Body Language

Captain:
sending me signals.
Those ears back, and that tail like a metronome.

Idiomatic

Glenmorangie, a Scottish word for giving-thanks, I think.

McIlvanney: "The Language of My Living"

Here's a passage from one of William McIlvanney's novels that I've always liked.  The juxtaposition of humility and arrogance, the mix of what others think versus what the narrator knows, has stuck with me, has resonated over the years.  I recall giving this passage to a colleague, for I felt that the passage conveyed both his affect and his self-understanding, but he just smiled as he read, so I wasn't given a full commentary.  I relate and don't quite relate to what's voiced here, but it always resonates.

Here, read for yourself:

'Well,' she said.  'I'd better be going.'

I looked at her and nodded.  She smiled and pointed to the ground behind the cars.  There were tread-marks on the grass.

'Those,' she said.  'They'll always remind me of Scott.  Him and me here.  I wonder how long they'll last.  What is all this about for you really?  I mean.  What is it you're doing exactly?'

'I don't know exactly.  I suppose I'm trying to make my own peace with Scott's death.  I suppose this is how I do it.'

'How do I do it?'

She started suddenly to cry.

'Damn,' she said.  'Will you hold me one time for him?'

I crossed and held her.  It was a small, chaste ceremony of mutual loss.  Her hair in my face gave off a melancholy sweetness.  Clenched to her, I felt the tremors of her body, how the edifice of beauty was undermined from within with deep forebodings.  In the embrace I experienced our shared nature--so much questionable confidence containing so much undeniable panic.  That was me, too.  Some of my colleagues and bosses liked to say I was completely arrogant.  They misunderstood the language of my living.  Arrogance should be comparative.  Humility was total.  Faced with simplistic responses to life that tried to fit my living into themselves, I was arrogant.  I seemed to meet them every day and I knew I was more than they said I was.  But when I sat down inside myself in the darkness of a night, I knew nothing but my smallness.  I knew it now and shared it with hers.

--William McIlvanney,
Strange Loyalties,
A Harvest Book,
Harcourt Brace and Company,
1991

This is the third Laidlaw book, and the other two are worth looking for.  This one shifts the narration from third-person to first-person (and for excellent reasons).

Louise Gluck's "Dawn"

DAWN

1

Child waking up in a dark room
screaming I want my duck back, I want my duck back

in a language nobody understands in the least —

There is no duck.

But the dog, all upholstered in white plush —
the dog is right there in the crib next to him.

Years and years — that’s how much time passes.
All in a dream. But the duck —
no one knows what happened to that.

2

They’ve  just met, now
they’re sleeping near an open window.

Partly to wake them, to assure them
that what they remember of  the night is correct,
now light needs to enter the room,

also to show them the context in which this occurred:
socks half  hidden under a dirty mat,
quilt decorated with green leaves —

the sunlight specifying
these but not other objects,
setting boundaries, sure of  itself, not arbitrary,

then lingering, describing
each thing in detail,
fastidious, like a composition in English,
even a little blood on the sheets —

3

Afterward, they separate for the day.
Even later, at a desk, in the market,
the manager not satisfied with the figures he’s given,
the berries moldy under the topmost layer —

so that one withdraws from the world
even as one continues to take action in it —

You get home, that’s when you notice the mold.
Too late, in other words.

As though the sun blinded you for a moment.

--LOUISE GLUCK


(Thank you, AB, for the gift of the collected works!)

Body Language

Clay play:
body parts.

Nicolson's "Sea Room" -- Gaelic and Norse

Adam Nicolson's Sea Room is a memoir concerning the Shiant Islands in the Hebrides.  Nicolson inherited the islands from his father, and he pays tribute to the islands, their life and history, his own life and history as intertwined with his father's gift.  Here is a longish passage in which Nicolson reflects on the Gaelic/Norse heritage, and though I don't always (or quite) agree with his interpretation of the intrinsic relationships or the causal links between borrowings, I will say Nicolson's delivery takes me into this mixed-lineage, mixed-linguistic world.

(Freyja is Nicolson's trusty boat.)

Freyja does at least belong to that world.  I hold her tiller and she is my link to a chain that stretches over five hundred miles and a thousand years to the coast of Norway.  Because there is no timber on the Outer Hebrides, the commercial connection with the Baltic has remained alive.  Until no more than a generation ago, Baltic traders brought Finnish tar, timber and pitch directly to Stornoway and Tarbert in Harris.  Although Freyja's own timber comes from the mainland of Scotland, her waterproofing below the water-line is known as 'Stockholm tar': a wood tar, distilled from pine and imported from the Baltic at least since the Middle Ages.  Until well into the nineteenth century, kit boats in marked parts came imported fro Norway to the Hebrides, travelling in the hold of merchant ships, and assembled by boat builders in any notch or loch along the Harris or Lewis coast.  In 1828, Lord Teignmouth, the ex-Governor-General of India, friend of Wilberforce, came out to the Shiants in the company of Alexander Stewart, the farmer at Valamus on Pairc, who had tenancy of the islands.  They launched forth in this gentleman's boat, a small skiff or yawl built in Norway, long, narrow, peaked at both ends, extremely light, floating like a feather upon the water, and when properly managed, with the buoyancy and almost the security of a sea-bird on its native wave.

