Read “Even Greenland,” a perfect short story by Barry Hannah

“Even Greenland”

by

Barry Hannah


I was sitting radar. Actually doing nothing.

We had been up to seventy-five thousand to give the afternoon some jazz. I guess we were still in Mexico, coming into Mirimar eventually in the F-14. It doesn’t much matter after you’ve seen the curvature of the earth. For a while, nothing much matters at all. We’d had three sunsets already. I guess it’s what you’d call really living the day.

But then, “John,” said I, “this plane’s on fire.”

“I know it,” he said.

John was sort of short and angry about it.

“You thought of last-minute things any?” said I.

“Yeah. I ran out of a couple of things already. But they were cold, like. They didn’t catch the moment. Bad writing,” said John.

“You had the advantage. You’ve been knowing,” said I.

“Yeah. I was going to get a leap on you. I was going to smoke you. Everything you said, it wasn’t going to be good enough,” said he.

“But it’s not like that,” said I. “Is it?”

The wings were turning red. I guess you’d call it red. It was a shade against dark blue that was mystical flamingo, very spaceylike, like living blood. Was the plane bleeding?

“You have a good time in Peru?” said I.

“Not really,” said John. “I got something to tell you. I haven’t had a ‘good time’ in a long time. There’s something between me and a good time since, I don’t know, since I was was twenty-eight or like that. I’ve seen a lot, but you know I haven’t quite seen it. Like somebody’s seen it already. It wasn’t fresh. There were eyes that used it up some.”

“Even high in Mérida?” said I.

“Even,” said John.

“Even Greenland?” said I.

John said, “Yes. Even Greenland. It’s fresh, but it’s not fresh. There are footsteps in the snow.”

“Maybe,” said I, “you think about in Mississippi when it snows, when you’re a kid. And you’re the first up and there’s been nobody in the snow, no footsteps.”

“Shut up,” said John.

“Look, are we getting into a fight here at the moment of death? We going to mix it up with the plane’s on fire?”

“Shut up! Shut up!” Said John. Yelled John.

“What’s wrong?” said I.

He wouldn’t say anything. He wouldn’t budge at the controls. We might burn but we were going to hold level. We weren’t seeking the earth at all.

“What is it, John?” said I.

John said, “You son of a bitch, that was mine—that snow in Mississippi. Now it’s all shot to shit.”

The paper from his kneepad was flying all over the cockpit, and I could see his hand flapping up and down with the pencil in it, angry.

“It was mine, mine, you rotten cocksucker! You see what I mean?”

The little pages hung up on the top, and you could see the big moon just past them.

“Eject! Save your ass!” said John.

But I said, “What about you, John?”

John said, “I’m staying. Just let me have that one, will you?”

“But you can’t,” said I.

But he did.

Celeste and I visit the burn on the blond sand under one of those black romantic worthless mountains five miles or so out from Mirimar base.
I am a lieutenant commander in the reserve now. But to be frank, it shakes me a bit even to run a Skyhawk up to Malibu and back.

Celeste and I squat in the sand and say nothing as we look at the burn. They got all the metal away.

I don’t know what Celeste is saying or thinking, I am aso absorbed myself and paralyzed.

I know I am looking at John’s damned triumph.

Posted in Art

On the Way to Athens — Ludwig Schwarzer

Mass-market Monday | Walt Whitman’s Leaves of Grass

Leaves of Grass, Walt Whitman, 1892 (9th ed.), Signet Classics (no print date; 1958 copyright on Gay Wilson Allen’s introduction). No cover artist or designer credited. 430 pages.

Trying to find some hopeful green stuff woven in the New Year; hell, at this point I’m even open to the idea of the Lord dropping a handkerchief so we might ask, Whose? Seems more like the uncut hair of graves lately. My grass is thirsty.


“On the Beach at Night Alone”

by

Walt Whitman


On the beach at night alone,
As the old mother sways her to and fro singing her husky song,
As I watch the bright stars shining, I think a thought of the clef
of the universes and of the future.
A vast similitude interlocks all,
All spheres, grown, ungrown, small, large, suns, moons, planets,
All distances of place however wide,
All distances of time, all inanimate forms,
All souls, all living bodies though they be ever so different, or in
different worlds,
All gaseous, watery, vegetable, mineral processes, the fishes, the
brutes,
All nations, colors, barbarisms, civilizations, languages,
All identities that have existed or may exist on this globe, or any
globe,
All lives and deaths, all of the past, present, future,
This vast similitude spans them, and always has spann’d,
And shall forever span them and compactly hold and enclose them.

