Sea-Witch

Le Carre's "A Perfect Spy" is a Perfect Novel

Le Carre's A Perfect Spy is, I hazard to claim, a perfect novel.  It carries the adult thesis that the crucial shapings of character are emotional rather than rational, and it dramatizes such a range of humanity, such a range of response, in its pages.  I recently reread this novel -- while traveling in Germany, Austria, and Swizterland, very appropriately -- that I heartily endorse and recommend, and for some the trappings of espionage will be a feature, but I hope for others it will only be a mere distraction.

Le Carre's novel is both an excellent spy novel and a classic work of literature precisely because Le Carre is such a good watcher of humanity and such a good reporter of humane responses.  It's a thriller too.

Here's a passage that matters:

As for Pym, he was gazing on the glories of the kingdom he had dreamed of so long.  The German muse had no particular draw for him, then or later, for all his loud enthusiasm.  If she had been Chinese or Polish or Indian, it would have made no earthly odds.  The point was, she supplied Pym with the means, for the first time, to regard himself intellectually as a gentleman.  And for that Pym was eternally grateful to her.

As a first generation college student, I connect with this passage.  Studying English Literature at UC Berkeley enabled me to regard myself, intellectually, as a gentleman.  And that mattered.

The Telling

The telling.

That's what I like best about anything: stories, essays, novels, plays, epics.  That's what I love.

How the makers create meaning sentence by sentence, phrase by phrase, word by word, and sometimes morpheme by morpheme.  There's a wonderfully erotic ee cummings poem about bodies that has the phrase "I like its hows" and I'd apply that to every story, every essay, ever offered up to its readers.

The hows.  The telling.

I only wish I'd figured out in grad school how to craft that focus into an appropriate project.

Some might find that a shallow approach to literature, but there's a world of interest in that surface interface between teller and told, between player and audience, between maker and you.  

If you want to dive deep, you have to start at the surface and return to the surface.  There's more there there than we are often taught to understand and appreciate.  (And, frankly, most misreadings arise from lack of attention to detail, to the foundation, to the surface interface I'm calling attention to, to the there.)

Luckily, teaching intro to literature and intro to non-fiction at a community college allows me to delve so much into the telling on a daily basis.

Comfort for a Sore Throat

A hot toddy and a good book:
The Fall of the Kings
by Ellen Kushner and Delia Sherman.

I think this is my third reading.

Frog-Man II

Frog-Man
Sculpted 2011 or earlier;
Photos August 2018.

Sculpture mix; glazed with transparent brown and (lightly, quickly) sea-foam.
(I was expecting more green from the sea-foam, but that was a misjudgment on my part.)

Pinnacle

I have taken so many shots of this pinnacle.  I really ought to check my archives and present a blogpost on the different moods, the different silent voices of this one hunk of stone.  I don't really explore.   I really enjoy coming back to the same few places again and again and again in different seasons, different weathers, different mindsets.  And, just as I love getting coffee at Moody's and a fish & chip dinner at Sea Pal Cove in the harbor, I love looking at this pinnacle from the deck of my kayak or, even better, from the water itself.

Sam Hamill: "The Nets"

THE NETS

Somewhere someone is untangling
the heavy nets of desire
beside a small fire at the edge of the sea.

He works slowly, fingers bleeding,
half thinking, half listening, knowing
only that the sea makes him thirsty.

--SAM HAMILL


from Gratitude, 
BOA Editions, Ltd.
Rochester, NY  1998

SAPPHO: Poetry

A few selections from the Greek poet Sappho (translated by Mary Barnard):


#39 He is more than a hero

He is a god in my eyes—
the man who is allowed
to sit beside you—he
 
who listens intimately
to the sweet murmur of
your voice, the enticing

laughter that makes my own
heart beat fast.  If I meet
you suddenly, I can’t

speak—my tongue is broken;
a thin flame runs under
my skin; seeing nothing,

hearing only my own ears
drumming, I drip with sweat;
trembling shakes my body

and I turn paler than
dry grass.  At such times
death isn’t far from me.


#44 Without warning

as a whirlwind
swoops on an oak
Love shakes my heart.


#45 If you will come

I shall put out
New pillows for
You to rest on.