The British Imperialist, the liberal evangelical, member of the Clapham Sect, travels in a Viking boat on a Viking sea.  I nearly called Freyja 'Fulmar' because of that phrase of Teignmouth's.  No bird is more different on the wing than on the nest and in flight the fulmar is the most effortless of all sea birds.  It was that untroubled buoyancy in wind and water that I was after.  But Freyja's  fatness was what settled it.

Almost everything in her and the world now around her, if described in modern Gaelic, would be understood by a Viking.  The words used here for boats and sea all come from Old Norse and the same descriptions have been on people's lips for a millennium.  If I say, in Gaelic, 'windward of the sunken rock', 'the seaweed in the narrow creek', 'fasten the buoy', 'steer with the helm towards the shingle beach', 'prop the boat on an even keel', 'put the cod, the ling, the saithe and the coaley in the wicker basket', 'use the oar as a roller to launch the boat', 'put a wedge in the joint between the planking in the stern', 'set the sea chest on the frames amidships', 'the tide is running around the skerry', 'the cormorant and the gannet are above the surf', 'haul in the sheet', 'tighten the back stay', 'use the oar as a steerboard', or say of a man, 'that man is a hero, a stout man, the man who belongs at the stem of a boat', every single one of those terms has been transmitted directly from the language which the Norse spoke into modern Gaelic.  It is a kind of linguistic DNA, persistent across thirty or forty generations.

Sometimes the words have survived unchanged.  Oatmeal mixed with cold water, ocean food, is stappa in NOrse, stapag in Gaelic, although stapag is now made with sugar and cream.  With many, there has been a little rubbing down of the forms in the millennium that they have been used.  A tear in a sail is riab in Gaelic, rifa in Old Norse.  The smock worn by fisherman is sguird in Gaelic, skirta in Old Norse.  Sgaireag is the Gaelic for 'seaman', skari the Norse word.  And occasionally, there is a strange and suggestive transformation.  The Gaelic for a hen roost is the Norse word for hammock.  Norse for 'strong' becomes Gaelic for 'fat'.  The Norse word for rough ground becomes peat moss in Gaelic.  A hook or a barb turns into an antler.  To creep -- that mobile, subtle movement -- translates into Gaelic as 'to crouch': more still, more rooted to the place.  A water meadow in Norway, fit, becomes fidean: grass covered at high tide.  'To drip' becomes 'to melt'.  A Norse framework, whether of a house, a boat or a basket, becomes a Gaelic creel.

But it is the human qualities for which Gaelic borrowed the Viking words that are most intriguingly and intimately suggestive of the life lived around these seas a thousand years ago.  There is a cluster of borrowings around the ideas of oddity and suspicion.  Gaelic itself, if it had not taken from the invaders, would have no word for a quirk (for which it borrowed the Old Norse word meaning 'a trap'), nor for 'strife', nor 'a faint resemblance' -- the word it took was svip, the Norse for 'glimpse'.  The  Gaelic from 'lullaby' is taladh, from the Norse tal, meaning 'allurement', 'seduction'.

The vocabulary for contempt and wariness suddenly vivifies that ancient moment.  Gaelic borrowed Norse revulsion wholesale.  Noisy boasting, to blether, a coward, cowardice, surliness, an insult, mockery, a servant, disgust, anything shrivelled or shrunken (sgrogag from the Old Norse skrukka, an old shrimp,) a bald head, a slouch, a good-for-nothing, a dandy, a fop, a short, fat, stumpy woman (staga from stakka, the stump of a tree), a sneak (stig/stygg), a wanderer -- all this was something new, and had arrived with the longships.  Fear and ridicule, the uncomfortable presence of the distrusted other, the ugly cross-currents of two worlds, the broken and disturbing sea where those tides met: all this could only be expressed in the odd new language the strangers brought with them.

--Adam Nicolson

Adam Nicolson,
Sea Room: An Island Life in the Hebrides,
North Point Press: New York,
2001

I've quoted from pages 30-33.

William Dunbar's "Lament for the Makers"

LAMENT FOR THE MAKERS

I that in heill was and gladness
Am trublit now with great sickness
And feblit with infirmitie: --

Timor Mortis conturbat me.

Our plesance here is all vain glory,
This fals world is but transitory,
The flesh is bruckle, the Feynd is slee: --

Timor Mortis conturbat me.

