Ruminations – Page 89

The Mystery of Misplaceable Modifiers

July 11, 2009 by John 16 Comments

According to numerous sources, J.R.R. Tolkien offered this memory of his first story — not the plot, not (really) the characters, not the setting, but the language:

I first tried to write a story when I was about seven. It was about a dragon. I remember nothing about it except a philological fact. My mother said nothing about the dragon, but pointed out that one could not say “a green great dragon,” but had to say “a great green dragon.” I wondered why, and still do.

I wonder that kind of stuff all the time. Sometimes you can sort of make sense of the “rule”; for instance, in an animal breed or species name which includes a modifier, you can’t reasonably separate the modifier from the noun. A friendly wire-haired terrier works. A wire-haired friendly terrier doesn’t — even though it imparts exactly the same information.

Other times, maybe, something just “sounds right” one way but not another. It was the longest, most difficult journey I ever took: yeah, that’s all right. It was the most difficult, longest journey I ever took: if I wrote that sentence, I’d immediately want to revise it.

Even when the two adjectives are of similar lengths and/or sounds, one alternative chimes and the other thuds. A cold, clear morning: ding! A clear, cold morning: whoomp!

I can’t believe I have much of anything in common with Tolkien — and nothing at all uniquely in common. So: What’s up with this? Any theories?

_____________________

P.S. This sort of thing must drive copy editors — and ESL teachers — crazy.

Stories in the Trees

July 10, 2009 by John 8 Comments

[The artwork above comes from a fantastic — fantastically rich, but also just literally fantastic — Web site called The Hermitage, from the mind and imagination of artist Rima Staines. She and her companion Tui seem to have a life straight out of fiction, as you can see from her blog. Check out their “wandering house,” which is to a motor home as a cottage is to an office, and her handmade clocks (!).]

From whiskey river:

Generations

Our stories lie down in the orchard,
their time is not now, but something is
coming, something is going away. They

rise to the stars, and wait to be told.
There are listeners who know how little
we know, how much we are feeling.

We had to go our own way, a little off course,
always, no matter how specific the directions
seemed at the time. In this universe if we’re lucky,

we will live in our children’s stories,
their tales that will turn us to legend,
some absurd truth that has nothing to do

with our plans, our meticulous records.
No matter what stories we discard or keep,
they will give us a life we cannot imagine.

(Jeanne Lohmann, from The Light of Invisible Bodies [source])

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Sudden, Radiant Magic

July 3, 2009 by John 1 Comment

From whiskey river:

In the morning I mused
It won’t return, the magic of life
it won’t return

Suddenly in my house the sun
became alive for me
and the table with bread on it
gold
and the flower on the table
and the glasses
gold
And what happened to the sadness
In the sadness too, radiance.

(“Zelda” (Zelda Schneersohn Mishkovsky), from The Spectacular Difference)

….and:

Gazing at the Cascade on Lu Mountain

Where crowns a purple haze
A shimmer in sunlight rays
The hill called Incense-Burner Peak,
from far

To see, hung over the torrent’s wall,
That waterfall
Vault sheer three thousand feet, you’d say
The Milky Way
was tumbling from the heavens, star on star.

(Li Bai, a/k/a Li Po)

…and:

Stuff your eyes with wonder… Live as if you’d drop dead in ten seconds. See the world. It’s more fantastic than any dream made or paid for in factories.

(Ray Bradbury)

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Breaking WIP News: We Have a Title

July 2, 2009 by John 11 Comments

A couple weeks ago, I posted on the importance of selecting a good title for your work. Here’s what I said then, in part:

I’ve struggled for years, off and on, with the title of the WIP. When I tell you I’ve been calling it Grail, I know that instantly summons up certain… certain somethings in your head. Those somethings may or may not in fact apply to my story…
…
So no, it’s not going to be Grail in the long run. I don’t know what it’s going to be.

Well, I think I’ve found what I was looking for. Below, the story behind the new (and, I think, forever) title.

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Sublime

June 26, 2009 by John 5 Comments

From whiskey river (last two stanzas):

The American Sublime

How does one stand
To behold the sublime,
To confront the mockers,
The mickey mockers
And plated pairs?

When General Jackson
Posed for his statue
He knew how one feels.
Shall a man go barefoot
blinking and blank?

But how does one feel?
One grows used to the weather,
The landscape and that;
And the sublime comes down
To the spirit itself,

The spirit and space,
The empty spirit
In vacant space.
What wine does one drink?
What bread does one eat?

(Wallace Stevens)

Not from whiskey river, a reading of the above poem by Ken Worsley of Trans-Pacific Radio (over Ball and Biscuit by the White Stripes, as a background track):

(You might also be interested in reading Worsley’s account of how he came to read the poem this way, over this background music. That page is where I found the above podcast.)

Over the past week, whiskey river also cited a poem called, there, “Changing Places.” But, well, there isn’t any such poem in Rilke’s work*; it’s actually an excerpt from the start of his Ninth Elegy. In one translator’s version, from 1977 (and regardless of the title or the translation, yes, sublime):

Why, when this short span of being could be spent
like the laurel, a little darker than all
the other green, the edge of each leaf fluted
with small waves (like the wind’s smile) — why,
then, do we have to be human and, avoiding fate,
long for fate?

Oh, not because happiness,
that quick profit of impending loss, really exists.
Not out of curiosity, not just to exercise the heart
— that could be in the laurel, too…

But because being here means so much, and because all
that’s here, vanishing so quickly, seems to need us
and strangely concerns us. Us, to the first to vanish.
Once each, only once. Once and no more. And us too,
once. Never again. But to have been
once, even if only once,
to have been on earth just once — that’s irrevocable.

(Rainer Maria Rilke, translated by A. Poulin [source])

Now, something not from whiskey river…

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Writing and Silence

June 19, 2009 by John 4 Comments

From whiskey river:

Learn how to meditate on paper. Drawing and writing are forms of meditation. Learn how to contemplate works of art. Learn how to pray in the streets or in the country. Know how to meditate not only when you have a book in your hand but when you are waiting for a bus or riding in a train.

(Thomas Merton, Illusory Flowers in an Empty Sky)

Not from whiskey river:

Silence

I have known the silence of the stars and of the sea,
And the silence of the city when it pauses,
And the silence of a man and a maid,
And the silence of the sick
When their eyes roam about the room.
And I ask: For the depths,
Of what use is language?
A beast of the field moans a few times
When death takes its young.
And we are voiceless in the presence of realities —
We cannot speak.

A curious boy asks an old soldier
Sitting in front of the grocery store,
“How did you lose your leg?”
And the old soldier is struck with silence,
Or his mind flies away
Because he cannot concentrate it on Gettysburg.
It comes back jocosely
And he says, “A bear bit it off.”
And the boy wonders, while the old soldier
Dumbly, feebly lives over
The flashes of guns, the thunder of cannon,
The shrieks of the slain,
And himself lying on the ground,
And the hospital surgeons, the knives,
And the long days in bed.
But if he could describe it all
He would be an artist.
But if he were an artist there would be deeper wounds
Which he could not describe.

There is the silence of a great hatred,
And the silence of a great love,
And the silence of an embittered friendship.
There is the silence of a spiritual crisis,
Through which your soul, exquisitely tortured,
Comes with visions not to be uttered
Into a realm of higher life.
There is the silence of defeat.
There is the silence of those unjustly punished;
And the silence of the dying whose hand
Suddenly grips yours.
There is the silence between father and son,
When the father cannot explain his life,
Even though he be misunderstood for it.

There is the silence that comes between husband and wife.
There is the silence of those who have failed;
And the vast silence that covers
Broken nations and vanquished leaders.
There is the silence of Lincoln,
Thinking of the poverty of his youth.
And the silence of Napoleon
After Waterloo.
And the silence of Jeanne d’Arc
Saying amid the flames, “Blesséd Jesus” —
Revealing in two words all sorrows, all hope.
And there is the silence of age,
Too full of wisdom for the tongue to utter it
In words intelligible to those who have not lived
The great range of life.

And there is the silence of the dead.
If we who are in life cannot speak
Of profound experiences,
Why do you marvel that the dead
Do not tell you of death?
Their silence shall be interpreted
As we approach them.

(by Edgar Lee Masters, about whom I first wrote not quite a year ago)

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Breaking It Down

June 12, 2009 by John 6 Comments

From whiskey river:

The states of mind or feelings that art can excite have been helpfully distinguished in Sanskrit aesthetics, where they are called rasas, from a word meaning “juice” or “essence”. A fully achieved work of art should flow with all nine of them: their names might be transposed into English as wonder, joy, sexual pleasure, pity, anguish, anger, terror, disgust and laughter.

(Marina Warner, Monsters of Our Own Making [source])

Not from whiskey river:

Naming of Parts

To-day we have naming of parts. Yesterday,
We had daily cleaning. And to-morrow morning,
We shall have what to do after firing. But to-day,
To-day we have naming of parts. Japonica
Glistens like coral in all of the neighboring gardens,
And to-day we have naming of parts.

This is the lower sling swivel. And this
Is the upper sling swivel, whose use you will see,
When you are given your slings. And this is the piling swivel,
Which in your case you have not got. The branches
Hold in the gardens their silent, eloquent gestures,
Which in our case we have not got.

This is the safety-catch, which is always released
With an easy flick of the thumb. And please do not let me
See anyone using his finger. You can do it quite easy
If you have any strength in your thumb. The blossoms
Are fragile and motionless, never letting anyone see
Any of them using their finger.

