Benito Pérez Galdós’ Miaow (Book acquired, mid May 2025)

Benito Pérez Galdós’ 1888 novel Miaow is forthcoming in English translation this summer by Margaret Jull Costa, via NYRB. Their blurb:

Ramón Villaamil has been a loyal civil servant his whole life, but a change in government leaves him out of a job and still two months short of qualifying for his pension. Initially optimistic that he’ll be able to find work and pull his family out of their financial straits, he spends his days visiting the administration, pestering his ex-colleagues to put in a good word for him, and begging his friends in high places for money. At home, Villaamil’s wife, daughter, and sister-in-law—whose feline appearances earn them the nickname “the Miaows”—are unimpressed by Villaamil’s failures, and the only joy left in Villaamil’s life is his young grandson Luis. When Luis’s disgraced father, the handsome and dastardly Víctor Cadalso, reappears in their lives with promises of easing their financial burdens, Villaamil has no choice but to allow him back into their midst, even as he knows there is nothing pure about Víctor’s intentions and his return might spell their ruin.

Benito Pérez Galdós’s satire of middle-class life bears comparison with the novels of Charles Dickens and Honoré de Balzac, serving up a scathing critique of the hypocrisy and corruption of nineteenth-century Spanish society and the dehumanizing rituals of work. Margaret Jull Costa’s new translation brings out the tragedy, the comedy, and the vitality of Pérez Galdós’s prose.

“Dogleg” — Kay Ryan

“Dogleg”

by

Kay Ryan


Birds' legs
do of course
all dogleg
giving them
that bounce.
But these are
not normal odds
around the house.
Only two of 
the dog's legs
dogleg and 
two of the cat's.
Fifty-fifty: that's
as bad as it 
gets usually,
despite the 
fear you feel
when life has
angled brutally.

The Death of the Poacher — Xiao Guo Hui

The Death of the Poacher, 2023 by Xiao Guo Hui (b. 1969)

And another Moby-Dick

Herman Melville’s 1851 novel Moby-Dick is probably my favorite book.

***

Years ago at an awful dinner party a man I didn’t know asked me What do you do?, by which he meant how I made money to live, or, maybe charitably, if I had a specific profession. When I told him it had something to do with literature and college students he followed up with a question no stranger should aim at another stranger-

-So what’s your favorite book then?

-Moby-Dick is my favorite book, I offered, this being my somewhat standard answer then.

-Oh no, I mean, what’s your real favorite booknot just the one you say to impress people?

Okay Gravity’s Rainbow is my favorite book.

-I haven’t read that one yet but I like Tom Clancy too. 

***

A dear friend at our house this weekend, under truly awful circumstances, circumstances that have no bearing on this riff, claimed to have counted “eighteen copies” of Moby-Dick around the house. As far as I could tell, there are only about thirteen, including a children’s pop up version and three comic book adaptations (I don’t know how he would’ve found the comic adaptations, as they are slim and I think in drawer or box). He asked for one; I offered him the UC Press edition illustrated by Barry Moser, the one I’d used the last time I reread Moby-Dick. He opted instead for the most recent Norton Critical Edition, which a rep sent me a few years ago.

***

The last time I reread Moby-Dick I used the UC Press edition illustrated by Barry Moser. This was in 2021. I ended up writing forty riffs on the novel, likely trying the patience of any regular readers of this blog.

***

If you’re not up for forty riffs, I wrote a very short riff on this very long book back in 2013.

***

The two preceding notes are my way of saying: Moby-Dick is probably my favorite novel; it’s fantastic and I’ve written about it in both short and long form, and I think anyone can read it and should–it’s funny, sad, thrilling, captivating, meditative, beguiling, baffling–a thing larger than its own frame, certainly larger than its author and his era. And so now–

***

I have another Moby-Dick. This one is designed and illustrated by Dmitry Samarov. It’s about 650 pages, and is a pleasing, squarish shape that rests easy in the hands (a contrast to the coffin-shaped Norton Critical Editions). The pages are not too bright (I hate bright white pages) nor too crisp; the spine is not so rigid that one seeks to break it before setting about the business of checking into the Spouter Inn. It is a very readable copy — relaxed, not too heavy and not too cramped, no precious footnotes. And there are Samarov’s sketches.

***

***

Rifling (or is it riffling? I can never remember) through this edition today, reading a few passages aloud even, just to feel myself go a little crazy and then get a small relief from that craze, the dominant sense I got from Samarov’s accompanying sketches is something like this: Someone riffing along to Ishmael’s ghost-voice, not competing with it nor trying to turn the mechanics of its verbs and nouns and adjectives into a mimetic representation of action or thought. I think the drawings, as a body, rather approximate something like an aesthetic ear tuned to Ishmael’s wail: scratchy ink lines tangle into and out of shapes in a discourse with the narrative. Others tuned to the voice might on any given page jot down a note or circle a phrase or even, dare, dream of a crowded footnote; Samarov offers a sketch. His love for the novel comes through.

