The Rake Magazine

We've been having some pretty ridiculously great weather lately. If I had a real job (sorry, Mom), I probably would have played hooky last week to go and hang out by one of the lakes. Instead I just read a bit by Calhoun, but without the sense of freedom (or guilt) of having emancipated myself from a necktie.

Anyway. The poetic equivalent to our early summer comes, I think, in the verses of former U.S. poet laureate Billy Collins. Whenever I finish one of his poems, I just feel so damn pleasant afterwards.

Maybe here's why (from an interview with Collins conducted by The Cortland Review):

Collins: Most of the devices used in poetry-meter and rhyme and assonance and the other kinds of tropes or effects-are really meant to give the ear pleasure in a way that prose does not. Poetry also appeals to the ear because poetry is an interruption of silence. A poem should be preceded by silence and followed by silence. A poem for me displaces silence the way your body displaces water.

Or maybe here's why (from an interview with Collins conducted by Terra Incognita):

Collins: I am extremely reader-conscious, perhaps because I am tired of reading poems that seem to ignore the reader. I feel that I am talking to a reader/listener as I write, so that a good deal of my effort is just to make the poem clear. To get things in the right sequence so that the poem is easy to follow. Not just easy, but easy to follow because the poem is going somewhere, and I want the reader along to share whatever surprises the journey may hold. I try to begin the poem on a common ground, which is a way of assembling a little group around the campfire of the poem. Scoutmaster Collins will then tell some scary stories.

Or maybe here's why (from an interview with Collins conducted by Guernica):

Collins: There's a great pleasure in-I wouldn't say ease, but maybe kind of a fascinated ease that accompanies the actual writing of the poem. I find it very difficult to get started. There are just long gaps where I can't find a point of insertion, I can't find a good opening line, I can't find a mood that I want to write into. But once I do, once a line falls out of the air, or I get a little inkling of a subject and I recognize that, it's like the sense that a game has started. Part of writing is discovering the rules of the game and then deciding whether to follow the rules or to break them. The great thing about the game of poetry is that it's always your turn-I guess that goes back to my being an only child. So once it's under way, there is a sense of flow.

And now one of his poems. This is from his Nine Horses collection. (Click the link to buy it...)

Aimless Love

This morning as I walked along the lakeshore,
I fell in love with a wren
and later in the day with a mouse
the cat had dropped under the dining room table.

In the shadows of an autumn evening,
I fell for a seamstress
still at her machine in the tailor's window,
and later for a bowl of broth,
steam rising like smoke from a naval battle.

This is the best kind of love, I thought,
without recompense, without gifts,
or unkind words, without suspicion,
or silence on the telephone.

The love of the chestnut,
the jazz cap and one hand on the wheel.

No lust, no slam of the door -
the love of the miniature orange tree,
the clean white shirt, the hot evening shower,
the highway that cuts across Florida.

No waiting, no huffiness, or rancor -
just a twinge every now and then

for the wren who had built her nest
on a low branch overhanging the water
and for the dead mouse,
still dressed in its light brown suit.

But my heart is always propped up
in a field on its tripod,
ready for the next arrow.

After I carried the mouse by the tail
to a pile of leaves in the woods,
I found myself standing at the bathroom sink
gazing down affectionately at the soap,

so patient and soluble,
so at home in its pale green soap dish.
I could feel myself falling again
as I felt its turning in my wet hands
and caught the scent of lavender and stone.

In the corner of St. Croix Antiquarian Booksellers, over by the color-coded antique maps, is a framed edict that's actually more of a poem:

"I, Richard Booth
King of Hay
Lord of all booktowns
& their protector in perpetuity
hereby declare that
Stillwater Minnesota
Is the first booktown
In the western hemisphere.
Let no one gainsay
Or dare to dispute
This is my official decree."

I'm writing this too late: Booktown has now mostly disbanded. Gary Goodman, who owns the shop, pointed across the street. "There used to be thirty-two booksellers in that building," he said. Now, like much of historic downtown Stillwater, it's an antique mall. Goodman then began to count in his head the number of tomes that used to fill the stores by the St. Croix. "I think there used to be five-hundred-thousand books in the Stillwater area," he tallied.