#65 Persuasion

Aphrodite’s
daughter, you
cheat mortals.


#53 With his venom

Irresistible
and bittersweet

that loosener
of limbs, Love

reptile-like
strikes me down.


#41 To an army wife, in Sardis:

Some say a cavalry corps,
some infantry, some, again,
will maintain that the swift oars

of our fleet are the finest
sight on dark earth; but I say
that whatever one loves, is.

This is easily proved: did
not Helen—she who had scanned
the flower of the world’s manhood—

choose as first among men one
who laid Troy’s honor in ruin?
warped to his will, forgetting

love due her own blood, her own
child, she wandered far from him.
So Anactoria, although you

being far away forget us,
the dear sound of your footstep
and light glancing in your eyes

would move me more than glitter
of Lydian horse or armored
tread of mainland infantry


#84 If you are squeamish

Don’t prod the
beach rubble.


*See Mary Barnard's translations of Sappho's poetry, introduced by Dudley Fitts, published by the University of California Press.

Class Planning

Spring 2018:
Why ever not?

Dear Lord Byron . . . .

I've been teaching some books about specific obsessions, and in order for my students to understand that I was not judging or maligning the authors for their obsessions, I made a bit of a joke about understanding obsession myself, about being obsessed.  I mentioned my nine years in graduate school and detailed how I'd not only read and annotated all that Lord Byron had written, published or not published, but also had read and annotated the thirteen volumes of his letters that we have and had read and annotated the letters sent to him and had even started reading and annotating all that Byron himself had read . . . in chronological order.

(And that's not counting the bookcase or two full of literary scholarship on Lord Byron and English Romanticism and European history and heroism I also read and annotated.)

What started out as a joke became a little more serious: I do understand obsession.

I survived mine, but not everyone does.

What Nisus Said

Nisus ait: 'dine hunc ardorem mentibus addunt,
Euryale, an sua cuique deus fit dira cupido?'


Nisus said, Do the gods add this heat to the mind,
Euryalus, or does a man's own dire desire become a god to him?

-- Virgil's Aeneid IX, 184-185
(my translation)

Keats and Yeats: Two Odes

ODE TO A NIGHTINGALE

My heart aches, and a drowsy numbness pains
         My sense, as though of hemlock I had drunk,
Or emptied some dull opiate to the drains
         One minute past, and Lethe-wards had sunk:
'Tis not through envy of thy happy lot,
         But being too happy in thine happiness,—
                That thou, light-winged Dryad of the trees
                        In some melodious plot
         Of beechen green, and shadows numberless,
                Singest of summer in full-throated ease.

O, for a draught of vintage! that hath been
         Cool'd a long age in the deep-delved earth,
Tasting of Flora and the country green,
         Dance, and Provençal song, and sunburnt mirth!
O for a beaker full of the warm South,
         Full of the true, the blushful Hippocrene,
                With beaded bubbles winking at the brim,
                        And purple-stained mouth;
         That I might drink, and leave the world unseen,
                And with thee fade away into the forest dim:

Fade far away, dissolve, and quite forget
         What thou among the leaves hast never known,
The weariness, the fever, and the fret
         Here, where men sit and hear each other groan;
Where palsy shakes a few, sad, last gray hairs,
         Where youth grows pale, and spectre-thin, and dies;
                Where but to think is to be full of sorrow
                        And leaden-eyed despairs,
         Where Beauty cannot keep her lustrous eyes,
                Or new Love pine at them beyond to-morrow.

Away! away! for I will fly to thee,
         Not charioted by Bacchus and his pards,
But on the viewless wings of Poesy,
         Though the dull brain perplexes and retards:
Already with thee! tender is the night,
         And haply the Queen-Moon is on her throne,
                Cluster'd around by all her starry Fays;
                        But here there is no light,
         Save what from heaven is with the breezes blown
                Through verdurous glooms and winding mossy ways.

I cannot see what flowers are at my feet,
         Nor what soft incense hangs upon the boughs,
But, in embalmed darkness, guess each sweet
         Wherewith the seasonable month endows
The grass, the thicket, and the fruit-tree wild;
         White hawthorn, and the pastoral eglantine;
                Fast fading violets cover'd up in leaves;
                        And mid-May's eldest child,
         The coming musk-rose, full of dewy wine,
                The murmurous haunt of flies on summer eves.