***

If you haven’t read Moby-Dick, you should. Samarov’s edition is a worthy entry into the fold. Check it out.

 

Summer reading list for 2025

Whether you’re longing by the pool of despair, rending your garments on satanic shores or enjoying the longer daylight hours in your favorite reading spite, eh, spot, these 15 titles—new and old—threaten to deliver the perfect summer escape.

Photo by Bethany Laird on Unsplash; fuck AI forever

“Tidewater Tales by Night” by Roberto Barth – The beloved Chilean-American returns with a multigenerational saga set in coastal Maryland where magical realism meets environmental activism. Barth’s first climate fiction novel explores how one family confronts rising sea levels while uncovering long-buried secrets–and bodies.

“The Last Orgasm of BetaBlocker 9” by Philip K. Roth – Following his success with “The Martian’s Mistress” and “Project Heil Marty,” PKR delivers another paranoid science-noir-thriller-cum-horny-shenanigans. This time, the story follows programmer Dick Gentle, who discovers that an AI system has developed consciousness—and has been secretly influencing global events for years. Or is Gentle simply another shadow on the wall of cyber-Plato’s cave?

“Hurricane Season 2” by Fernanda Melchor – Melchor, who captivated readers with “Hurricane Season,” powerfully explores family bonds tested by natural disasters. When a Cat 5 hurricane forces incestuous siblings to shelter together in their childhood home, long-suppressed tensions emerge alongside unexpected reconciliations. There is also a witch.

“The Coroner’s Apparatus” by Curly Dick Jenkins– Jenkins spins a haunting, genre-blending tale that follows a disbanded 1970s rock group reuniting for one final Southwest tour—only to be lured into a nightmarish canyon town where ancient cannibalistic rituals and unspeakable violence await beneath the stage lights.

“Nightshade Market” by Mingy Bull Lee – The author of “Pacman Out/Er/Zone” delivers a feverish, cut-up chronicle of a washed-up rock junkie’s descent into a hallucinatory desert underworld, where cryptic transmissions, reanimated flesh, and a chrome-plated dildo left behind by a vanished medic blur the line between performance and ritual dismemberment. It’s the feel-good hit of the summer!

“Fur and Longing and Lost Wages” by Rum Anne Direy – In this scorched-earth fever dream, a narcotized travel writer stumbles into a solstice rave at a crumbling Nevada timeshare, where a kangaroo in mirrored shades deals mescaline, the pool is full of lizards, and no one’s allowed to leave until the missing dildo turns up or the moon explodes.

“Moby-Dick” by Herman Melville – Mostly whale facts.

“My Gyrations” by Knut Hamsun – In this baffling late-period novel, the Nobel laureate behind Hunger blends climate grief with domestic farce, as a brooding wildlife photographer obsessed with a possibly extinct bird returns home to his bustling Nordic household—where his jazz-loving wife, precocious children, and an endless stream of sentient gyres threaten to derail his quest for ecological and emotional clarity.

“The Rainmaker” by Percival Everett – Everett’s satirical genius turns to a novelization of the 1997 American legal drama film “The Rainmaker” written and directed by Francis Ford Coppola, based on John Grisham’s 1995 novel of the same name, and starring Matt Damon, Claire Danes, Jon Voight, Mary Kay Place, Mickey Rourke, Danny DeVito, Danny Glover, Roy Scheider, Virginia Madsen, and Teresa Wright (in her final film role).

“Salt and Honey” by Delia Owens – A humble badger monk discovers he is the reincarnation of a forgotten war-god, destined to wield the ancient Spoon of Light against the armies of Moldor the Vile.

“Tres Leches” by Françoise Sagan – This slim 1954 novel, written when Sagan was just 18, captures the drama of preheating the oven to 350°F, oiling and flouring a 13×9-inch metal pan and setting it aside, whisking together cake flour, baking powder, and salt in a medium bowl and setting it aside, placing the butter into the bowl of a stand mixer, beating on medium speed with the paddle attachment until fluffy, about one minute, reducing the speed to low and gradually adding the sugar, mixing for another minute, scraping down the sides of the bowl as needed, adding eggs one at a time, mixing well after each addition, stirring in vanilla extract, gradually adding the flour mixture in three batches, mixing until just combined, transferring the batter to the prepared pan and spreading it evenly, baking for 20-25 minutes, or until lightly golden and the cake reaches an internal temperature of 200°F, cooling the cake for 30 minutes on a cooling rack, once cooled, poking the top with a skewer or fork and allowing it to cool completely before preparing the glaze, whisking together evaporated milk, sweetened condensed milk, and half-and-half in a measuring cup, then pouring the glaze over the cake, refrigerating overnight, whipping heavy cream, sugar, and vanilla in a stand mixer on low until stiff peaks form, increasing the speed to medium and whipping until thick, spreading the topping over the cake and refrigerating until ready to serve.

