Running After My Hat

Ridiculous pursuits, matters solemn and less so

Hits and Misses

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Complicated here, during the last week. Not bad, just… complicated. Thought I’d sort of summarize a couple of points of potential interest, but first, a question for regular visitors:

Have you had problems accessing RAMH recently? One of your number has reported getting repeated “the connection was reset by the server” errors. It’s prevented her from even seeing the site, apparently. (I got the information via a Facebook message.) I haven’t been able to reproduce it from any of various locations, using various browsers and operating systems. But I wanted to check before proceeding to see if anything like that has cropped up for the rest of you. (Of course — ha! — if it has, then you won’t be able to read this post.)

Okay, now onto “real” matters…

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Book Review: War, by Sebastian Junger

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Habitués of Running After My Hat know, I think, that I resist the intrusion of politics into my posts here. And although I’ve never been tested on this, I’m pretty sure that’s one area in which I would likely resort to editing (or outright banning) comments of certain kinds. If you’re after debate, even of the reasoned sort, there are plenty of other sites around the Internet whose proprietors are more than happy (and better equipped than I) to offer it.

As my newest review at The Book Book begins:

Like (probably) most Americans, I have never fought in a war, and am unlikely ever to do so. Like (probably) most Americans, I nonetheless hold plenty of opinions about war in general as well as about specific conflicts. Those opinions are important to us, and we regard holding onto them in the face of opposing views as a matter of psychological — almost theological — life and death.

But civilian opinions one way or the other about war, any war, shred like tissue paper when you try to wrap them around the hard, spiky reality of soldiers’ experiences. It simply doesn’t matter what John Q. Public (let alone his favorite talk-show host) thinks.

War, by Sebastian Junger, is all about the daily lives of soldiers on the front line in the war in Afghanistan. (He spent a year embedded with a company there, in 2007-2008.) I won’t kid you: although it is a quick read, it’s not easy reading. What these young men have to deal with, and how they deal with it, is so far from the experience of civilian life that wanting it not to exist, or pretending it doesn’t, is completely understandable. Even if you’re open to knowing about it, I likewise understand the difference between that agreeability and a willingness to spend a few days reading about it.

But I think one thing Junger says, almost in passing, strikes me as one of the main reasons to read the book:

Perfectly sane, good men have been drawn back to combat over and over again, and anyone interested in the idea of world peace would do well to know what they’re looking for. Not killing, necessarily — that couldn’t have been clearer in my mind — but the other side of the equation: protecting. The defense of the tribe is an insanely compelling idea, and once you’ve been exposed to it, there’s almost nothing you’d rather do.

What soldiers are looking for: If you think it’s a desire to win their particular war, or to “get” the “enemy,” or, simply, a desire to get home ASAP (where the “S” represents Safely as well as Soon), you might want to at least sample some of Junger’s book.

Again, though, despite the title and the above quoted passage: this isn’t a book about war, but about battle — combat — and how men adapt to it. If you undertake reading War, prepare yourself for some moments of high intensity (also some low comedy, and emotionally moving passages).

You Spoke from Midnight

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From whiskey river:

Moonrise

And who has seen the moon, who has not seen
Her rise from out the chamber of the deep,
Flushed and grand and naked, as from the chamber
Of finished bridegroom, seen her rise and throw
Confession of delight upon the wave,
Littering the waves with her own superscription
Of bliss, till all her lambent beauty shakes towards us
Spread out and known at last, and we are sure
That beauty is a thing beyond the grave,
That perfect, bright experience never falls
To nothingness, and time will dim the moon
Sooner than our full consummation here
In this odd life will tarnish or pass away.

(D. H. Lawrence [source])

…and, from whiskey river‘s archives (the commonplace book):

Our existence is finite. The self that we have created through so many years of effort and suffering will die. And sustained though we may be by the idea, the hope, the certainty that some portion of us will eternally endure, we also must acknowledge that this “I” who breathes and loves and works and knows itself will be forever and ever and ever… obliterated.

So, whether or not we live with images of continuity — of immortality — we also will have to live with a sense of transience, aware that no matter how passionately we love whatever we love, we don’t have the power to make either it, or us, stay.

(Judith Viorst, Necessary Losses [source])

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Behind the Scrim of the World

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[See the note at the end of this post for info about the above song.]

From whiskey river:

Falling

Long before daybreak
none of the birds yet awake
rain comes down with the sound
of a huge wind rushing
through the valley trees
it comes down around us
all at the same time
and beyond it there is nothing
it falls without hearing itself
without knowing
there is anyone here
without seeing where it is
or where it is going
like a moment of great
happiness of our own
that we cannot remember
coasting with the lights off

(W. S. Merwin [source])

…and:

It is this admirable, this immortal, instinctive sense of beauty that leads us to look upon the spectacle of this world as a glimpse, a correspondence with heaven. Our unquenchable thirst for all that lies beyond, and that life reveals, is the liveliest proof of our immortality. It is both by poetry and through poetry, by music and through music, that the soul dimly descries the splendors beyond the tomb; and when an exquisite poem brings tears to our eyes, those tears are not a proof of overabundant joy: they bear witness rather to an impatient melancholy, a clamant demand by our nerves, our nature, exiled in imperfection, which would fain enter into immediate possession, while still on this earth, of a revealed paradise.

(Charles Baudelaire [source; the above is the version at whiskey river, a somewhat different translation])

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Book Review: Spook, by Mary Roach

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I’ve just posted my latest review for The Book Book; it covers non-fiction author Mary Roach’s Spook: Science Tackles the Afterlife.

This was Roach’s second book. The first, Stiff, was about what happens to the human body after death. You can see that she’s attracted to odd, even icky topics; and you may guess from the title, too, that she uses humor to distance the reader from the ick. She’s one of my favorite non-fiction writers, certainly among the most enjoyable.

As I say in the review, my only real reservation about her work has to do with that sense of humor. Sometimes she drops a punchline into the text just a little too insistently, and it falls flat.

Compare this approach to, say, Bill Bryson’s. He too loves to make people laugh, and he too never shies away from the humor in a situation. But the jokes are good ones, not limp asides inserted for the sake of comic timing.

But I don’t want to hammer at that point too hard; I don’t want you to think I don’t enjoy Roach’s writing. Whatever she comes up with, I expect to be among those happily reading it.

Using a Kindle: Some First Impressions

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[This is one of what will no doubt become a series on my experiences in using a Kindle 2. It’s not a drum I want to beat often — don’t want it to become one of those “I have X but you don’t, haha!” gloatfests. But it might be useful for people on the fence about the whole e-book deal.]

Frequent RAMH commenter DarcKnyt wondered recently over at his place: What are the pros and cons of e-readers? He asked for comments particularly from people who’ve used them. I probably gave him way more that he wanted/needed — it would’ve made for a long post here, and that’s saying something.

Here’s the bottom line, for me:

In general, I think the transition to e-books will resemble any other transition to a new/different technology. It will come with inconveniences and drawbacks… but ultimately people will learn to live with them (or the tech will advance to the point where they no longer apply), for the sake of the NEW conveniences and features they couldn’t even have faked the old way. (No doubt, when cavemen first started to light fires at night, a subset of them swaggered around, sniffed haughtily, and hitched up their fur loincloths, insisting that things were better when we kept watch by moonlight and the stars — and we sure didn’t have to keep getting up to dump another log on the moon every time the previous one burned down! And you couldn’t drop the moon in a river and put it out! It gave everything a much sleeker, more romantic look, than fire ever could! The moon didn’t threaten to get out of control and burn down the whole damn forest! Etc.)

(If you’d like to see the full thing, which includes more details of my experience so far, it’s resting comfortably over across the Web, at Darc’s place.)

I’ve since thought of a few other things I might have mentioned:

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Paying Attention to the Silence

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This Paying Attention to… series on writing fiction concentrates, for the most part, on what to do when writing. More exactly, it covers things I need to remind myself to pay attention to — particularly as I’ve been working on Seems to Fit.

In this post, I want to look at what to when not writing — particularly, while writing-blocked.

Ask me about my first novel, and I will invariably tell you about a mystery, Crossed Wires. In doing so, I’m not counting the book I started in the mid-1970s: a picaresque science-fiction extravaganza called As Luck Would Have It. It was humorous, or rather “humorous,” and (or so I imagined) intellectually wide-ranging, and full of all sorts of stylistic  pyrotechnics like punning character names and a portentous prologue.* While I never finished even a single draft of the book’s manuscript, and indeed the manuscript never even made it to digital form (I’d handwritten and typed it), I always liked and remembered the book’s central conceit:

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The Breathing of Summer Mountains, the Hissing of Summer Lawns

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From whiskey river:

It was almost dark on an early summer eve, and the forest was never more enchanting than now, at dusk. At dusk the mountain begins to withdraw its force back into itself and become quiescent. If you too can become quiescent, so still that you can’t think of your name, you can feel this as a palpable fact. Just become so still that your mind won’t be bothered to remember the mundane, and then you’ll feel it like you feel the shifting of the winds. Then you’ll know when the mountain changes from exhaling to inhaling. That’s not so important in itself, but the mind that is quiet enough to notice is. The mind that is not always caught up in detail is your only treasure. Stop chasing details and become still to feel it. The mind that sees details clearly but is not caught by them is like a vast borderless mirror. That mind does not oppose itself.

(G. Bluestone [source])

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What’s in a Song: Simple Gifts (2)

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[Above: portion of letter from Aaron Copland to Harold Spivacke, Chief of the Music Division at the Library of Congress. Original in the Library of Congress’s Aaron Copland Collection.]

[“Appalachian Spring (7th Movement)” (about 13:30 long)]

[…or, if you’d prefer, the whole thing (about 35:57)]

Note: If you’re interested in the early history of “Simple Gifts,” rather than its resurrection in the 20th century, you might want to begin with Part 1 of this two-part series, posted a few days earlier.

In late 1942, choreographer/dancer Martha Graham first approached composer Aaron Copland. She hoped he could score a new ballet for her troupe. She had a grant from the Library of Congress’s Coolidge foundation to fund the work, but at that point she didn’t know the details of the project — certainly not the title. She hoped to premiere it in the auditorium of the Library in Washington, DC, within a year.

As you can see from the portion of the letter reproduced at the top of this post, as of the following spring Copland had heard no more from her about the new ballet and moved on to other projects. But by June, 1943, he’d received Graham’s first notes; by July, he’d managed to compose the first third of the ballet. The premiere date was now set for October 30, at the Library of Congress as Graham had hoped. (One constraint: the orchestra would be limited to 13 musicians, because of the small size of the orchestra pit there.)

What Copland knew about the ballet at this point was the general story it would tell. It would be about a young farming couple in the hills of Pennsylvania, early in the 19th century. Graham hoped it might capture of the same spirit as Thornton Wilder’s play Our Town (1938). Of course, with the US and the world in the grip of war — and because the life of a pioneer farming couple would not have been easy — it could not be too sweet and sentimental. Importantly, it still had no title. (Copland settled on Ballet for Martha as his working title.)

But it did have a main theme, one which Copland had found almost by accident.

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