And this you can see is the bolt. The purpose of this
Is to open the breech, as you see. We can slide it
Rapidly backwards and forwards: we call this
Easing the spring. And rapidly backwards and forwards
The early bees are assaulting and fumbling the flowers:
They call it easing the Spring.

They call it easing the Spring: it is perfectly easy
If you have any strength in your thumb: like the bolt,
And the breech, and the cocking-piece, and the point of balance,
Which in our case we have not got; and the almond-blossom
Silent in all of the gardens and the bees going backwards and
forwards,
For to-day we have naming of parts.

(Henry Reed, from Lessons of the War [source]; see an excellent film interpretation of the poem here.)

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Crossing the Line

June 4, 2009 by John 10 Comments

For me, the last few days of May and the first few of June, in most years, are veined with ambivalence.

First, there’s May 29. As you may have put together by your own clever self, that’s The Missus’s and my anniversary. This has always been an easy date for me to remember, because it was also my Dad’s birthday. Somewhere around here was also my maternal grandmother’s birthday. And finally, because I have many happy childhood memories of Memorial Day — which used to fall every year on May 31 — the very end of the month always seems to carry with it an assertive whiff of celebration and commemoration.

But then we come to the small matter of June 4, 1988…

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Very Dead Things, and a Small Box of Chocolate Bunnies

May 31, 2009 by John 11 Comments

If you’ve read my most recent Friday post, you’ve probably figured out that the early-1990s TV series Twin Peaks looms large in The Missus’s and my collective imagination.

(Actually, we have a habit of latching onto odd, off-center network series which don’t have a chance in hell of surviving past the first season or two — simply because of the confusion and venality of network executives. Don’t even get us started on American Gothic.)

When we met, online, in 1991, the show was in its first season. Prior to the premier, I’d read a review by — of all people — Pauline Kael, in The New Yorker, and it made up my mind that I just had to watch that episode, even if none of the later ones. I can’t find this review online anywhere (even though, with my subscriber’s credentials, I’ve got access to the magazine’s entire archives; maybe I read it somewhere else?). But Kael was nuts about the premier episode; she wrote of the first glimpse of Laura Palmer as something like “quite possibly the deadest thing you will ever see on network television.”

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Her Little Voice

May 29, 2009 by John

[Above is the longer version of the Twin Peaks opening title sequence, including a fairly
complete cast listing (at least for the recurring characters). The “official” and higher-
quality version, with a truncated theme song and cast listing, is here.]

[Note: Comments disabled for this post, for what will eventually be obvious reasons. :)]

From whiskey river:

And then the kicker is this: in passing from the real to the imagined, in following that trail, you learn that both sides have a little of the other in each, that there are elements of the imagined inside your experience of the “real” world — rock, bone, wood, ice — and elements of the real — not the metaphorical, but the actual thing itself — inside stories and tales and dreams.

(Rick Bass)

Not from whiskey river:

your little voice
Over the wires came leaping
and i felt suddenly
dizzy
With the jostling and shouting of merry flowers
wee skipping high-heeled flames
courtesied before my eyes
or twinkling over to my side
Looked up
with impertinently exquisite faces
floating hands were laid upon me
I was whirled and tossed into delicious dancing
up
Up
with the pale important
stars and the Humorous
moon
dear girl
How i was crazy how i cried when i heard
over time
and tide and death
leaping
Sweetly
your voice

(E.E. Cummings)

…and:

Love one another, but make not a bond of love
Let it rather be a moving sea between the shores of your souls.
Fill each other’s cup but drink not from one cup.
Give one another of your bread but eat not from the same loaf.
Sing and dance together and be joyous, but let each one of you
be alone,
Even as the strings of a lute are alone though they quiver with
the same music.

(Kahlil Gibran)

And finally, who could argue with this?

One woman can make you fly like an eagle, another can give you the strength of a lion, but only one in the Cycle Of Life can fill your heart with wonder and the wisdom that you have known a singular joy.

(Deputy Tommy “Hawk” Hill, Twin Peaks)

…Okay, I said “finally” up there but, heck, as long as we’re on the theme we may as well go for broke:

[Below, click Play button to begin. While audio is playing, volume control appears at left — a row of little vertical bars. This clip is about 5½ minutes long.]

[audio:falling_juleecruise.mp3|titles=Falling|artists=Julee Cruise]

Falling
(lyrics by David Lynch; music by Angelo Badalamenti;
performance by Julee Cruise)

Don’t let yourself be hurt this time.
Don’t let yourself be hurt this time.

Then I saw your face
Then I saw your smile

The sky is still blue
The clouds come and go
Yet something is different
Are we falling in love?

Don’t let yourself be hurt this time.
Don’t let yourself be hurt this time.

Then your kiss so soft
Then your touch so warm

The stars still shine bright
The mountains still high
Yet something is different
Are we falling in love?

Falling
Falling

Are we falling in love?

Happy anniversary, Baby. ♥