miscellany

Confessions of a bibliophile

Friday, September 23rd, 2011

http://www.urbanspoon.com/u/profile/31640/ERiC-AiXeLsyD.htmlThe winter of 2000 was my junior year in college. It was a nocturnal, cloistered, literary year, and I lived in a triangle between Carnegie Mellon’s English building, the 61C coffee shop on Murray Avenue, and Three Penny Books, a used bookstore next door to the cafe. Its owner was an insomniac who kept the store open well past last-call, and he drew most of his business from a late-night crowd of students and the neighborhood’s sleepless old men. On my way home from studying, if the bus schedule allowed, I’d peruse the sidewalk cart in the glow of the front window’s Christmas lights, or go inside and examine the serpentine trail of novels that rounded the baseboards.

Two years later, after a series of semi-connected events that included 9/11, graduation, a cross-country move to Oregon, and quitting a dead-end job, I started my book editing business. In honor of Three Penny Books, I called it The Threepenny Editor. And at Christmastime, I went back to Pittsburgh for a visit and had my first real conversation with the owner; I gave him my card and told him how much his store meant to me. In one of life’s sad synchronicities, he told me that he was closing the store in a few weeks; like so many booksellers, he was pulling up stakes and moving his shop online.

We became friends. We started a thing that didn’t go well. But when he dispatched the last of his inventory, he made a generous gift that ranked among one of the best I’ve received in my life: the Encyclopedia Britannica 11, a noiseless Remington portable typewriter, a 1936 Royal typewriter, and a bookshelf of Orientalist relics ranging from Charles Doughty’s Travels in Arabia Deserta to Albert Hourani’s A History of the Arab Peoples to N.M. Penzer’s The Harem.

Fast forward again, to five homes and four states later. These artifacts of Three Penny Books sit about six feet from my desk. They look nice but I usually don’t think about them. I have a business to run; and until my wife finishes medical school, I do all the cooking and housekeeping. Although people remember Sisyphus for struggling eternally with his boulder, he should have been glad not to have the task of cooking for two marathoners. I find that the mundane has a way of fogging up days at a time, and I wonder what my twenty-year-old self would think about living in San Antonio and being known among friends mainly for the quality of her stuffed mushrooms.

Literary ecumenicalism is stamped all over my memory of that bookstore, twisted into its front-window Christmas lights, inseparable from memories of college and coffee and walking home with a messenger bag full of books at midnight in a rainy Pittsburgh winter.

And I realized this made me sad. So yesterday, I turned off the computer. I watered the garden. And then, purely for the hell of it, I pulled N.M. Penzer’s The Harem off the shelf. I discovered that the illustrations among its broad, yellowed pages fold out into maps of the sultan’s palace, and that all male heirs to the throne were educated and imprisoned in a royal school called The Cage. But mostly, the book evoked Pittsburgh winters and being twenty and so absolutely excited about a brilliant, unknown future that I could afford to take my optimism about it for granted.

You know what I love about books? As easily as a map unfolds from the leaves of a forgotten volume, the right one at the right time can relocate one’s sense of curiosity and optimism. The uncharted world of a new manuscript is one of the few pristine frontiers left to explore. So today, on this first day of fall, I’m putting aside the spiritual catatonia that always descends between novels, and resolving to outline my next project by the end of October.

Thoughts while driving through San Antonio sprawl

Saturday, September 3rd, 2011

I re-read a 2009 Harper’s article by Jamaica Kincaid that asked why we need art and artists. Basically, she said, art is not for its own sake but to help us deal with human mystery–to access a sense of a greater mystery, a secret order to the world. It’s a secret, maybe, because one’s mind is a mystery most of the time; it’s full of stamps from childhood and forgotten infancy. As Jamaica Kincaid says, sometimes she doubts that she ever acts independently of her mother–that every act is a reaction, a response, or a reflection.

In Islam, it’s believed that when we die an angel must pull our soul free from where it is lodged in our throat. I wonder if art tries to do the same thing–to snag something secret and intimate to us, and pull it out into plain view. As I drive my errands around San Antonio, expending more gasoline in a few months than I’ve done in the last 10 years of my life, passing yet another crop of strip malls and filling stations and nail salons and chain restaurants, it occurs to me that Art–in the capital letter sense of the word–is like those angels. It reaches for what’s inside of us and pulls it out to remind us that we are not the landscape. It keeps us from choking on the banal.

A few notes from Robert Pinsky’s “Is Vision the Twin of Speech?” (Bernard Osher lecture at Portland Art Museum).