Stickman — George Grosz

Stickman, 1946 by George Grosz (1893-1959)

Mantra

A book cover bearing the words, "WORK AS IF YOU LIVE IN THE EARLY DAYS OF A BETTER NATION"

Alasdair Gray, 1934-2019

Bite Your Tongue — Leon Golub

Bite Your Tongue, 2001 by Leon Golub (1922-2004)

We Can Disappear You — Leon Golub

We Can Disappear You #16, 2002 by Leon Golub (1922-2004)

RIP Béla Tarr

RIP Béla Tarr, 1955-2026

Mass-market Monday | Ishmael Reed’s Flight to Canada

Flight to Canada, Ishmael Reed, 1976. Avon Bard Books (1977). Cover art by Andrew Rhodes; no designer credited. 192 pages.


Reed’s Flight to Canada is one of my Best Books of 1976? round up of books published fifty years ago.

From my 2020 review of the novel:

Flight to Canada features a number of intersecting plots. One of these plots follows the ostensible protagonist of the novel, former slave Raven Quickskill, who escapes the Swille plantation in Virginia. Along with two other former slaves of the Swille plantation, Quickskill makes his way far north to “Emancipation City” where he composes a poem called “Flight to Canada,” which expresses his desire to escape America completely. The aristocratic (and Sadean) Arthur Swille simply cannot let “his property run off with himself,” and sends trackers to find Quickskill and the other escapees, Emancipation Proclamation be damned. On the run from trackers, Quickskill jumps from misadventure to misadventure, eventually reconnecting his old flame, an Indian dancer named Quaw Quaw (as well as her husband, the pirate Yankee Jack). Back at Swille’s plantation Swine’rd, several plots twist around, including a visit by Old Abe Lincoln, a sadistic episode between Lady Swille and her attendant Mammy Barracuda, and the day-to-day rituals of Uncle Robin, a seemingly-compliant “Uncle Tom” figure who turns out to be Reed’s real hero in the end.

ReMass-market Monday | Ishmael Reed’s Mumbo Jumbo

Sunday Comix

From The Portable February by David Berman, 2009, Drag City.

Celebrate David Berman’s birthday by listening to a bootleg recording of the Silver Jews playing the Green Man Festival in Crickhowell, Wales in 2006.

Peasants Washday — Justin John Greene

Peasants Washday, 2023 by Justin John Greene (b. 1984)

The Adoration of the Shepherds — James Ensor

The Adoration of the Shepherds, 1888 by James Ensor (1860-1949)

Literary criticism | Glen Baxter

Discovery of Eschaton : Immanentize the Climate Change — Mat Brown

Discovery of Eschaton : Immanentize the Climate Change, 2020 by Mat Brown (b. 1980)

The Idea Museum — Benny Andrews

The Idea Museum, 2002 by Benny Andrews (1930-2006)

The Heroic Dosser– Peter Howson

The Heroic Dosser, 1987 by Peter Howson (b. 1958)

Gerhard Rühm’s The Folded Clock (Book acquired, drifted through, last week or the week before, end of 2025)

I dug/was perplexed by Gerhard Rühm’s Cake and Prostheses a few years ago, so when I got my soft pink hands on The Folded Clock, (translated like C & P by Alexander Booth), I was intrigued. Publisher Twisted Spoon describes The Folded Clock as a collection of “number poems, comprising typewriter ideograms, typed concrete poetry, collages of everyday paper ephemera and scraps, and a wide variety of literary forms where the visual pattern created on the page underpins the thematic meaning.”

Rühm seems to identify Kurt Schwitters as his artistic precursor, or an artistic precursor. Like Cake and Prostheses, the pieces in The Folded Clock defy easy categorization — Is it a script or a poem or art? is probably the wrong question.

Passing eyes over the text is probably not the way to go; Rühm’s asking you to engage. As Joseph Schreiber puts it in his review at Rough Ghosts, you might follow Rühm’s directions and “allow yourself to read aloud and, there are you are, from the very beginning, not simply reading but actively engaging with the poem.”

I don’t really like numbers that much, at least not in a mob, a gang, a swarm. I tried and didn’t work out. Not just with this book but in general. I can’t count sheep, I guess.

I had a better time with Rühm’s forays into music and letters and collages; I enjoyed whatever psychotic version of minesweeper or Sudoku this piece is: