Professor of High Caliber (Portrait of Barry Hannah) — Steve Brodner

Professor of High Caliber, 1988, a portrait of Barry Hannah by Steve Brodner (b. 1954)

The portrait appeared in the 1 July 1988 issue of Esquire, accompanied by the following text:

There he stood, in front of his class at the University of Alabama, tooting on his trumpet: Barry Hannah, gonzo novelist and pseudo-jazz musician, a man possessed by more than the English language. He was playing his own brand of jazz, the kind only a tonedeaf mother could love. Pausing to wipe his brow, Hannah exclaimed, “Whew, this is some good soul!” and began to squawk again. The class grew restive. Several made a break for the door. Hannah pulled a gun out and motioned them back to their seats. “Now this,” he said, waving the gun, “is some bad soul. You guys had better learn the difference.”

“Pete Resists the Man of His Old Room,” a very short story by Barry Hannah

“Pete Resists the Man of His Old Room”

by

Barry Hannah


Who is that?” hissed the woman at the corner. Pete and Tardy were necking. They could never quit. They hardly ever heard. The porch where their bench was was purple and smelly with creeping pot plants. Their child, who was thirty, rode a giant trike specially made, he being, you know, simple, back and forth on the walk, singing : Awwwww. Ernnnnnn. Oobbbbbbbb.

The man, remarked only by the hissing woman at the corner, who was Tardy’s mother, walked, or rather verged, here and there, undecided, froth running down his chin and a dagger in his hand. He had an address printed on some length of cardboard. His fingernails were black.

“Out! Out of here, you mange!” shouted Tardy’s mother.

“In, in, in!” the hairy man in the street shouted back.

Pete looked up. “It’s my old college roommate.

Lay off, Mamma,” Pete expressed, rising.

The fellow in the street straightaway made for Pete but got caught in the immense rose hedge. “I knew I’d find you! Peace! Joy! Communion at last!” the filthy fellow shouted as he writhed, disabled.

“Son of a gun!” roared Pete. “Look here, Tardy. It’s old Room Man!”’

“Jumping Jesus, do these thorns hurt!” shouted the filthy hairy fellow. He’d lost his dagger in the leaf mold. That hedge really had him.

“What say?” shouted Pete.

“I got no more discretion, Pete boy! I’m just a walking reminiscence ! Here I am ! I remember you when you were skinny and cried about a Longfellow poem! Your rash! Everything! Edna, Nannie, Fran! Puking at the drive-in!”

“I thought so,” said Pete to Tardy, low, his smile dropped aside. “Would you get me my piece, my charm?”

“Your spiritual phase!” the filthy hairy fellow was screaming. “Your Albert Schweitzer dreams! Signing on the dorm wall with your own blood !” shouted the awful man who was clogged in the hedge.

“Yes,” Pete said, lifting the weary corners of his lips.

Tardy lugged out the heavy piece.

Pete took it and jammed home the two big ones.

“Remember Juanita and her neat one? Played the cornet with her thing and you did the fingering?” screamed the wretched fellow all fouled in the hedge.

Yes.

He cut half his hedge away when he fired the double through it. The dagger blew out in the street along with the creep that held it. All the while Tardy’s mother stood with crossed arms.

The son stopped his giant trike. He said, “Ernnnnn,” to his dad on the porch.

“Albert,” said Pete. “Take care of the stuff in the street,” and within minutes the son was back with the wagon attached and the scoop.

“It makes me not hardly want to kiss anymore,” Tardy said, fft

“Fans” — Barry Hannah

“Fans”

by

Barry Hannah


Wright’s father, a sportswriter and a hack and a shill for the university team, was sitting next to Milton, who was actually blind but nevertheless a rabid fan, and Loomis Orange, the dwarf who was one of the team’s managers. The bar was out of their brand of beer, and they were a little drunk, though they had come to that hard place together where there seemed nothing, absolutely nothing to say.

The waitress was young. Normally, they would have commented on her and gone on to pursue the topic of women, the perils of booze, or the like. But not now. Of course it was the morning of the big game in Oxford, Mississippi.

Someone opened the door of the bar, and you could see the bright wonderful football morning pouring in with the green trees, the Greek-front buildings, and the yelling frat boys. Wright’s father and Loomis Orange looked up and saw the morning. Loomis Orange smiled, as did Milton, hearing the shouts of the college men. The father did not smile. His son had come in the door, swaying and rolling, with one hand to his chest and his walking stick in the other.

Wright’s father turned to Loomis and said, “Loomis, you are an ugly distorted little toad.”

Loomis dropped his glass of beer.

“What?” the dwarf said.