Not anymore. The number of bookstores has dwindled down to four. There's St. Croix Antiquarian, which is the biggest and most impressive; The Valley Bookseller, which is this town's Wild Rumpus, with its vast childrens' section and its cage of assorted, fluorescent birds; Chestnut Street Books, a new-and-used shop which has limited hours that coincide with likely tourist rushes (they're closed Mondays and Tuesdays, and generally don't open before noon); and then a theologically based bookstore that's a bit off from the main drag, in a spot which residents refer to as, "Up the hill."

It's the usual story of Amazon, EBay, and AbeBooks, Goodman explained, all of which allow individuals to unload their books at better prices than stores might pay for them, and to do so more conveniently. Even Valley Booksellers - by far the most conventional of the shops - seems to be feeling the unfortunate tug of the Internet. For the local high school's required summer reading, they'd ordered twenty copies of Hemingway's The Old Man and the Sea. As of today, nineteen were still on the shelf. "Maybe by August, when school's closer to starting, most of them will be gone," a blond clerk said hopefully.

I had the idea for this blog post since last summer, but hadn't gone back to Stillwater until this week. It was supposed to be about how their downtown had an incredibly impressive wealth of independent bookstores, their inventories unmatched by most sellers in the Twin Cities. (Hell, in terms of rare, out-of-print, and first editions, some of these places gave The Strand a run for its money. Antiquarian still does.)

I'd wanted to focus part of the piece on a new-and-used shop that had been on the corner of Main Street and East Chestnut Street, which Goodman estimated had once held 250,000 books. Now it's the Summit Boardshop, a place that sells skate- and snowboards, its title written on the building in faux graffiti.

Nevertheless, those bookstores that remain, while they remain, are worth checking out. (And this is the real tragedy - they really all were worth checking out...now there's just fewer of them.) Their stocks are varied, unique, and unpredictable. At Antiquarian, my booknerd friend found an illustrated first edition of The Little Prince author Antoine de Saint Exupery's memoir, Wind, Sand and Stars, as well as an early translation of Kafka's The Castle, whose introduction reads, "Franz Kafka's name, so far as I can discover, is almost unknown to English readers."

These are treasures, and the booksellers in Stillwater that are left are full of them. My suggestion? If you have any interest in books, which if you've made it this far in the post I'm guessing you do, go while you still can.

The introduction to this week's Poem Worth Reading is taken from Bart Schneider's forthcoming novel, the highly Minneapolized The Man in the Blizzard:

"Sometimes I wonder why Americans are as afraid of poetry as they are of al-Qaeda. Screw the ones who've decided that poetry's an effete enterprise. Let ‘em party with the homophobes. It's the others who concern me, the folks who claim they don't get it, who think they're too dumb to read poetry. Thing is, they're not willing to be dumb enough. That's their problem. If you want to get inside a poem, you need to dumb down your senses. That's where the receptors are. You need to accept that you don't know. Why should you know? What's the matter with a little mystery? They think the poem's a theorem. If they can't solve it, if they can't control it, then they're afraid of it. It's so American to want it all or nothing. If you can't conquer it, what good is it? Americans have become so frozen with fear, they've lost their sense of play. It's time to lighten up and lower our expectations. It's time to rediscover our basic fluency. If a man's not fluent, if he ain't got flow, what chance does he have to converse with his soul?"

Isn't that kind of great?

And now the actual poem. This week's Poem Worth Reading is by Mohja Kahf, whose stuff I recently accidentally came across in a back issue of The Paris Review. The brief bio goes: She's Syrian-American, and kicks the ass of any stereotype that might be affixed to her. This one's from her latest collection, E-Mails from Scheherazad. She also has a novel, The Girl in the Tangerine Scarf, which is probably worth checking out. Bladao.