The state of man does change and vary,
Now sound. now sick, now blyth, now sary,
Now dansand mirry, now like to die: --

Timor Mortis conturbat me.

No state in Erd here standis sicker;
As with the wynd wavis the wicker
So wannis this world's vanitie: --

Timor Mortis conturbat me.

Unto the Death gods all Estatis,
Princis, Prelattis, and Potestatis,
Baith rich and poor of all degree: --

Timor Mortis conturbat me.

He takis the knichtis in to the field
Enarmit under helm and scheild;
Victor he is at all mellie: --

Timor Mortis conturbat me.

That strong unmerciful tyrand
Takis, on the motheris breast sowkand,
The babe full of benignitie: --

Timor Mortis conturbat me.

He takis the campion in the stour,
The captain closit in the tour,
The lady in bour full of bewtie: --

Timor Mortis conturbat me.

He spairis no lord for his piscence
Na clerk for his intelligence;
His awful straik may no man flee. --

Timor Mortis conturbat me.

Art-magicianis and astrologic,
Rethoris, logicianis, and theologis,
Them helpis no conclusionis slee: --

Timor Mortis conturbat me.

In medecine the most practicianis,
Leechis, surrigianis and physicianis,
Themself from Death may nocht supplee: --

Timor Mortis conturbat me.

I see that makaris amang the lave
Playis is here their padyanis, syne gods to grave;
Sparit is nocht their facultie: --

Timor Mortis conturbat me.

He has done petuously devour
The noble Chaucer, of makaris flour,
The Monk of Bury, and Gower, all three: --

Timor Mortis conturbat me.

The good Sir Hew of Eglintoun,
Ettrick, Heriot, and Wintoun,
He has tane out of this cuntrie: --

Timor Mortis conturbat me.

That scorpion fell has done infeck
Maister John Clerk, and James Afflek,
Fra ballat-making and tragedie: --

Timor Mortis conturbat me.

Holland and Barbour he has berevit ;
Alas! that he not with us levit
Sir Mungo Lockart of the Lee: --

Timor Mortis conturbat me.

Clerk of Tranent eke he has tane,
That made the aventeris of Gawaine;
Sir Gilbert Hay endit has he: --

Timor Mortis conturbat me.

He has Blind Harry and Sandy Traill
Slain with his schour of mortal hail,
Quhilk Patrick Johnstoun might nocht flee: --

Timor Mortis conturbat me.

He has reft Mersar his endite
That did in luve so lively write,
So short, so quick, of sentence hie: --

Timor Mortis conturbat me.

He has tane Rowll of Aberdene,
And gentill Rowll of Cortorphine;
Two better fallowis did no man see: --

Timor Mortis conturbat me.

In Dunfermline he has tane Broun
With Maister Robert Henrysoun;
Sir John the Ross enbrasit has he: --

Timor Mortis conturbat me.

And he has now sane, last of a,
Good gentil Stobo and Quintin Shaw.
Of quhom all wichtis hes pitie: --

Timor Mortis conturbat me.

Good Maister Walter Kennedy
In point of Dedth lies verily;
Great ruth it were that so suld be: --

Timor Mortis conturbat me.

Sen he has all my brothers sane,
He will nocht let me live alane;
Of force I mon his next prey be: --

Timor Mortis conturbat me.

Since for the Death remeid is none,
Best is that we for Death dispone
After our death that live may we: --

Timor Mortis conturbat me.

 --William Dunbar (1460?-1520?)


From The Oxford Book of English Verse, 1250-1900,
edited by Arthur Quiller-Couch.
Oxford : Clarendon Press ; London.

John Montague: "A Slow Exactness"

A BRIGHT DAY

for John MacGahern

At times I see it, present
       As a bright day, or a hill,
The only way of saying something
      Luminously as possible.

Not the accumulated richness
      Of an old historical language --
That musk-deep odour!
      But a slow exactness

Which recreates experience
      By ritualizing its details --
Pale web of curtain, width
      Of deal table, till all

Takes on a witch-bright glow
      And even the clock on the mantel
Moves its hands in a fierce delight
      Of so, and so, and so.

--John Montague

Alexandra Teague's "Language Lessons"

LANGUAGE LESSONS

The carpet in the kindergarten room

was alphabet blocks; all of us fidgeting

on bright, primary letters. On the shelf

sat this week's inflatable sound. The Th

was shaped like a tooth. We sang

about brushing up and down, practiced

exhaling while touching our tongues

to our teeth. Next week, a puffy U

like an upside-down umbrella; the rest

of the alphabet deflated. Some days,

we saw parents through the windows

to the hallway sky. Look, a fat lady,

a boy beside me giggled. Until then

I'd only known my mother as beautiful.

--Alexandra Teague,

from her recent --and recently award-winning-- volume

Mortal Geography.

I love this book of poems.

"Language Lessons" catches more than a moment of childhood, I think.