“I said that you are ugly,” Wright said.

“How could you have said that?” Milton broke in.

Wright’s father said, “Aw, shut up, Milton. You’re just as ugly as he is.”

“What’ve I ever did to you?” cried Milton.

Wright’s father said, “Leave me alone! I’m a writer.”

“You ain’t any kind of writer. You an alcoholic. And your wife is ugly. She’s so skinny she almost ain’t even there!” shouted the dwarf.

People in the bar—seven or eight—looked over as the three men spread, preparing to fight. Wright hesitated at a far table, not comprehending.

His father was standing up.

“Don’t, don’t, don’t,” Wright said. He swayed over toward their table, hitting the floor with his stick, moving tables aside.

The waitress shouted over, “I’m calling the cops!”

Wright pleaded with her: “Don’t, don’t, don’t!”

“Now, please, sit down everybody!” somebody said.

They sat down. Wright’s father looked with hatred at Loomis. Milton was trembling. Wright made his way slowly over to them. The small bar crowd settled back to their drinks and conversation on the weather, the game, traffic, etc. Many of the people talked about J. Edward Toole, whom all of them called simply Jet. The name went with him. He was in the Ole Miss defensive secondary, a handsome figure who was everywhere on the field, the star of the team. Continue reading ““Fans” — Barry Hannah”

It makes me a participant in the universe | Barry Hannah on Cormac McCarthy’s prose

Interviewer: You mention the influence of Faulkner. Who are some of the writers around at the moment who you admire and who influence you?

Hannah: Cormac McCarthy. It’s not just the language, although I can’t imagine loving his books without the special language. He’s one of the few writers who has a vision. Relentless. It’s very rough—almost fascistic, as nature is. Darwinian. But he gives such reverence to nature itself. I think that is why he seems atavistic; he likes the fact that there was a time when boulders, trees, mosses with lichens—all their individual names participated right next to man. And even though there are horrible things that happen in his books, he’s quite sure that we have disconnected ourselves from the good stuff. He can make a gorgeous, almost epic, page out of a man riding a horse through a half decent meadow somewhere in Mexico. Actually, it kind of makes me excited in a positive way—does not depress me as it does others—because it makes me a participant in the universe. You are no longer just a dead man, floating. You’re right there with the stars, smoke, the peace, and the beauty—as well as the violence. It makes you a player.

From a 1996 interview with Barry Hannah. Published in a 2011 issue of Mississippi Review.

Four Books (Barthelme, Burroughs, and Barry [Hannah])

If you follow this blog even semi-regularly, you may know that I frequently frequent Chamblin Bookmine. This sprawling bookstore, with an inventory of close to three million books (mostly used, and often very weird), is about a mile from my house, and in some small ways might constitute a mute coauthor of this blog. I don’t get to their second location, Chamblin Uptown (in downtown Jacksonville) that often, and even less during the last few years (for obvious reasons), but I went downtown to watch my nephew wrestle last Sunday, and stopped by. In addition to a pair of Ishmael Reed massmarket 1970s paperbacks, I fetched a small stack of first-edition hardbacks by Donald Barthelme, William Burroughs, and Barry Hannah.

I was thrilled to find a first-edition of Donald Barthelme’s first novel Snow White (Atheneum, 1970), with a jacket by Lawrence Ratzkin. The cover sans jacket is also nice:

Overnight to Many Distant Cities isn’t Barthelme’s best collection, but I couldn’t pass up a first edition (G. P. Putnam’s Sons, 1983). The cover features a photograph by Russell Munson.

So far this year, William S. Burroughs’ late novel Cities of the Red Night has been a reading highlight for me: apocalyptic, utopian, discursive, funny, and more poignant than I had remembered when I first read it two decades ago. I couldn’t pass up on a first-edition of its sequel, The Place of Dead Roads (Holt, Rinehart, and Winston, 1983) with a jacket by Robert Reed (working from an old uncredited photograph). I found an audiobook of Dead Roads at my local library, so I might give that a shot.

 

I also grabbed a signed copy of Barry Hannah’s semi-autobiography, Boomerang (Houghton Mifflin, 1989), with a cover by one of my favorite designers, Fred Marcellino. Here’s the autograph:

Marcellino also did the cover for another signed Hannah I have, Captain Maximus (wait, is this Five Books?):

img_9605

Barry Hannah interviewed on Bookmark in 2008

The Minus Times Interview with Barry Hannah

From The Collected Minus Times.

Blog about acquiring a Vintage Contemporaries edition of Barry Hannah’s Airships. (Special guest appearance by David Berman.)

