the film, for example. Also, we’re told at the beginning that there are 17 crew members on Prometheus, but the body count here is so nebulous that it becomes impossible to keep track of who’s dead and who’s alive, let alone care. Ultimately, it’s the mishmash of mythologies that muddies Prometheus: Is this Pandora’s Box? Pinocchio? The Fountain of Youth? Genesis? The Book of Revelation?

Prometheus is all contours and surfaces, roomy, spacious, and slick. Near the end of the film, when one character, dying, announces “There is nothing . . .” it feels like a fairly concise summary of the film’s spiritual program. I suppose I’ve devoted so many words to Prometheus simply because I fear that it’s one of those popcorn flicks like Avatar or Inception that people will try to pretend are deep or meaningful or clever. In his glowing review, Roger Ebert suggests Prometheus is “all the more intriguing because it raises questions about the origin of human life and doesn’t have the answers.” Ebert’s analysis fails to leave out that the film doesn’t even try to answer—at best, it offers a smug shrug, a winking nihilism, pure cinematic spectacle as a substitution for meaning, gussied up in the robes of inquiry.

There is a moment though when Prometheus manages to synthesize its elegant bombast with the existential questions it wishes to pose. The end of the movie—yes, there are potential spoilers ahead—follows the same curve of self-annihilation that we see in Alien, with Ripley, final girl, safe but traumatized, a survivor who may now bear witness. In what I take to be the grandest shot in the film, a terrified Shaw gazes up at the alien spacecraft as it crashes down. The spacecraft recalls an ouroboros, the snake that eats its own tail, symbol of self-reflexivity, death-in-birth: it recalls too, both thematically and physically, the shapes of the reptilian aliens that haunt the rest of the Alien franchise. Watching the wreckage of ships, I was instantly reminded of the final chapter of Moby-Dick. In the epilogue, Ishamael tells us, “The Drama’s Done. Why then here does any one step forth? – Because one did survive the wreck.” The chapter begins with a quote from Job: “And I only am escaped alone to tell thee.” Whether or not Prometheus is actively alluding to Moby-Dick is beside the point. What both narratives do well is explore the capacity for survival, illustrating what it means to witness catastrophe on a cataclysmic scale. While Prometheus hardly explores its metaphysical questions with the depth or aplomb of Melville, it does tap into the same impulse that makes Alien such a great film, illustrating the Darwinian competition that underwrites existence.

If it seems I’ve been too hard on Prometheus, it was not my intention to declare it a bad or stupid or graceless film—again, it’s a good summer popcorn flick, filled with spectacle and thrills. I should point out that my wife and I caught the matinée, had a nice dinner, and then came home and watched AlienPrometheus actually does a remarkable job of answering to some of the mysterious imagery that dominates the planetoid scenes in that film, but it ultimately suffers by comparison with Alien. Prometheus is too antiseptic and spacious, with none of the gritty, grimy, cramped corners that makes Scott’s earlier film so scary and paranoia-inducing. Prometheus also lacks the naturalistic performances and dialogue of Alien, which I suppose is more an issue of how much film has changed since the 1970s than anything else. On the whole though, Prometheus isn’t a bad summer flick—it just can’t live up to its marketing buzz, let alone its own metaphysical posturing.