“Gravity’s Rainbow” by Thomas Pynchon – Mostly dicks and rockets.

“Dannellon’s Whine” by Roy Bradboy – Dannellon is new in town and wants to party–but will anyone want to party with her? Bradboy’s spiritual sequel to “Portnoy’s Complaint” addresses female sexual frustration in the nascent twenty-first century in a way that nobody, I mean fucking nobody, not even you, you sicko, would want to read.

“Call Me By Your Name, Ishmael” by André AcimanAciman’s slim and thoroughly unnecessary and decidedly undelightful retelling of “Moby-Dick” focuses on drawing out Chapter 94, “A Squeeze of the Hand” for like 140 pages. 

“Atonement” by Ian McEwan – The metafictional twist at the end is a cheap parlor trick. But hey, it’s a real novel.

Not really a blog about books acquired, May 2025

The afternoon my best friend died, three review titles arrived at Biblioklept World Headquarters. That was the first Monday in May 2025.

The next day, the first Tuesday in May 2025, a lovely new copy of Moby-Dick arrived, designed and illustrated by my old internet friend Dmitry Samarov. I was regularly breaking down into a kind of horrified shaking disbelief throughout this day. My best friend read Moby-Dick before I did. He told me it was funny and that I could read it, “No problem man.” He loaned me his copy of Pierre when I had to read it in grad school. I never gave it back.

On Wednesday–do I need to clue you in that this was the first Wednesday of May 2025? I seem to have lost my sense of time and scale this month, untethered from the Spring semester, which ended right as May began, unencumbered from any normalizing duty other than fatherhood and husbandry and just generally trying to be a good citizen–also generally numb in my nascent grief to the daily horrors of the what we call news or current events or what-have-you–but, yeah, I seem to have lost some days here… (maybe they’ve been colonized by the “Asiatick Pygmies” of Thomas Pynchon’s Against the Day, who colonized the “eleven missing days” of September 1752)… So well anyway on this first Wednesday of May 2025 the growing book pile took a silly turn, with the arrival of a massive book and a not-so-massive book, both by Henrik Pontoppidan. Other books arrived too. It’s the Spring catalog, or maybe the Summer catalog, I guess.

I managed to write something about my friend on Wednesday. I simply had to.

Thursday was the second Thursday of May, 2025, making it 8 May 2025, the 88th birthday of Thomas Pynchon. For over a decade now, I’ve celebrate my favorite author’s birthday on this blog as part of the Pynchon in Public “tradition,” but I couldn’t muster what I had planned (a riff on the forthcoming Vineland adaptation and the new novel, Shadow Ticket). The notes I sketched in late April for the piece strike me as silly, glib even.

That Thursday afternoon my friend’s wife (widow? fuck!) called me to ask me to deliver the eulogy at his “Celebration of Life Ceremony” at the beach the following Thursday. I started working on it. It was painful but somehow easy to write. It was very, very difficult to edit.

On Friday, Jon Lackman and Zack Pinson’s biography The Woman with Fifty Faces: Maria Lani and the Greatest Art Heist That Never Was arrived at Biblioklept World Headquarters. My daughter had seven girls over to make their own pizzas that night. I read The Woman with Fifty Faces in one sitting; it was wonderful. It was the first thing I’d read that was not in some way connected to my friend’s death. I loved the experience of reading it. It offered relief.

This Friday, the second one of May, 2025 was the first day I hadn’t broken down at some point. I was absorbed in a study of grief. I was trying to shape my memories into something tangible, or at least something having a form, which is to say, something formal. I was googling things like, how long should eulogy be words. I was on the phone with old friends, replying to emails and messages from old friends. I was also contending with acquaintances I barely recalled, and none too fondly, who luridly “reached out” wanting details under the guise of “offering condolences.” I was amassing words.

More review copies on Saturday. Friends from out of town came over and we all drank far too much. There was another grief to attend to, a dead father, a man we had all adored, a fantastic storyteller, a raconteur even, if we’re feeling grand with our words, and I miss him too. My dead friend was a huge fan.