2020-08-06_122106

I’ve been a big fan of the Vintage Contemporaries 1980s series for ages now. The books were easily available, cheap and used, in the nineties, and I first read Raymond Carver and Jay McInerney in VC editions, later adding novels by Denis Johnson, Don DeLillo, Jerzy Kosinski to the burgeoning collection. I was thrilled to find a VC copy of Cormac McCarthy’s Suttree years ago; I wasn’t looking for it in particular, but the spine of a Vintage Contemporaries edition is hard to miss in a used bookstore. I picked it up of course, and gave the Vintage International edition I’d read to a friend who’d just finished Blood Meridian. The dark, moody Vintage International covers strongly contrast the bright, vivid VC edition (with a surreal painting by Marc Tauss):

IMG_8254

In time, I’d unshelve at least one or two VC editions when browsing a used bookstore, especially if it was an author I’d been meaning to read. I ended up reading and loving Joy Williams’ first collection, Taking Care, that way, as well as Charles Portis’s Norwood (which led to me reading every Portis novel I could get my hands on).

The one I really, really wanted though was the Vintage Contemporaries edition of Barry Hannah’s collection Airships. I must have seen it first–just the spine–in this great write up of VC designs at Talking Covers, and then added it to a mental list of titles to check for. There’s absolutely nothing wrong with the Grove Press copy I have of Airships; indeed, I really dig its photorealistic cover by Hannah’s contemporary Glennray Tutor—but I guess at this point I have to admit I’m collector (of cheap eighties paperbacks).

img_1423

I read them, books, too, of course. Here’s the intro to my 2011 review of Airships:

In his 1978 collection Airships, Barry Hannah sets stories in disparate milieux, from the northern front of the Civil War, to an apocalyptic future, to the Vietnam War, to strange pockets of the late-twentieth century South. Despite the shifts in time and place, Airships is one of those collections of short stories that feels somehow like an elliptical, fragmentary novel. There are the stories that correspond directly to each other — the opener “Water Liars,” for instance, features (presumably, anyway), the same group of old men as “All the Old Harkening Faces at the Rail.” The old men love to crony up, gossip, tell tall tales. An outsider spoils the fun in “Water Liars” by telling a truth more terrible than any lie; in “Harkening,” an old man shows off his new (much younger) bride. These stories are perhaps the simplest in the collection, the homiest, anyway, or at least the most “normal” (whatever that means), yet they are both girded by a strange darkness, both humorous and violent, that informs all of Airships.

Well so and anyway:

Yesterday, browsing my beloved used bookstore, I found, while not really looking for it, the Vintage Contemporaries edition of Airships. I was in the “H” section of General Fiction, looking for something by Chester Himes (which I found, but in the Mysteries section, which I really have never browsed before), and there it was, its spine singing to me from a low shelf. I was happy to note the cover is by Rick Lovell, who’s responsible for my favorite VC editions (along with, obviously, series designer Lorraine Louie). As a sort of cherry on top, my edition has a little gold sticker at the top of the inside cover, proclaiming “Square Books on the Square, Oxford Mississippi.” Hannah taught at Ole Miss for nearly three decades. Square Books is still there.

I was excited with my find and I’m a dork so I tweeted about it. The next tweet I saw in my timeline was this tweet by Christopher DeWeese (retweeted by the writer John Lingan):

(I love the blurb by Thomas Pynchon.)

David Berman was a poet, musician, and singer (and more) who died almost exactly a EemWmbXXgAAvc3zyear ago. He was kind of a hero of mine, as far as these things go, and as such I never made an attempt to contact him, even when he linked to this blog on his blog, Menthol Mountains. I absolutely love the cover he made—or did he make it? I don’t actually know—but I know that he loved Vintage Contemporaries, that they were important to him. I recall John Lingan tweeting about having to cut some of his discussion about the series with Berman in his fantastic profile of the then-not-late artist. I couldn’t find the tweet, but I reached out to John, and he told me I remembered right; he also told me he recalled seeing a copy of Harold Brodkey’s First Love and Other Sorrows in Berman’s room.

I wonder if Berman and I had the same VC edition of First Love and Other Sorrows? The one with the Rick Lovell cover of butterflies on a sandcastle? Or maybe he had the one with the purple cover? I gave my copy to a good friend years ago, and have never seen one with the Lovell cover since.

I also wonder if Berman read the VC edition of Airships. I know he met Hannah, who apparently read Berman’s work. I recall now too that both men show up in The Minus Times Collected, which I never picked up. I’m going to order it now.