"Hijab Scene #7"

No, I'm not bald under the scarf
No, I'm not from that country
where women can't drive cars
No, I would not like to defect
I'm already American
But thank you for offering
What else do you need to know
relevant to my buying insurance,
opening a bank account,
reserving a seat on a flight?
Yes, I speak English
Yes, I carry explosives
They're called words
And if you don't get up
Off your assumptions
They're going to blow you away

Last night, The University Club of St. Paul hosted their annual Bloomsday celebration, honoring James Joyce's Ulysses, a novel whose action takes place on June 16, 1904. A group of eighty or so people, primarily sexagenarian (by one superficial participant's observations), gathered in a well-lit room.

Aside from a fairly amazing reading of Molly's soliloquy (by Molly Culligan, who could play Maude in Harold and Maude if it ever needed to be re-cast), little of the evening's events had much to do with the book itself. There were some Irish folk songs, some Irish-flamenco folk songs, a reading from a contemporary book that has been compared to Ulysses, and then some poems about Joyce and his tome.

At first I thought this was a little strange — shouldn't a holiday about Ulysses focus its festivities on the text? But then I was all like, Nah — that would probably be kind of boring, or at least predictable. I assume that everyone who celebrates Bloomsday has read Ulysses (who else would possibly care?) and maybe wants something separate from analyses and praises of the book.

In Dublin they do these sort of scavenger hunts, where people follow the paths of Leopold Bloom and/or Stephen Dedalus — the novel's principal characters — throughout the city, but that can't really be replicated in the Twin Cities, despite St. Paul's deep Irish roots.

So then I thought about Bloomsday's temporal proximity to Father's Day, and how maybe it should or could be a sort of anti-Father's Day. One of Ulysses's central themes is about the disowning of one's dad; Stephen is constantly trying to sever his ties with his father, while in a very morbid sense Bloom has been disowned by his son, who died. In The New Bloomsday Book — a wonderful paraphrase of Ulysses for any first-time reader — Harry Blamires describes what happens in the "Circe" episode: "Stephen runs away from his destiny. He flees the Pater, whether God, fatherland, Simon [his dad], home, Bloom, in his pursuit of freedom. Hunted, he gives the hunting cry, and Simon Dedalus swoops down on him like a buzzard."

Declan Kiberd adds to this in his introduction to Penguin's Annotated Student Edition of Ulysses, "The revolt of the son is never the cliché-rebellion against a tyrannical parent, but the more complex revolt against the refusal or inability of an ineffectual father to provide any lead at all."

Maybe for Bloomsday, all sons (and daughters) could run around with leashes padlocked around their necks, though no one holding the leash. All the fathers (and mothers) could have the keys to the padlocks ... and then lose them (another theme of the book is of lost keys/access/acceptance/etc). The day could be spent trying to wriggle out of our respective collars, probably to no avail. Just a thought.

That was the first part of the post. Now comes the second part.

As mentioned above, the crowd at The University Club was kind of small and kind of old. While no doubt there are some tight-jean'd hipsters out there reading Ulysses so they can say they read it, it's a little sad to me that the book's following seems to be dwindling.

I'm not sure if it's critics, or professors, or what, but there's definitely a stigma about the novel that suggests it's impenetrable. Ulysses is kind of like the stone that held Excalibur — we are told and believe that something invaluable and amazing exists therein, but it's simultaneously insinuated that, for the commoner, extracting that value is damn near impossible. There are a lot of potential readers, I think, who won't approach the book because they think it's inaccessible. In fact this might be the fault, or intention, of Joyce himself, who declared that his book was written as a kind of practical joke to keep critics busy for a hundred years.

Which is why it was so refreshing to come across this passage written by Anthony Burgess (author of A Clockwork Orange, etc) in his book ReJoyce:

My book does not pretend to scholarship, only to a desire to help the average reader who wants to know Joyce's work but has been scared off by the professors. The appearance of difficulty is part of Joyce's big joke; the profundities are always expressed in good round Dublin terms; Joyce's heroes are humble men. If ever there was a writer for the people, Joyce was that writer.