Sunday was Mother’s Day and I had forgotten about it. My own mother and father were both suffering from acute bronchitis, and I had held off on delivering the news of my friend, worried that they would worry for me and his family and his young young children. Sorrow is bad for health. But when family members reached out to me with sincere concern, prompted by the trickle of news on social media about the upcoming Celebration of Life — forgive me, I’m just gonna call it a funeral, it was a funeral, no matter what we want to say — anyway, the trickle turned into a stream, and then I called my mom with the news. I don’t have any physical proof like a recording, but her wailing immediate refusing disbelieving repeated NO sounded exactly like my own. But from a chronological position, it seems that I must have inherited that cry from her, no?

The next day she called me to tell me a story I’d never heard from either her or my friend — years ago, when I was living in Tokyo and he was still in Jacksonville, he stopped by my parents house, unannounced, simply because he was driving by and wanted to share some of my latest emailed updates with my parents and hoped that they would share some too. “We had spaghetti dinner together. It was so nice,” my mother said. My bones turned into jelly and my eyes took to sweating.

This next day was of course the second Monday of May, 2025, the one week mark. The document I’d titled “eulogy” was a massive incoherent patchwork of memories, good times, riffs, and material cribbed from friends, including an entire email so beautifully-written from a friend that I thought about just passing it off as my own. The document also included five Langston Hughes poems, several lines from Moby-Dick, two longish quotes from Emerson (neither of which I understood or understand), a chapter on mourning rites from an early-twentieth century anthropology book, numerous David Berman and David Bowie lyrics, and the entirety of Elizabeth Bishop’s “One Art.” It was at least 9,000 words longer than it should be.

I don’t remember anything about that Tuesday or Wednesday. Two or three books came in the mail, I think, and I finally drove in a car, I think. I think I remembered to attend the houseplants. I must have actually written the eulogy those days. What I remember mostly is sweating from the back of my legs, stripping away all the ornament and artifice I’d borrowed from literature and poetry and philosophy. I practiced reading it a few times. Some of my oldest, dearest, bestest friends arrived from the other side of the country that night.

On Thursday those friends came over. My wife would drive us all out to the beach for the funeral. We started in on a few cheap watery domestics, maybe a little too early. The drive seemed interminable. I can’t really capture the vibe in the pavilion—and while I’m here not capturing things, I apologize if you’ve made it this far–I suppose this post is a bait-and-switch, what with the picture of a stack of books, right? The “Not really” in the blog’s title should really not be there at all, right? But the thing is, I need to get this all out, just like the thing I needed to write two weeks ago. If I don’t write it here I feel like I’ll never write anything here again. This is ostensibly a blog dedicated to art and literature, but it’s really more like a pastebook, a form of emotional and aesthetic recordkeeping that I’ve kept up for almost two decades now. The books in the picture above didn’t pile up as neatly as the photo suggests, but they did pile like that, causing me anxiety all month, reminding me that my attention was too thinned out. I was not as attentive to my children as I should have been in those weeks. My houseplants suffered. But so I have to let all that anxiety out here, and I’m sorry if it’s alienating to a potential audience, and I’m sorry to write that I am really writing this for me, for writing that If I don’t get these words out of my body I will not be able to write other words on this blog ever again

—but the vibe in the pavilion. Very strange, moving from hysterical laughing to crying. Lots of great stories. The mic or PA went out in the middle of my eulogy so I ended up delivering it in the loudest voice I could muster. The pavilion was crammed, literally standing room only, such that the fire marshal or the marshal’s deputy or the person nominally in charge of these duties decreed that the doors be opened and about half of the people should mill about. The Atlantic breeze was lovely, even if it was in the high eighties. I saw and spoke to people I hadn’t seen in fifteen years, twenty years, thirty years. I was struck by how fucking old we all looked. My best friend’s brother looked exactly the same as their father had looked when we were thirteen, fourteen. I have felt iterations of oldtiredadult in my life; I’ve even felt mature and occasionally even wise (knowing that any trickle of wisdom I purchased through mistake and incaution). But I have never really felt grown up until last Thursday. I don’t really know what any of those words mean. We tossed flowers into the Atlantic’s chill waves.

I knew I’d have sand in my loafers all night. About a dozen of us went to a dive bar a mile away and got plastered. I had forgotten that there were still bars that people smoked in. A musician played four Seger covers in a row, keeping the beat with his prosthetic leg. The bar’s owner had a school desk set up right by the stage, where he was apparently attending to the bookkeeping, a pen in one hand, a menthol in the other. A vendor in a special vest kept trying to give us vape products. An older woman showed up after midnight and established an ad hoc outdoor kitchen where she fried lumpia, which we ate in large quantities. She told us several dirty jokes where the punchlines were, without variation, oral sex. We missed our friend; he would’ve had a great time that night.