 

There’s a little bit of terror to almost all the good stuff (Barry Hannah)

There’s a little bit of terror to almost all the good stuff I recall in literature, a little bit of terror, like Heart o f Darkness. I love the ghost story. I love to go after mysteries. I think all the best stories I have ever read are very close to ghost stories. I have no interest, by the way, in Poltergeist. But I am interested in the mysterious X, the big force behind something perceived. We’re usually not privy to too many of those things ourselves. But our friends have lived them. Of course I grew up in the Vietnam era. My classmates fought the war, came back with their tales— it still works on the heads of people my age, because it was a fantastic zone, that some of the veterans can’t even acknowledge happened nowadays, you know? But there are other places you’ve been that are—Denis Johnson examines these things-zones of irreality that had not only horror, but some sweetness. The writer ought to go into these other zones and come back like a spy, and tell us something exciting. And move us. And sometimes disgust us. There’s not enough of that now.

From a 1998 interview with Barry Hannah.

My history of muscadines | An unearthed interview with the late great Barry Hannah

Screenshot 2019-11-14 at 4.27.30 PM

There’s a “new” video interview with Barry Hannah and his wife Susan at Southwest Review. The interview was conducted by Southwest Review editor-in-chief Greg Brownderville some time in “the late aughts” in Hannah’s back yard, under his muscadine arbor. Brownderville and his friend Luke Duncan (both grad students at Ole Miss at the time) were trying to put together a film about muscadine grapes, and interviewed the Hannahs about the project. Hannah’s extemporaneous responses veer all over the place though, using muscadines as kind of kernels of memories from which to riff on: dead pets, boyhood oyster shell fights, and “the wonderful time my dad and I had at Arkansas drinking wine and watching the University of Arkansas, who was number one in the nation, whoop Texas, both of us high on wine from Altus.” The whole interview approaches something close to one of Hannah’s looser short stories, and is definitely worth the 20 minutes. 

(Thanks to Patrick for sending me the link.)

(Tangential note: My wife’s grandmother makes her own muscadine wine. We get a bottle of it for Christmas every now and then. It’s pretty sweet stuff.)

Blog about some books acquired

img_3745

My family and I spent a wonderful week in Oregon at the end of July. We visited friends who live in Portland, where we based our stay, and we drove to the coast, to Mount Hood, and to all kinds of beautiful places. It was really fucking lovely.

Among all the gardens and forests and breweries and record shops, we managed to fit in some bookstores too, of course.

The first was Melville Books, right off of Alberta Street, tucked away just a bit. Our rental house was a block from Alberta, and we got there early in the afternoon and took a stroll. Melville Books is pretty new. The owner-proprietor was making a wooden “Open” sign while he chatted with me about his stock and his experiences scouting and buying used books. He was really friendly, and the small store was very well curated.

img_3259

I picked up Charles Portis’s first novel Norwood there on something of a whim. I’ve never read Portis, but I know his fans love his stuff, and I couldn’t pass up the Vintage Contemporaries cover. There was also a hardback copy of True Grit in stock at Melville that I now regret not having picked up. Norwood is hilarious, and has evoked in me a need to read more Portis.

I actually went to my local used book store today to get some stuff for my kids (and maybe just to get out of the house), but the only copy of True Grit they had in stock was a Coen Brothers film adaptation tie in. I did pick up copies of Masters of Atlantis (in hardback) and The Dog of the South though.

img_3733

We also visited Powell’s, of course. I wasn’t expecting it to be as big as it was. Powell’s is a very well-stocked general bookstore, but I was a little disappointed that I couldn’t find more weird or rare stuff there (I think my local place, Chamblin Bookmine, has spoiled me).

img_3558

I picked up a first-edition hardback of Donald Barthelme’s “nonfiction” collection Guilty Pleasures for just a few bucks.

img_3734

It includes one of my favorite Barthelme pieces, “Eugenie Grandet.” It also includes quite a bit of his collage work.

img_3735

I also picked up a hardback copy of Barry Hannah’s High Lonesome. I’ve read a lot of the stories in here (collected in Long Lost Happy), but some are unfamiliar. Also, the cover is by the photorealist painter Glennray Tutor, a Southern contemporary of Hannah’s. Tutor did the covers for several other Hannah volumes.

img_3736

Over in the sci-fi section of Powell’s I found some books by the Strugatsky brothers, which I’ve been into lately. I’ve heard Monday Starts on Saturday is good, but the cover for this edition is so godawful bad that I couldn’t go for it. That’s what library e-books are for, I guess. (Really though, a blank white cover would have been better.)

img_3553

I ended up picking up The Doomed City instead, which I might try to squeeze in before the end of summer.

img_3737

I was impressed with the art books collection at Powell’s but also disappointed not to find anything by Remedios Varo or Leonora Carrington, other than recent editions of their fiction—no real art books though. I was happy though to see a shelf recommendation for Margaret Carson’s recent translation of Varo’s Letters, Dreams & Other Writings though. I sent a pic to Margaret, who was really generous to me with her time in recent interview about her translation.

img_3555

I visited a few other bookshops, not so much as destinations, but rather in happy accidents in the neighborhoods we visited—but I restrained myself from picking anything else up. (And no, I didn’t make it to Mother Foucault’s, unfortunately, although many folks told me to. Next time.)