Monday, March 7th, 2011

As a past national Poet Laureate, Robert Pinsky launched the Favorite Poem Project, a collection of ordinary Americans reading lines from their favorite poems. The project grew from his conviction, which he expressed at tonight’s lecture at the Portland Art Museum, that America struggles from a lack of a unified folk culture and of a unified class culture (the “snob” factor). He argued that without grandmothers to pass down distinctly “American” stories, dances, and recipes, and without a hereditary elite to guard and pass on “American” high culture, the work of inventing our culture is multiethnic, democratic, and continuous.

He opened the speech with a statement that I am still thinking about: That we are a great nation with vast economic and military power. But are we a great people? He spoke with a poet’s respect for the human ear–for the need to hear ideas slowly, a second or even third time, to give the mind time to circle and inspect the words. So imagine his slow, slightly gravely voice asking, a second and third time, A people… Are we a great people?

Part of his lecture featured clips from the Favorite Poem Project, one of them an high-achieving Chinese immigrant high school student, whose favorite poem is Emily Dickison’s “I’m Nobody! Who are You?” She read it aloud in the park at Stone Mountain, Georgia–what she called her favorite place. After the clip, Robert Pinsky called attention to the relief carving on the rock behind her, of slave-era heroes Robert E. Lee, Stonewall Jackson, and Jefferson Davis. “She is a smart girl,” he said. “Someday she will think about that carving, and wonder how slavery is part of the culture she is living today.” (Slightly paraphrased, with apologies.)

He closed with a reading of William Carlos Williams’s “To Elsie”:

The pure products of America
go crazy—
mountain folk from Kentucky

or the ribbed north end of
Jersey
with its isolate lakes and

valleys, its deaf-mutes, thieves
old names
and promiscuity between

devil-may-care men who have taken
to railroading
out of sheer lust of adventure—

and young slatterns, bathed
in filth
from Monday to Saturday

to be tricked out that night
with gauds
from imaginations which have no

peasant traditions to give them
character
but flutter and flaunt

sheer rags—succumbing without
emotion
save numbed terror

under some hedge of choke-cherry
or viburnum—
which they cannot express—

Unless it be that marriage
perhaps
with a dash of Indian blood

will throw up a girl so desolate
so hemmed round
with disease or murder

that she’ll be rescued by an
agent—
reared by the state and

sent out at fifteen to work in
some hard-pressed
house in the suburbs—

some doctor’s family, some Elsie—
voluptuous water
expressing with broken

brain the truth about us—
her great
ungainly hips and flopping breasts

addressed to cheap
jewelry
and rich young men with fine eyes

as if the earth under our feet
were
an excrement of some sky

and we degraded prisoners
destined
to hunger until we eat filth

while the imagination strains
after deer
going by fields of goldenrod in

the stifling heat of September
Somehow
it seems to destroy us

It is only in isolate flecks that
something
is given off

No one
to witness
and adjust, no one to drive the car

(From The Poetry Foundation)

“Don’t Ask, Don’t Tell” piece on Cara Hoffman’s blog

Thursday, March 3rd, 2011

Novelist Cara Hoffman is collecting a range of voices speaking for women’s rights, social justice, and a reduction of violence in our culture. She invited me to guest blog, and my piece on the DADT/gay marriage debate appears here.

somuchpretty1Her novel, SO MUCH PRETTY, comes out next week, and critics are already calling it a remarkable debut. Be sure to check it out, and stay tuned in a few weeks for an interview with her here on this blog.

What doesn’t grow, doesn’t travel well.

Wednesday, February 23rd, 2011

An update on SHAHIDA is long overdue, and like most things novelists say, requires context.

The short of it is that I plan to have a complete draft by the end of March, and am hauling away loads of scaffolding–that is, what the Portland Dangerous Writers call those tedious passages of first-draft writing in which the novelist explains the story to herself. The only thing SHAHIDA lacks is its ending, which lies somewhere beneath the final load of scaffolding. You can’t find clarity until you’ve piled a lot of chaos on top of it, and let it germinate.

The long of it is that while I am finishing this novel, E. and I will be uprooting ourselves again and moving to San Antonio. I’m getting better at chaos–at searching for houses from afar, checking walk scores, finding the right glassware (e.g., the margarita glasses) on the other side, and most of all, stepping back from routines, favorite streets, new friends, and whatever lens on the world is local to the current city. Except for the friends, it’s scaffolding. It doesn’t travel well. Unless it someday appears in a novel, reshaped or cleverly distorted, it’s gone.

What travels is the habit of writing; the love of my work; the long e-mails with friends (it has been a joy to discover a sharper premise in tandem with my friend Laura Stanfill‘s own journeys into her novel, for instance); and the whole complex inner city that is a relationship with another human being. Maybe language, too–the most personal lens on the world, our voice.

There seems to be a chicken-and-egg question with regard to adaptation, travel, and growth. What doesn’t travel cannot learn to adapt. Yet what doesn’t grow doesn’t travel well, either.

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