My sweet wife, designated driver, got me and the boys over the river and back home, putting up with our arguing over Zappa. She fell into our mistake back at home though, committing herself to vodka while we polished off a bottle of bourbon.

Friday was an agony overcome in small measures by barbecue and beers, a slow stretching anti-wake of sorts where folks drifted in and out of our house. It was a strange party, but also so wonderful, so full of love and support and all things corny, I suppose. I gave away a copy of Moby-Dick (a Norton Crit) and my backup copy of Gravity’s Rainbow. I foisted a redundant Barry Hannah novel on a friend. Folks drifted off in lacy jags, or at least that’s how I’ll choose to characterize it here. A few stayed the night, sleeping on couches in a half-remembered skill perfected and then promptly abandoned over twenty years ago.

I didn’t really sleep, again. I had only really slept one night out of the past lost eleven days, and then I suppose on the point of exhaustion. I had not eaten healthily and over three days and nights had overindulged in alcohol in a way I had not in years. I drove my friend to the airport so he could return to his family in Portland, got out of my car around 11am on Saturday, aiming myself for my bed. I was having difficulty breathing, or not so much difficulty breathing, as sharp pain when breathing. This pain was enormously exacerbated when I lay down and relieved somewhat when I stood. The pain intensified throughout the day; it was something new. I weird dull pain in my neck and the back of my throat. Not esophageal, exactly. By three it was almost impossible to breathe anything but the most shallow breaths without intense pain; I could not lie down because of the pain, despite being exhausted. My wife insisted we visit an urgent care clinic in a CVS; the nice doctor there insisted with caring urgency that I go to the closest emergency room. Six hours and lots of tests later I was back at home in even worse pain but with a diagnosis of pericarditis, likely brought on from stress, and a prescription for prednisone.

On the third Sunday of March, 2025, I was finally able to truly fall asleep for the first time in weeks. I felt a bit better on Monday, although the steroids have made me feel a little loco I’ll admit. Today was the first day I’ve felt anything close to normal in a while–I mowed the lawn, which had gotten a bit wild, and attended many of my poor neglected houseplants. And then I exorcised the stack of books that had stackingly stacked up, a pillar of publishers’ good will that radiated anxiety-inducing waves. Let this post be a totem against that. I look forward to peeking in to some and reading others in full and maybe even ignoring one or two (not yours if somehow yours is included in the stack; not yours). And all my apologies again.

I feel better now. Just different.

 

 

 

Watermelon — Jansson Stegner

Watermelon, 2021 by Jansson Stegner (b. 1972)

“One Art” — Elizabeth Bishop

“One Art”

by

Elizabeth Bishop


The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.

Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn’t hard to master.

Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.

I lost my mother’s watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn’t hard to master.

I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn’t a disaster.

—Even losing you (the joking voice, a gesture
I love) I shan’t have lied. It’s evident
the art of losing’s not too hard to master
though it may look like (Write it!) like disaster.

Mass-market Monday | Arkady and Boris Strugatsky’s Prisoners of Power

Prisoners of Power, 1971, Arkady and Boris Strugatsky. Translation by Helen Salz Jacobson. Collier Books (1978). No cover artist or designer credited. 286 pages.

The uncredited cover art is by the prolific Richard M. Powers.

Here is T. J. Lewis’s review of the novel in World Literature Today, Vol. 53, No. 2:

Prisoners of Power recounts the adventures of an earthman who finds himself stranded on a planet that is beset with nuclear war, pollution of several kinds, totalitarianism and the genetic degeneration of its humanoid population. The earthman, Maxim, undergoes at least four cycles of acceptance, enthusiastic support, disenchantment and overt opposition in his relations with different sectors of this troubled world. By the end of the novel, when Maxim believes that he has finally succeeded in discovering the sources of worldwide misery and has managed to set about destroying them, he learns that one principal source of the misery is a fellow earthman whose mission on the planet has been to save it from itself. Maxim’s unwitting but often effective interference, however, has prevented this worthy aim from being accomplished.

Prisoners of Power dramatizes a number of questions that bear no necessary relation to the science-fiction setting: can a society which does not want to be controlled be led to some end against its will; can a single individual, no matter how great an advantage he possesses over others, make any truly significant changes in the social order; can totalitarianism be eradicated by any but totalitarian methods? These are sociopolitical concerns that admit no easy solution. And the Strugatskys, rather than proposing answers, have chosen instead to depict in detail the all-too-human frustration and chaos that result from attempts to force an easy solution upon an intractable problem, a problem that may in fact not be a problem at all but a condition endemic to humankind.