We visited Floating World Comics the same day as Powell’s, where I picked up a copy of Kilian Eng’s Object 10. I’ve been a fan of Eng’s for years, sharing his images on the blog and following him on Instagram. I hadn’t realized though that Floating World was his publisher. Object 10 is lovely.

img_3740

img_3743img_3744img_3742

I also picked up a pack of 1993 Moebius trading cards there for a dollar. I haven’t opened them yet though. Saving it for a treat later. It was neat to see copies of Anders Nilsen’s Tongues in the wild, too. I had reviewed the title awhile back for The Comics Journal, but I hadn’t realized that Nilsen lived in Portland. We also checked out Bridge City Comics on Mississippi, which had a nice selection of dollar comics that I indulged my kids in.

Portland was fantastic in general. The only real disappointment came when we visited the Portland Art Museum expecting to see a major Frida Kahlo exhibit. Unfortunately, we misread the dates—the show starts next summer. The museum has a nice collection though. Just a few pics of some pieces I liked:

Rip Van Winkle (1945) by William Gropper:

img_3291

The Fair Captive (1948) by Rene Magritte

img_3339

and The Femminiello (1740-60) by Giuseppe Bonito.

img_3302

Here’s the museum’s description of this unusual painting:

Owing to widespread social prejudice, cross-dressing was rarely depicted in European art until the modern era. This recently discovered painting from the mid-eighteenth century is a testament to the exceptional and long-standing acceptance of cross-dressers known as femminielli in the great Italian city of Naples. The term, which might be translated “little female-men,” is not derogatory, but rather an expression of endearment. Femminielli come from impoverished neighborhoods, as is evidenced by this individual’s missing tooth and goiter, a common condition among the poor in the Neapolitan region. Although femminiellicross-dress from an early age, they do not try to conceal their birth sex completely. Rather than being stigmatized, they are deemed special and are accepted as a “third sex” that combines the strengths of both males and females. In particular, femminielli are thought to bring good luck, so Neapolitans often take newborn babies to them to hold. Femminielli are also popular companions for an evening of gambling. This association is represented by the necklace of red coral, which is similarly thought to bring good fortune. Neapolitan genre paintings (images of everyday life) frequently feature a grinning figure to engage the viewer. Here, we are invited to consider the artist’s playful inversion of traditional views of gender, which contrasts the pretty young male with the more masculine femminiello.

Maybe we’ll get back to the Pacific Northwest next summer and see the Kahlo then.

Anyway so well—

Like I said, I went to the bookstore today, not looking for myself (promise!) except that I did stop and browse Portis briefly, picking up the aforementioned copies. When I got home, I had a package from NYRB containing The Corner That Held Them by Sylvia Townsend Warner. It immediately interested me when I flicked through it—seems like a weird one. NYRB’s blurb below; more to come.

img_3738

Sylvia Townsend Warner’s The Corner That Held Them is a historical novel like no other, one that immerses the reader in the dailiness of history, rather than history as the given sequence of events that, in time, it comes to seem. Time ebbs and flows and characters come and go in this novel, set in the era of the Black Death, about a Benedictine convent of no great note. The nuns do their chores, and seek to maintain and improve the fabric of their house and chapel, and struggle with each other and with themselves. The book that emerges is a picture of a world run by women but also a story—stirring, disturbing, witty, utterly entrancing—of a community. What is the life of a community and how does it support, or constrain, a real humanity? How do we live through it and it through us? These are among the deep questions that lie behind this rare triumph of the novelist’s art.

 

Barry Hannah reading “All the Old Harkening Faces at the Rail” on his porch swing

Barry Hannah reading “All the Old Harkening Faces at the Rail” (from Airships) and talking about memory and voice at his home in Oxford, Mississippi in February, 1986.

