Capital: Old Clay

Morning!

Fun Reading: Malazan!

This is the third book in a ten-book series.
Steven Erikson's Memories of Ice.
Erikson's heroic fantasy is real literature, invoking and breaking the stale cliches of the genre, enlivening character and plot with insight, wit, humor, and compassion, pulling and pushing his readers to the brink of expectation and trauma, again and again.

Very fine writing.





Whiskeyjack, man.  Really?

Feast

For the body and for the soul.

Homer's Iliad: Anti-Indoctrination

Reading Homer’s Iliad is anti-indoctrination.  Is Homer praising war and heroism or questioning their value?  Is Homer advocating for the gods or calling faith in Zeus and his family into question?  Is Achilles or Hector the true heroic model?  Both? Neither?

Aside from the urgent questioning, we are given urgent empathy as well.  The Trojans, the putative enemies, are not the Other, but they are brothers and mothers, fathers and sisters.  All are mortal, and wrath is understandable, but not entirely justifiable in action and effect.

Read Homer’s Iliad and be mortal in the best sense.

Class Planning

Spring 2018:
Why ever not?

Literary Default: Heroic Fantasy

Sword & sorcery, heroic fantasy, classical epic -- my favorite genre (yes, singular) no matter the space-time continuum.  Last spring I was teaching Homer's Iliad, now I am reading Erikson's Reaper's Gale.  Leiber's Fafhrd & the Gray Mouser series fits somewhere in between, as does Byron's Don Juan.

Not as Obvious as It Ought to Be

Teach the book on its merits, not on its laurels.

(And by book, I mean anything.  I mean specific books first, of course, the ones by Homer and Melville and Austen and Shakespeare and whomever is popular in the moment, but I certainly mean anything also.)

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."

"When the Ancients Speak"

In a lecture given at Oxford, Wilamowitz said: 'To make the ancients speak, we must feed them with our own blood.' When the ancients speak, they do not merely tell us about themselves. They tell us about us. They do that in every case in which they can be made to speak, because they tell us who we are. That is, of course, the most general point of our attempts to make them speak. They can tell us not just who we are, but who we are not: they can denounce the falsity or the partiality or the limitations of our images of ourselves. I believe they can do this for our ideas of human agency, responsibility, regret, and necessity, among others.

--Bernard Williams
from Shame and Necessity (pages 19-20)

Here's the link to the book itself from UC Press.

Late-Night Medley

Frost-giant (head):
soldate clay;
abalone glazing.

Mateo: Three Faces (Naked, Hoplite, Diver)

Mateo in Morning Light.

As with living humans, that light can show nakedly the signs and emblems of age.

I think I did a fair job of capturing some of me at fifty, though in other ways this piece is a younger me and/or not me quite at all.  (If that's confusing, that's the Gemini coming through.)

Piece sculpted in a Self-Portrait Class: Summer 2011.

I've posted shots of this figure in the past on this blog.  

Hit the "Mateo" label-link below to see the other shots and commentary, if you'd like.

Mateo as Hoplite / Greek Warrior.

I use the helmet as a visual aid, seriously and/or humorously, when teaching Homer's epics or any of the Greek tragedies.

Mateo: Free Diver.

That's an old mask from the '80s.  Note the side ports for greater range of vision while diving.

This particular mask I picked up and gave to my father to encourage him to swim laps.  He didn't like the feel of standard swim goggles, so I suggested such a mask.  When he didn't pick one up for himself, I made a gift of this one.  I don't think he ever used it more than once or twice, at best.

Mateo: sculpture mix; denim glazing, poured over and mostly wiped off.

For the record, I'm not crazy about the end results here, but making this piece -- the largest single clay piece I've ever made -- has taught me much, not least about envisioning outcomes and artistic control.   The pallor is slightly disturbing, and the shininess of the blue seems just a bit too much.  I am not sure what I had expected or imagined when I glazed the piece.  And yet, Mateo strikes me as a very undersea  fellow, as a merfolk stand-in, which seems quite suitable too.

"My Aim Is True": Novel Navigation?

Or, By Bluff and Blunder?
Or, Compassion As Compass?
Or, Pin The Tale On The Donkey?

I'll stop with the subtitles, the alternative guides, and move to my central concern.  Here are three quotations that I've probably offered before, but the last few days I've found them resonating alongside a certain ambition to craft a full-length narrative of mystery and adventure.

1.  "But I had learned long ago that resolution by itself is not enough; we are what we do, not what we think and feel."
--James Lee Burke, "Heaven's Prisoners"

Here I am quoting from memory, but this is a quotation that sticks with me, that offers a rather pitiless ideal, which draws me in even as I want to bring or find more compassion than those words offer. "Resolution" in the first part of the sentence definitely means "completion" or "finishing," not merely "deciding upon" or "resolving to do." I think this quotation will help me to set up the conflicts in the "novel" I'm attempting to outline/frame.

2.  Let's listen to my second-favorite ancient Greek poet:


I over-reached
And another
Bears the bother.

--Archilochos
trans. Davenport

I take that short poetic fragment with ruefulness, with regret in the tone, not triumph, though I can see the psychology that would exult in that way. I can see such, but save me and all of us from such, I say.


3.  And the last of the triad, for now:

“I've learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.”
--Maya Angelou

Fourth?  Frankly, on reflection, I can see how all three of the quotations above spiral around each other, twining thematically into one threefold strand, and so further sayings may be called for.  Somehow, the supposed opening line of my absolute favorite ancient Greek poet's lost comic-epic also horns in . . . .

"He knew many things, and all of them badly."
Homer, from his lost Margites . . . .


I'm quoting from memory again here, but I think you can see I don't plan to tell a tale overburdened by seriousness.  And a fallible, flawed, but well-meaning character?  Who wouldn't like a bit of that?  I mean, aren't we constructed in that way ourselves, however we may aspire and resolve to do better?

And, that fourth selection just may be another way to say "Pin the tale on the donkey."

Odysseus: "A Spark Alive"

But this seemed best to him, as he thought it over.

He made his way to a grove above the water

on open ground, and crept under twin bushes

grown from the same spot--olive and wild olive--

a thicket proof against the stinging wind

or Sun's blaze, fine soever the needling sunlight;

nor could a downpour wet it through, so dense

those plants were interwoven. Here Odysseus

tunnelled, and raked together with his hands

a wide bed--for a fall of leaves was there,

enough to save two men or maybe three

on a winter night, a night of bitter cold.

Odysseus' heart laughed when he saw his leaf-bed,

and down he lay, heaping more leaves above him.

A man in a distant field, no hearthfires near,

will hide a fresh brand in his bed of embers

to keep a spark alive for the next day;

so in the leaves Odysseus hid himself,

while over him Athena showered sleep

that his distress should end, and soon, soon.

In quiet sleep she sealed his cherished eyes.

--Homer's Odyssey,

the very end of Book V: Sweet Nymph and Open Sea

in the frankly wonderful translation by Robert Fitzgerald.

A favorite passage of mine.

Swimming Lessons

I've decided to teach Melville's Moby Dick next semester with Homer's Odyssey and Shakespeare's Hamlet. I'm looking forward to helping my students swim with leviathans.

*See also this blog entry from last spring: http://mattduckworthunderwater.blogspot.com/2010/05/postcard-melvilles-practical-tattooing.html

From the Toolshed