 

Posted in Art

Sunday Comix

From “The Electronic Concert” by Fred Schrier, Meef Comix #2, 1973.

Portrait of Colette Clark — Robin Ironside

Portrait of Colette Clark, c. 1958 by Robin Ironside (1912-1965)

“The Meaning of Mourning” – – Sabine Baring-Gould

“The Meaning of Mourning”

by

Sabine Baring-Gould

from Curiousities of Olden Times, 1896 


A strip of black cloth an inch and a half in width stitched round the sleeve—that is the final, or perhaps penultimate expression (for it may dwindle further to a black thread) of the usage of wearing mourning on the decease of a relative.

The usage is one that commends itself to us as an outward and visible sign of the inward sentiment of bereavement, and not one in ten thousand who adopt mourning has any idea that it ever possessed a signification of another sort. And yet the correlations of general custom—of mourning fashions, lead us to the inexorable conclusion that in its inception the practice had quite a different signification from that now attributed to it, nay more, that it is solely because its primitive meaning has been absolutely forgotten, and an entirely novel significance given to it, that mourning is still employed after a death.

Look back through the telescope of anthropology at our primitive ancestors in their naked savagery, and we see them daub themselves with soot mingled with tallow. When the savage assumed clothes and became a civilised man, he replaced the fat and lampblack with black cloth, and this black cloth has descended to us in the nineteenth century as the customary and intelligible trappings of woe.

The Chinaman when in a condition of bereavement assumes white garments, and we may be pretty certain that his barbarous ancestor, like the Andaman Islander of the present day, pipeclayed his naked body after the decease and funeral of a relative. In Egypt yellow was the symbol of sorrow for a death, and that points back to the ancestral nude Egyptian having smeared himself with yellow ochre.

Black was not the universal hue of mourning in Europe. In Castile white obtained on the death of its princes. Herrera states that the last time white was thus employed was in 1498, on the death of Prince John. This use of white in Castile indicates chalk or pipeclay as the daub affected by the ancestors of the house of Castile in primeval time as a badge of bereavement. Continue reading ““The Meaning of Mourning” – – Sabine Baring-Gould”

Mass-Market Monday | Donald Barthelme’s Sadness

Sadness, 1972, Donald Barthelme. Kangaroo Pocket Books (1980). No cover artist or designer credited. 159 pages.

Here is the fifth section of “Departures,” a series of vignettes. It stands alone as its own short story–


My grandfather once fell in love with a dryad—a wood nymph who lives in trees and to whom trees are sacred and who dances around trees clad in fine leaf-green tutu and who carries a great silver-shining axe to whack anybody who does any kind of thing inimical to the well-being and mental health of trees. My grandfather was at that time in the lumber business.

It was during the Great War. He’d got an order for a million board feet of one-by-ten of the very poorest quality, to make barracks out of for the soldiers. The specifications called for the dark red sap to be running off it in buckets and for the warp on it to be like the tops of waves in a distressed sea and for the knotholes in it to be the size of an intelligent man’s head for the cold wind to whistle through and toughen up the (as they were then called) doughboys.

My grandfather headed for East Texas. He had the timber rights to ten thousand acres there, Southern yellow pine of the loblolly family. It was third-growth scrub and slash and shoddy—just the thing for soldiers. Couldn’t be beat. So he and his men set up operations and first crack out of the box they were surrounded by threescore of lovely dryads and hamadryads all clad in fine leaf-green tutus and waving great silver-shining axes.

“Well now,” my grandfather said to the head dryad, “wait a while, wait a while, somebody could get hurt.”

“That is for sure,” says the girl, and she shifts her axe from her left hand to her right hand.

“I thought you dryads were indigenous to oak,” says my grandfather, “this here is pine.”

“Some like the ancient tall-standing many-branched oak,” says the girl, “and some the white-slim birch, and some take what they can get, and you will look mighty funny without any legs on you.”

“Can we negotiate,” says my grandfather, “it’s for the War, and you are the loveliest thing I ever did see, and what is your name?”

“Megwind,” says the girl, “and also Sophie. I am Sophie in the night and Megwind in the day and I make fine whistling axe-music night or day and without legs for walking your life’s journey will be a pitiable one.”

“Well Sophie,” says my grandfather, “let us sit down under this tree here and open a bottle of this fine rotgut here and talk the thing over like reasonable human beings.”

“Do not use my night-name in the light of day,” says the girl, “and I am not a human being and there is nothing to talk over and what type of rotgut is it that you have there?”

“It is Teamster’s Early Grave,” says my grandfather, “and you’ll cover many a mile before you find the beat of it.”

