PHOTO: "Cloistered Assemblage" paperweight by Paul Stankard, glassblower and lover of words. I'm drawn to his floating orbs and tiny root people (look carefully at that tangle of roots) and mystical blossoms. For more, go to
http://www.paulstankard.com/. Yes, you may send me one!
BRODKEY'S CEILThe house had very large windows that went down quite close to the floor. These windows had drawn shades that were an inhumanly dun-yellow color, a color like that of old lions in the zoo, or the color of corn tassels, of cottonwood leaves after they have lain on the ground a while—that bleached and earthen clayey white-yellow.
Some time ago—I don’t remember when—I thought to rid myself of this sort of repetition of metaphor, rhythmical and hypnotic but redundant. It seemed to me a sort of tic of our time. The more metaphors one piled up, the more detailed and yet more diffuse the original subject became. They had no function; there was no adequate reason for their existence.
But in Harold Brodkey’s story, “Ceil,” that sort of repetitive piling-up of detail that cannot finally lead one to a single clear vision is the whole being of the story—structure, goal, impossible desire. The narrator’s struggle to bring into focus the mother who died when he was a baby is a heaping up of detail that cannot call her into being. It is all “useless significance.”
It seems that all flaws are usable.
By the end of the story, one finds that even living women are difficult to know. The narrator's gleanings, quoted from the woman who raised him, give way to a comments about her by a third woman. Ultimately, the truth about women—or, indeed, about any human being—proves slippery.
One of the things about the story that I find interesting is the way Brodkey moves from two tiny paragraphs: “I was born in her bedroom, at home” and “I feel her, I feel her moods” to a thing that the narrator believes to be a memory. A train passes and shakes the house.
One thing that interests me here is inheritance. The description of the train with its build-up and falling-away strikes me as one of those passages that owe their existence to Mark Twain’s famous description of the arrival and departure of a steamboat in Huck
leberry Finn. In part that may because I’ve written a description of a train that reminded me of Twain. But if you are an American writer, you very likely can’t
help remembering Twain when any human conveyance arrives with great bustle and departs, leaving a lull in its wake.
I think of Hemingway’s claim that all American literature descended from Mr. Mark Twain.
The long train passage appears to have some sort of correspondence with the simple statement that the narrator was born in the house. The steady shaking that moves with “quickening rhythm” toward “unremitting noise,” “battering waves,” and a state where the house “throbs in an aching shapelessness” is an analogue to his mother’s body and the uncontrollable rhythms of childbirth. All these details—so clear when placed together—are submerged in the larger description of the train. Afterward, in the next section, he remembers the country smell of the house. Then he recalls his mother’s torso in a print dress. The next section is the one quoted above, beginning with “the house had very large windows.” Juxtaposition makes one read the country house as a parallel the country-loving Ceil. Likewise, the closed-in house suggests an analogue to the “isolated” mother.
People are link-making creatures. The less “bald” the links are, the more satifying it is to leap the chasm.
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SHAARA FROLICSMy penpal Howard Bahr has won The Michael Shaara Award for his novel,
The Judas Field (Holt, 2006). Since most news on the literary front is discouraging—the decline of book review sections and the death of reading and poor sales seem to be the focus of book-related headlines these days—I feel very glad for this piece of news. It’s curious that Howard, my penpal Philip Lee Williams, and I have all won the Shaara. We’ll have to chalk it up to good taste and put up a clubhouse sign; I’d like a treehouse somewhere.
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"MY SUMMER VACATION"
Summer has flown. Among other things, B and R experienced a certain amount of gainful employment. N attended a prodigious number of day camps and one away camp. While he was there, I went with R to the Center for Cartoon Studies in White River Junction, Vermont. She was under their age limit, so I served as chaperone and sushi provider for a week—went to Steve Bissette’s movie night but otherwise kept my head down except at the end of the day, when I popped in to look at the work done. We stayed at the down-at-the-heels but pleasant Hotel Coolidge, just down the street. After it rained, a fire hose hung off the roof, discharging water in great arterial bursts. It was my easiest week of the summer. I worked on a book, walked, and had picnics.
At the end of the summer, the children and I zoomed off to North Carolina—to Cullowhee and afterward to Aiken, South Carolina and then to Sunset Beach, all with my mother; I regret that I didn’t make it to Chapel Hill, as I wanted to see many people. But it was lovely to spend time with my mother and one of my cousins, and my husband flew down for a stay at the shore. R was stung by jellyfish. How long does it take for that irritation to go away, I wonder? I had two especially grand days for poems at the beach, and came home with six new keepers. Good fishing!
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FAE MALANIA
For those of you who were interested in Fae Malania and the reprint of her book, Fae is in the hospital. She is 88 now, a time when hospital visits are not so much of a surprise. Yesterday she seemed much better. I smuggled N over for a visit, as he is good for spreading cheer.
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AT HUNTINGTON LIBRARY
Is it possible to talk about books and do a reading without meeting some young, aspiring writer? Only if he or she is shy and doesn’t speak, I suppose. I like talking to them but also feel a kind of sadness, since the path through publishing can be so thorny. One wants to warn them about peril and black slough and promises that are only a fine glitter. Perhaps their way of publishing will be altogether different from mine, given the flux of things.
I've been working on my current poetry manuscript and thinking that I ought to be energetic and send out more little white envelopes--somehow I've managed to place eighteen poems in the past ten days, even though I am lazy about such things. Here are a few new online poems: "The Fall," "The Starflower," and "Spell for Raine" (a poem written in memory of Kathleen Raine) are in the just-out "Loss and Restoration" issue of Mythic Passages at the Mythic Imagination site. In addition, there's a poem I wrote in memory of my elderly friend Fae Malania (writer of spiritual essays) in the January/February print issue of Books & Culture. It has now popped up on line as well. The editor, John Wilson, helped us along the path to getting a reprint of Fae's long out-of-print Knopf book, The Quantity of a Hazelnut (Seabury, 2005), so this is perfect placement of a poem. Upcoming: A poem in my Self-portrait as Dryad series will turn up on qarrtsiluni some day soon. It feels luxurious to be giving them a poem rather than editing an issue. Illustration: the hardcover jacket / paperback cover to my first book of poems, Claire (Louisiana State University, 2003.) Unfortunately I will not be publishing my second book of poems with LSU because Claire has not sold a sufficient number of copies.