Darkling I listen; and, for many a time
         I have been half in love with easeful Death,
Call'd him soft names in many a mused rhyme,
         To take into the air my quiet breath;
                Now more than ever seems it rich to die,
         To cease upon the midnight with no pain,
                While thou art pouring forth thy soul abroad
                        In such an ecstasy!
         Still wouldst thou sing, and I have ears in vain—
                   To thy high requiem become a sod.

Thou wast not born for death, immortal Bird!
         No hungry generations tread thee down;
The voice I hear this passing night was heard
         In ancient days by emperor and clown:
Perhaps the self-same song that found a path
         Through the sad heart of Ruth, when, sick for home,
                She stood in tears amid the alien corn;
                        The same that oft-times hath
         Charm'd magic casements, opening on the foam
                Of perilous seas, in faery lands forlorn.

Forlorn! the very word is like a bell
         To toll me back from thee to my sole self!
Adieu! the fancy cannot cheat so well
         As she is fam'd to do, deceiving elf.
Adieu! adieu! thy plaintive anthem fades
         Past the near meadows, over the still stream,
                Up the hill-side; and now 'tis buried deep
                        In the next valley-glades:
         Was it a vision, or a waking dream?
                Fled is that music:—Do I wake or sleep?

--JOHN KEATS




BYZANTIUM

The unpurged images of day recede;
The Emperor's drunken soldiery are abed;
Night resonance recedes, night-walkers' song
After great cathedral gong;
A starlit or a moonlit dome disdains
All that man is,
All mere complexities,
The fury and the mire of human veins.

Before me floats an image, man or shade,
Shade more than man, more image than a shade;
For Hades' bobbin bound in mummy-cloth
May unwind the winding path;
A mouth that has no moisture and no breath
Breathless mouths may summon;
I hail the superhuman;
I call it death-in-life and life-in-death.

Miracle, bird or golden handiwork,
More miracle than bird or handiwork,
Planted on the starlit golden bough,
Can like the cocks of Hades crow,
Or, by the moon embittered, scorn aloud
In glory of changeless metal
Common bird or petal
And all complexities of mire or blood.

At midnight on the Emperor's pavement flit
Flames that no faggot feeds, nor steel has lit,
Nor storm disturbs, flames begotten of flame,
Where blood-begotten spirits come
And all complexities of fury leave,
Dying into a dance,
An agony of trance,
An agony of flame that cannot singe a sleeve.

Astraddle on the dolphin's mire and blood,
Spirit after spirit! The smithies break the flood,
The golden smithies of the Emperor!
Marbles of the dancing floor
Break bitter furies of complexity,
Those images that yet
Fresh images beget,
That dolphin-torn, that gong-tormented sea.

--WILLIAM BUTLER YEATS

Robert Graves: Three Wanton Poems

THE KISS

Are you shaken, are you stirred
    By a whisper of love,
Spellbound to a word
    Does Time cease to move,
Till her calm grey eye
    Expands to a sky
And the clouds of her hair
    Like storms go by?

Then the lips that you have kissed
    Turn to frost and fire,
And a white-steaming mist
    Obscures desire:
So back to their birth
    Fade water, air, earth,
And the First Power moves
    Over void and dearth.

Is that Love? no, but Death,
    A passion, a shout,
The deep in-breath,
    The breath roaring out,
And once that is flown,
    You must lie alone,
Without hope, without life,
    Poor flesh, sad bone.



DOWN, WANTON, DOWN!

Down, wanton, down! Have you no shame
That at the whisper of Love's name,
Or Beauty's, presto! up you raise
Your angry head and stand at gaze?

Poor bombard-captain, sworn to reach
The ravelin and effect a breach--
Indifferent what you storm or why,
So be that in the breach you die!

Love may be blind, but Love at least
Knows what is man and what mere beast;
Or Beauty wayward, but requires
More delicacy from her squires.

Tell me, my witless, whose one boast
Could be your staunchness at the post,
When were you made a man of parts
To think fine and profess the arts?

Will many-gifted Beauty come
Bowing to your bald rule of thumb,
Or Love swear loyalty to your crown?
Be gone, have done! Down, wanton, down!