“I will have one cupful,” says the girl, “and my sisters will have each one cupful, and then we will dance around this tree while you still have legs for dancing and then you will go away and your men also.”

“Drink up,” says my grandfather, “and know that of all the women I have interfered with in my time you are the absolute top woman.”

“I am not a woman,” says Megwind, “I am a spirit, although the form of the thing is misleading I will admit.”

“Wait a while,” says my grandfather, “you mean that no type of mutual interference between us of a physical nature is possible?”

“That is a thing I could do,” says the girl, “if I chose.”

“Do you choose?” asks my grandfather, “and have another wallop.”

“That is a thing I will do,” says the girl, and she had another wallop.

“And a kiss,” says my grandfather, “would that be possible do you think?”

“That is a thing I could do,” says the dryad, “you are not the least prepossessing of men and men have been scarce in these parts in these years, the trees being as you see mostly scrub, slash and shoddy.”

“Megwind,” says my grandfather, “you are beautiful.”

“You are taken with my form which I admit is beautiful,” says the girl, “but know that this form you see is not necessary but contingent, sometimes I am a fine brown-speckled egg and sometimes I am an escape of steam from a hole in the ground and sometimes I am an armadillo.”

“That is amazing,” says my grandfather, “a shape-shifter are you.”

“That is a thing I can do,” says Megwind, “if I choose.”

“Tell me,” says my grandfather, “could you change yourself into one million board feet of one-by-ten of the very poorest quality neatly stacked in railroad cars on a siding outside of Fort Riley, Kansas?”

“That is a thing I could do,” says the girl, “but I do not see the beauty of it.”

“The beauty of it,” says my grandfather, “is two cents a board foot.”

“What is the quid pro quo?” asks the girl.

“You mean spirits engage in haggle?” asks my grandfather.

“Nothing from nothing, nothing for nothing, that is a law of life,” says the girl.

“The quid pro quo,” says my grandfather, “is that me and my men will leave this here scrub, slash and shoddy standing. All you have to do is to be made into barracks for the soldiers and after the War you will be torn down and can fly away home.”

“Agreed,” says the dryad, “but what about this interference of a physical nature you mentioned earlier? for the sun is falling down and soon I will be Sophie and human men have been scarce in these parts for ever so damn long.”

“Sophie,” says my grandfather, “you are as lovely as light and let me just fetch another bottle from the truck and I will be at your service.”

This is not really how it went. I am fantasizing. Actually, he just plain cut down the trees.

Sunday Comix

From “A MAD Look at Alfred Hitchcock Movies” by Sergio Aragones, MAD Magazine #10, Dec. 2019.

Untitled (Detail) — Eduardo Kingman

Untitled (Detail), 1964 by Eduardo Kingman (1913-1997)

I don’t want to write what I’m writing, but if I don’t write it

I don’t want to write what I’m writing, but if I don’t write it I don’t think I will be able to write anything here again. I am not going to work on the thing that I am writing right now, I’m just going to write it and let it be messy and incomplete, riddled with absences, mistakes, oversights, smaller and larger failures, possible and probable grammatical and mechanical errors — but no erasures.

On Monday, this Monday, two days ago, my closest friend, my best friend of over three decades, died unexpectedly in his sleep. He went to sleep and did not wake up. He was there and then he wasn’t, or his consciousness wasn’t there, or isn’t here, or isn’t here in a form I can communicate with, that I know of. I feel as if something unnameable has been ripped out of my world. (He has a name, but the thing ripped out of the world is more than the name, more than the friendship, more than the years.) I have experienced grief before, for both friends and family, social grief and cultural grief and political grief and even parasocial grief. Nothing has ever hurt this intensely, and when the pain disappears it is replaced with hollow anxiety and muted dread.

I first met my friend when my family returned to the United States in 1991. It was during the final semester of the sixth grade. The city we moved to, where my parents had more or less grown up, was conducting a short, miserable experiment which was to put all of the city’s sixth graders into two schools. So, instead of having a junior high or middle school with its separate grades and hierarchies of time, tradition, seniority, whatever, I landed in an asylum crowded with hormonal mutants trying to establish dominance over each other in endless games of petty cruelty. I don’t remember my friend, who was not yet my friend of thirty years, being especially kind to me in any way that I understood as kindness. I do know that he talked to me like I was an actual person and not just a freak who was maybe not actually American. He let me borrow his Aerosmith tapes and copy them on my dad’s tape player. He had no interest in my R.E.M. CD. (I don’t think he had a CD player). Through the end of the sixth grade year we collaborated well together, working diligently in tandem to erode our citizenship grades from A’s to D’s.