And really, the entire novel supports this thesis. While much of the prose is intentionally difficult and obfuscated, the dialogue is mostly straightforward — and powerful. Joyce said that what he intended to do was take a sandblaster to the history of the novel and wipe the slate clean. Each of the eighteen episodes presents us with a literary style that is emulated, satirized, and then discarded.

And then, finally, there is Molly's soliloquy. It is Joyce's gift to literature, the form of stream-of-consciousness writing. (Vladimir Nabokov calls it "Stepping Stones of consciousness" because he doesn't believe it's an actual stream — he argues that people think in images as well as words, and because there are no actual images in Ulysses, it cannot be the complete flow.)

Molly, Bloom's adulterous wife, is vulgar, simple, indulgent, human. And we get to see her thoughts and emotions from inside her skull. The lack of punctuation is dizzying, but as for the actual words, there's nothing difficult about Molly's internal monologue. Once you sync your own brain to hers — which happens pretty naturally — you can easily understand her thoughts. Of Bloom, for example, she thinks, "he never goes to church mass or meeting he says your soul you have no soul inside only grey matter because he doesnt know what it is to have one yes."

The rest of the book is necessary — it prepares us for the soliloquy, which might not have the same revelatory power without the slog it takes to get there. Nevertheless, Molly and the other characters, through their actual words and thoughts, transmit enough revelations — in mostly plain English — that really anyone can grasp the power of Ulysses. So, hopefully next year there will be some fresh faces at Bloomsday.

The introduction to this week's Poem Worth Reading is taken from Bart Schneider's forthcoming novel, the highly Minneapolized The Man in the Blizzard:

"Sometimes I wonder why Americans are as afraid of poetry as they are of al-Qaeda. Screw the ones who've decided that poetry's an effete enterprise. Let ‘em party with the homophobes. It's the others who concern me, the folks who claim they don't get it, who think they're too dumb to read poetry. Thing is, they're not willing to be dumb enough. That's their problem. If you want to get inside a poem, you need to dumb down your senses. That's where the receptors are. You need to accept that you don't know. Why should you know? What's the matter with a little mystery? They think the poem's a theorem. If they can't solve it, if they can't control it, then they're afraid of it. It's so American to want it all or nothing. If you can't conquer it, what good is it? Americans have become so frozen with fear, they've lost their sense of play. It's time to lighten up and lower our expectations. It's time to rediscover our basic fluency. If a man's not fluent, if he ain't got flow, what chance does he have to converse with his soul?"

Isn't that kind of great?

And now the actual poem. In honor of Bloomsday, which celebrates James Joyce's Ulysses every June 16 (the date of the book's action), I'm posting a piece by Jorge Luis Borges dedicated to Joyce. Here goes:

Invocation to Joyce

Scattered over scattered cities,
alone and many
we played at being that Adam
who gave names to all living things.
Down the long slopes of night
that border on the dawn,
we sought (I still remember) words
for the moon, for death, for the morning,
and for man's other habits.
We were imagism, cubism,
the conventicles and sects
respected now by credulous universities.
We invented the omission of punctuation
and capital letters,
stanzas in the shape of a dove
from the libraries of Alexandria.
Ashes, the labor of our hands,
and a burning fire our faith.
You, all the while,
in cities of exile,
in that exile that was
your detested and chosen instrument,
the weapon of your craft,
erected your pathless labyrinths,
infinitesmal and infinite,
wondrously paltry,
more populous than history.
We shall die without sighting
the twofold beast or the rose
that are the center of your maze,
but memory holds the talismans,
its echoes of Virgil,
and so in the streets of night
your splendid hells survive,
so many of your cadences and metaphors,
the treasures of your darkness.
What does our cowardice matter if on this earth
there is one brave man,
what does sadness matter if in time past
somebody thought himself happy,
what does my lost generation matter,
that dim mirror,
if your books justify us?
I am the others. I am those
who have been rescued by your pains and care.
I am those unknown to you and saved by you.

_{Translated by Norman Thomas di Giovanni}