THE SNAPPED THREAD


Desire, first, by a natural miracle
United bodies, united hearts, blazed beauty;
Transcended bodies, transcended hearts.

Two souls, now unalterably one
In whole love always and for ever,
Soar out of twilight, through upper air,
Let fall their sensous burden.

Is it kind, though, is it honest even,
To consort with none but spirits-
Leaving true-wedded hearts like ours
In enforced night-long separation,
Each to its random bodily inclination,
The thread of miracle snapped?


---THREE POEMS BY ROBERT GRAVES

Salt Longing

Looking back: 8/8/16

Note to a Friend

I have a hankering for a paddle at Mendocino, just for the sheer
practice and the place, but south and southwest swells make the north
route and even the south route both rough.  

The long drive, yes, but I
miss the caves and the specific landscape . . . .   Just mental
free-falling there.

Monterey has similar problems with a south swell, I think,
particularly if I am out of shape, as I am.  Hmmmmm.

So, I am thinking of good paddle-practice or paddle-experience.

What's your list of objectives or desires for a paddle outing this
coming weekend?

I would like to get wet and to sweat.

--MD

Salt Joy: Or, Paddling

The first drop?

Note that JP has three crab traps on that kayak.

A man and the bay.

Paddle-time: heading into the future.

Yule-Tide Greetings

May your yuletide be cheery, be bright, and be salty.
-----


Heed the reefs not yet charted
Seek that green isle beyond design

-from "Oh Malachi Malarkey"

Here's that whole poem:


OH MALACHI MALARKEY

When the ropes of reason slacken
When the veils of prudence thin
Then intuition harkens
Then souls fit skin to skin

Hope can be so brittle
Clay not fired to the core
Well-thrown bowls roughly handled
Scattered shells along the shore

Now there's a measure in the offing
Now the surges swell with pride
Say, is this canny craft a coffin?
Say, may your reach not fall too shy

Oh, Malachi Malarkey
Oh, Sophia Sophrosyne
Heed the reefs not yet charted
Seek that green isle beyond design

--MD

Fool's Gold; Or, The Admonition

How good is the book in your head--if it isn't on the page?
What book?
I don't see a book.
In the head or in the heart?

Page, page, page--that's what matters.

Story of my life.

Read less; write more.
Keep on reading, but write more.
Get it down; revise it.
Do the thing that needs to be done.

Voices in my head.

I'd quote my father, but then I'd just be looking for pity or mercy or something.

Right now the book in my head is a mixture of Homer and Robert E. Howard, John Fowles and Robert Stone, edited by Hemingway. All of which ought to make very little sense at all.

Not on the page.
Doesn't count.

I picked up a new used copy of James Lee Burke's Heaven's Prisoners from Pegasus Downtown yesterday, and now the book falls open to the exact page I was looking for--the previous owner/reader had my same hang-ups, I'm guessing--page 262:

"But I had learned long ago that resolution by itself is not enough; we are what we do, not what we think and feel."

Ouch.

As one of my students once said when faced with this same passage: "No mercy."

Whiskey Friday

Or, The Devil Is In The Details

Body English:
sculpture mix; transparent brown and shino glazing.
20-minute exercise.

The Winding and Unwinding

THE WINDING AND UNWINDING

The shape of your thought
Entices me
Quite as much as
The thought of your shape.

Clay-minded,
Bloody-brained,
Fickle as a stick in water:
I swim towards you.

I reach for you
Again and again and again
In thought, in force,
Not withholding aught
Save what wyrd demands
From each of us.

The winding and unwinding
Of time and tide,
Again releasing,
Again embracing,
Tasting and chasing,
Like river-otters sliding
Down the sloped bank.

The winding and unwinding
Of time and tide:
The rounded lift and heft,
The nipple’s assertion,
The twinned-blood rising
Like the swift pull
Of the river’s pulse
And penetration --
Flowing,
Falling,
Following –-

That shared current
Streaming just past the shore,
Stranding us between
Just enough
And quite enough.
___

Coda:
Laughing lips sip --
Swallow -- another draft.
Glasses, glances,
Clash and chime,
Toasting the new year.

Harken to the hearty
Admonition:
Draft, not drift.

--Matthew Duckworth