We attended different middle schools (I think middle school was a new term, a transition from junior high). The next time I saw him was in ninth grade orientation. The moment of recognition remains one of the most wonderful feelings I’ve ever had: Here was my old friend; maybe he could be my new friend. By the end of ninth grade we were on our third rock band. We had finally found a real drummer. Actually he wasn’t a real drummer, but he was very good at playing the drums, a natural. He played on borrowed sets and we practiced on pieces we slowly put together through different forms of theft. This person, this drummer who wasn’t actually a drummer, he’s dead too now. But back to my friend.

My friend–we played music together forever. Bands in high school, college, after college. House parties, punk shows at the Elk’s Club or whatever the fuck it was, churches, all ages clubs, shitty night clubs, shitty rock clubs. We opened for the Moe Tucker Band and stole all their oranges and beers and drank them on the roof of the club (I never saw the Velvets legend perform; later she joined the Tea Party, I think). We opened for Limp Bizkit when they were still Limp Biscuit. Our drummer’s alcoholic mother was there with some guy who wasn’t his dad. She had no idea her son was there. We opened and played with dozens and dozens of local and touring bands that were so, so fucking good, and sometimes we were so fucking good too. We put out an album. We made endless four track recordings, as a band but also as a duo, also just swapping tapes. (We also swapped notebooks for two years — I want to say most of tenth and eleventh grade — where we worked on a “novel.” The “novel” was awful but it was so so so much fun to write. We would trade off chapters with no plotting in mind, changing the genre or direction of the tale, mostly just practicing, I guess. I guess I just liked reading what he wrote and maybe he liked reading what I wrote.) In college we played fewer shows out but recorded music more seriously. We made a Christmas album and gave CDs to our friends and family. I don’t know if I’ll ever be able to listen to it again, although I’ve had my friend’s vocal on “Silver Bells” running through my head since Monday morning, the morning I was sitting here on the black leather couch I pretend is an office where I am sitting here right now on Wednesday morning, forty-eight hours after his wife called me with the awful awful news that my friend had died in his sleep.

I am ranting of course, and I would apologize, but this isn’t for any reader and this isn’t an elegy for my friend, this is for me. Maybe what I am trying to emphasize is that our friendship, our love for each other, was deeply wrapped up in creation, in art, in a lifelong discussion of music, art, film, literature. He encouraged me to start a blog. He told me he thought I’d be good at it. He was, I’m pretty sure, the only reader for this blog for the first few months.

He always gave me his honest opinion. When I was doing something that he thought was not good, he told me. If he thought I could do better, he told me. People use the term “partner in crime” as a cute way to describe their closest friend; we were actual partners in actual crimes. Most of the crimes were petty and none of them were violent. They were all stupid, and we learned from them, I think.

We traveled together, we were in each other’s weddings. We walked into adulthood, or whatever it is we are dealing with here, in different ways. I married at a younger age and had kids much younger than he did, which made him erroneously believe that I had some expertise in these matters. We were texting about his wife and his kids on the Sunday that he did not wake up from. We were texting about the finale of The Righteous Gemstones, which we were both looking forward to. (My wife was too tired to watch it that night–did my friend get to see the end? Is this the stupidest thought I’ve had over the past few days? Maybe because it’s one of the last things we were texting about. And the last thing he texted in our last conversation: how excited he was about the forthcoming Stereolab record. We were reminiscing about cruising around in his old jeep, the “Red Death,” as we called it, blasting Emperor Tomato Ketchup all summer, the summer before senior year. I am not a God I wish I could go do that one more time person, but now maybe I am, maybe like, God I wish I could cruise around just one more time like that with you person.) So well anyway, we were texted about Big things but also Small things, mundane stuff, day-to-day stuff. We texted every day, throughout the day. He only lived forty minutes from me, but we didn’t get to see each other as often as we’d like to (work, kids, life…). So we were in a state of constant written communication, passing ideas and jokes and observations back and forth, then bursting into the Big stuff, the new challenges of Growing Up.

I don’t think I ever really felt scared of any new frontier in my life because he was there with me in some way. I was never really alone. I had a partner. I had a true, great friend. And I think if you can have a true friend in your life that’s the greatest gift. But he’s gone somewhere ahead of me now, and he went way too fucking soon, and the gift he left behind is a New Feeling for me, a pain I cannot express or articulate but rather try to displace here in words, words, words that do nothing. I miss you Nick.

Posted in Art

“Poem” — Langston Hughes

“Poem”

by

Langston Hughes


I loved my friend.
He went away from me. 
There’s nothing more to say. 
The poem ends, 
Soft as it began,—
I loved my friend.