Robert Coover/Barry Hannah/Antoine Volodine (Books acquired, 7 June 2018)

img_0040

I had ordered Antoine Volodine’s Minor Angels through my favorite bookstore, and it came in yesterday. It’s slim but expensive (ah! university presses!) and ate up all of my store credit, but still I picked up used copies of Robert Coover’s second novel The Universal Baseball Association, Inc., J. Henry Waugh, Prop. and Barry Hannah’s Boomerang b/w Never Die (some of the only Hannah I’ve yet to read). I was tempted also by the title and cover of Daniel Hoffman’s 1971 Poe Poe Poe Poe Poe Poe Poe—but I was not tempted enough to acquire it.

dfg3rjnwaaay2nl

Blog about Three Books

Between the first Sunday of September 2015 and the first Sunday of September 2016 I ran a series of posts—every Sunday that year—I called “Three Books.” I would scan the covers of the books, and I generally tried to find books with interesting design elements to them; I would also try to find a thread between the books (but not always). The posts allowed me to write about the design and aesthetics of covers, as well as other elements of the books (y’know, like, what was actually between the covers). The posts also gave me a regular goal on a Sunday. After a year, I moved on to another series of Sunday posts I called Sunday Comics; before the Three Books thing, I posted pics of my bookshelves on Sundays and wrote about that; and before that, I posted images of death masks on Sundays. A themed post of some kind every Sunday seemed to give this accursed blog a sense of direction, however false. I don’t remember how or why I quit posting Sunday comics, but searching the tag shows me I stopped at the end of June in 2017. This whole paragraph seems like a long and rambling preamble to saying something like, Maybe I should do these Blog about posts on Sundays? Huh? What do you think?

But the title said “Three Books”…so—Three Books, chosen somewhat at random:

img_9605

Captain Maximus by Barry Hannah. First edition hardback by Knopf, 1985. Cover design by Fred Marcellino.

Great cover, right? Fred Marcellino popped up a few times in the Three Books series.

Last summer I visited Alias East Books East in Los Angeles, where, along with sometime-Biblioklept contributor Ryan Chang, I fondly fondled a signed first edition of Barry Hannah’s novel RayI couldn’t bring myself to pay sixty dollars for it, but one night, after a few drinks, broke down and bid on eBay for a signed Hannah—Captain Maximus. I wound up paying six dollars more than what Knopf wanted to charge folks for an unsigned edition back in ’85. This particular copy clearly has never been read. I ended up picking up the Penguin Contemporary Classics paperback version of Captain Maximus (for three dollars of used bookstore credit) and reading that instead. The signed Hannah’s spine is still pristine, and I realize that I am something awful.

The book is purple.

img_9604

The Heart of a Dog by Mikhail Bulgakov. English translation by Michael Kenny. First edition hardback, Harcourt, Brace, & World, 1968. Design by Applebaum & Curtis Inc.

The last fifty pages or so are warped from water damage, but I couldn’t pass up this oh-so-purple, oh-so-sixties Bulgakov. I ended up liking it a lot more than I liked The Master and Margarita.

The book is purple-pink.

img_9607

The World within the Word by William H. Gass. Trade paperback by Basic Books. Cover design by Rick Pracher.

Just a wonderful collection of essays. His essay on Stein is required reading, and “Carrots, Noses, Snow, Rose, Roses” is perfect metafiction posing as criticism. Lovely stuff.

The book is pink.

 

Barry Hannah in Hollywood

635610880019438411-barry-hannah-rsd-release-front-cover-artwork

“Pull Back and Reload: Barry Hannah in Hollywood,” a wonderful article by Will Stephenson, is new this week in Oxford American. The article focuses on Hannah’s time in Hollywood in the early 1980s, trying to develop a movie script called Power and Light with Robert Altman. Altman, (not-so-)fresh from making cult jam Popeye, was enchanted by Hannah’s 1980 novel Ray. The director invited Hannah to stay in his Malibu home to work on a script:

Hannah had driven out to Hollywood proudly on his Triumph motorcycle, he and Altman having settled on a meeting place, whereupon Altman was to guide him the rest of the way to his home in Malibu. But when Altman arrived, Hannah hadn’t showed. The filmmaker waited for an hour, increasingly frustrated, until he noticed, across the street, a peep show and adult video store. As Rapp remembers him putting it, Altman thought to himself, “That fucker would be just crazy enough . . .” He wandered inside the adult emporium and there found Hannah, deeply absorbed.

The article is pretty great, larded with nuggets from Hannah’s correspondence and not a few wild anecdotes. Check it out.

 

Hurricane Irma reading riff

img_7920

I first started getting a tad—just a tad—nervous about Hurricane Irma on Monday, September 4th. This was Labor Day. I had the day off from work, and it was a good day: beer, barbecue, swimming. Etc. Hurricane Irma was already enormous, a monstropolous beast for the record books looming in the Atlantic to eat up our beloved Florida.

I was still reading Barry Hannah’s last novel Yonder Stands Your Orphan that day; I’d finish it up a few days later. It was excellent, full of great sentences, vignettes, riffs, rants, etc. I’d say it unraveled at the end but “unravel” implies a cohesiveness that maybe isn’t quite there—I’d have to read it again to see, and it’s worth a reread. Actually, in a sense, it coheres in that it collects a number of Hannah’s former characters into a picaresque of grotesque misadventures, hung loosely on a pimp-pornographer-outcast named Man Mortimer. Man Mortimer is the closest thing to a hero the novel has, and he’s pretty evil. Let me crib from an actual review; from Christopher Tayler’s 2001 write-up in the 2001 LRB:

The plot, such as it is, revolves around the depredations of a demonic big-city outsider called Man Mortimer, ‘a gambler, a liaison for stolen cars and a runner of whores, including three Vicksburg housewives’. Mortimer starts to take an interest in cutting people when he finds out that his sort-of girlfriend, Dee Allison – a single mother, nurse and ‘nun of apathy’ – has been unfaithful to him. Dee’s feral twin sons, meanwhile, find in a dried-up sinkhole a car containing the skeletons of Mortimer’s former lover and her child; they clean the skeletons up and take to carting them round the woods. Mortimer is initially concerned with avenging himself on Dee and reclaiming the evidence, but he soon graduates to fairly random attacks on all who cross his path – all, that is, except the poisonous Sidney Farté, who is delighted when Mortimer chops his father’s head off and replaces it with a football, since this speeds his inheritance of the family bait store.

Yonder Stands Your Orphan is often surreal and always dark; it often reminded me of David Lynch’s crime stories, with their grotesque gangsters and abject phantoms. Hell, there’s even a character named Frank Booth.

But where was I? Sorry. This riff is in part a way for me to collect the past few days into something coherent, to figure out what day it is, to prevent an unraveling. Yes, I was nervous on Labor Day, a tad. I had made a list at the beginning of that weekend of five items, chores, I mean, of which I’d accomplished four, including Clean gutters and roof. I did not complete the item I had listed as Hurricane audit.

I picked up a few flats of bottled water before my first class on Tuesday, September 5th. The shelves were already looking bare. I stopped by a Walmart and then a Lowe’s on the way home, failing to get a second gas can. Other people were starting to get a tad nervous. (Nervousness spreads like an infection).

By September 6th, it was nigh impossible to buy a generator in Jacksonville or any of its satellite cities. The college where I teach closed on Thursday, September 7th; my kids’ school closed. Everything started shutting down. There were lots of texts and calls between friends and family, basically amounting to, Should I stay or should I go? Back up plans, hotel reservations to hopefully cancel, etc.

I managed to get a generator on September 8th, which I’d crank up two days later. At this point it seemed clear, or relatively clear, that we were staying, and that family from Tampa Bay would be staying with us. September 8th was long: Trimming back suspicious branches, securing loose items from around the house’s perimeter, busting up an old playhouse that my kids really didn’t play on any more. Cooking meals that could be reheated on a grill. Rehashing plans, piling up supplies. Etc.

djogd1dvyaa_ul5

I finally got tired of listening to the radio (scaring the hell out of me) during this hurricane prep, and picked up the audiobook of Arkady and Boris Strugatsky’s Roadside Picnic, translated by Olena Bormashenko, and read by Robert Forster. I basically listened to each chapter twice over the next few days. The translation is inspiring—witty and raw, noir and smart, and Robert Forster’s narration is perfect—wry, dry, sad, and profound. I need to rewatch Tarkovsky’s Stalker now. I’m a bit ashamed that I haven’t read this one before, and I found its final moments especially moving (exhausted as I was). Highly recommended.

My evacuees arrived early September 9th. The next few days are a soggy blur. A nor’easter saturated northeast Florida; the St. Johns River was already, like, full, and the peninsula I live on (a peninsula on a peninsula), was loose. Like, not firm. Irma’s big bands started hitting the First Coast with a frank sincerity. We watched the local NFL team beat Houston’s team. There’s no symbolism or irony there. I was alternating vodka with coffee with green tea. Two twin pines lord over my house, one in the back, one in the front, maybe five decades old. They swayed and swayed, pelting fresh green pine cones onto the roof for the next 24 hours or so with an admirable consistency. By 10pm Sunday night I realized that I wouldn’t be able to sleep. We lost electrical  power, put the kids to bed. Branches started coming down, thudding with scary force, kick drums for the pine cones’ tight snare raps. Limbs like something heavier, thick bass notes. How did the kids sleep through it all?

img_7941

By candlelight, I read the first 66 pages of João Gilberto Noll’s novella Atlantic Hotel (English translation by Adam Morris) at some point that night. Atlantic Hotel is a picaresque nightmare, one weird horror turning into another. In a way, it was perfect reading for Irma’s approach, ominous and eerie. I also don’t know how much I registered, as I kept going out in the hard wind and slanted thick rain to put a big flashlight on my backyard, where the water kept creeping up and up, eventually getting too high for my gumboot but thankfully never spilling into my house. The feeling of reading Atlantic Hotel registered—the tone, the mood, the rhythm—but not the plot or the anonymous lead character. I’ll have to hit Reset on it.

By 3:00am the brunt of the storm cascaded over my own personal house (yes); the pine cones hailed down in a rhythm like hard rain, punctuated by larger crashes of pine limbs and other debris. For unreasonable reasons I will never know, I pulled out Keats and read Lamia with a bigass flashlight. The storm band somewhat subsided; I rested my eyes for an hour or two, then the whole thing commenced again. By nine in the morning it seemed the worst of the storm had passed, and I slept. Lamia snaked into my dreams, coiled into Irma. My son woke me up at 10:30am—a house down the street was on fire. Some asshole had cranked his generator in his garage—his closed garage!—next to his gas cans and propane tank and car. The garage burned; the car exploded, along with the other car in the driveway.

img_7930

That Sunday, September 11th saw historic flooding in the urban core of Jacksonville. My kids’ school, about a third of a mile from my house, flooded. While trudging around in the late afternoon in our gumboots, happy to be free of our sweltering house for a bit, we saw two teams of Army Rangers paddle up a canal, onto the street, there to evacuate stranded old folks. Surreal. Word traveled about other locations underwater—a flooded Publix, a ruined boatyard, Memorial Park a lake. The worst rumor, to me anyway, was that my beloved used bookstore, Chamblin Bookmine, was underwater. I still can’t bring myself to go over there. I know where it is and how high the water got.

These past few days, I listened to my favorite audiobook during much of the cleanup—Richard Poe’s recording of Cormac McCarthy’s Blood Meridian. What a strange awful comfort. A tree fell on my carport and shed, but they held, sorta. My lawn is a stinking mess, the blazing sun pulling out the water in humid reeking waves. The squelch of it all is something damn else. The pine trees dropped plenty of enormous limbs, but none did real damage. Up on the roof yesterday, clearing one off, I shuddered at its size and weight. I shuddered because of course It could have been so much worse. I’m thankful.

 

 

Zombies at the bad restaurant (Barry Hannah)

Raymond suddenly knew it was time to return to the bad restaurant and then his ache for visions would be satisfied. The bad restaurant would stay when only zombies prevailed. It served food for the dead, tired fishermen and humble vacationers worsened the instant they sat down and had the bad water. Thousands like it at state lines, watering holes in the great western deserts, far flung Idaho and Maine. Their owners say, “We just couldn’t help it, we were food people. We never said good food people.”

Raymond was in the pawnshop looking at a delightful saxophone and about to buy it when the feeling hit him. What he would see and be transformed by was right next door to his own cottage, not out in the fars, the wides, the bars or churches. He put the saxophone down and within seconds saw a shadow past the shop. It was a man hobbling and slurring of the few words he could manage, and Raymond was positive it was Mimi’s old ex, what was left of him after the suicide attempt in Vicksburg, rolling and pitching up Market and the pawns to find Raymond. He went out to the walk and saw nothing but a red car leaving. And he followed it in his own. Mimi it was in Miami singing with another band for a couple of weeks. He was alone. He knew this was right. He had not eaten for two days, for no good reason. The moment was pressing.

A zombie had just waited on him in the pawnshop, a man who stood there remarking on the history of this saxophone. In apparently good health, in decent clothes and well groomed, polite, but quite obviously dead and led by someone beyond. You could look at them and know they are spaces ahead into othernewss. Not at all adolescent either, that natural Teutonic drifting or the sullenness without content. They might still be people, but unlikely.

Everything about the zombie is ravaged except his obsessions, thought Raymond, following the red car. Dead to every other touch. They simply imitate when there is movement or sound. They imitate the conversations around them to seem human to one another. He had seen them in scores from the airports to the bandstands imitating one another, mimicking the next mimicker in no time, no space, no place, no history.

The bad restaurant even had bad-food loungers and loiterers, hard to shake when they got a good imitation of you going. The restaurant with its RESTAURANT sign. Its mimicking of the dining life, yet no edible food, bad water and a weak tea to go with that. Refill that beige for you, sir? Every dish served in contempt for what used to be human. Rations for an unannounced war.

From Barry Hannah’s 2001 novel Yonder Stands Your Orphan