Paris Is for the Books (Which Are a Kind of Bird)

I bring word from Paris. I bring books from Paris. I bring bookstores from Paris — not literally, of course, though the theatrics of trying to get that through Customs would be something of a joy (“And this is the remainder bin, Officer, where …” “Just let me go on my lunch break. Please. I beg you”), but I’m swerving off track already — I do that — because all I wanted to say was that after the death of Rizzoli’s in New York City and the death of Borders and George Packer’s profile of Amazon and the dearth of book-related television here in the United States (despite the fact that more new books are published in the US every year than any other country in the world, some 250,000-plus every year), I think it’s worth taking a moment to talk about Lang’s Law.

Lang’s Law fixes prices for books in France, and it’s all the more interesting now in an age in which Amazon does what it does, the latest of which would be erasing certain books from its site until it receives more money from certain publishers to boost its own bottom line. (This has also earned a terrific fusillade of comedic ire from Stephen Colbert, as some of you will no doubt know.) And it’s also interesting because in an age in which there still seems to be a consensus concerning disruptive technology being the economic future of all countries, everywhere, Lang’s Law still feels like the exceedingly right and properly situating thing to do.

But to explore that point a little bit further, during the two weeks I spent in Paris in May, I visited Le Pont Traversé on Rue de Vaugirard, a beautiful bookstore that looked like it had once been an old bank run by a man with owl glasses who had spent more time collecting old books than banking, and who ended up raising a Decca Mittford-like daughter full of adventure who was now reaching retirement herself. After picking up a book for R., I asked the owner — because the store was just her and her alone; she was still switching on the lights when I walked in — whether Lang’s Law helped her store at all. Al Jazeera America’s short article on the issue had yet to be published.

“Yes, Monsieur. Absolutely,” she said. “It helps enable stores like this to exist. It might seem like something out of an old, Soviet-era Russia to you as an American, but …”

I laughed. “And I also noticed while I was walking around the city that there are very specific bookstores here, too, bookstores dedicated to the Congo, automobiles, the sea, revolutions, the Holocaust …”

“Yes, yes. That’s true. How is it in the United States?”

“Well — for one — we have Amazon.”

“Ahhh, oui.”

I don’t necessarily think Shakespeare and Company needs the help of Lang’s Law, though. It’s a perpetual stream of foot traffic, so much so that it’s hard to believe Sylvia Whitman actually caught a couple having sex in the bookshop there, as she said in one interview somewhere, because even if a couple had the bit between their teeth, you literally can’t stand anywhere in the store for more than a few minutes before someone pokes their head around the corner.

I didn’t ask her about that, or anything at all, really. I helped her move a few chairs to the side after listening to John Berger (most famous for Ways of Seeing) read to an assembled, eclectic crowd (one of which included an old, gay Spanish doctor who bafflingly and confusingly told me about how he had a drink with a famous British painter and how — as a seeming result, he seemed to imply — he died a week later), which you can hear — courtesy of the bookstore — above. He read from a piece called “Fellow Prisoners,” which talks about how —

Between industrial capitalism, dependent on manufacture and factories, and financial capitalism, dependent on free-market speculation and front office traders, the incarceration area has changed. Speculative financial transactions add up to, each day, $1,300 billion, fifty times more than the sum of the commercial exchanges. The prison is now as large as the planet and its allotted zones can vary and can be termed worksite, refugee camp, shopping mall, periphery, ghetto, office block, favela, suburb. What is essential is that those incarcerated in these zones are fellow prisoners.

— which uplifted us all, and he spent a moment reading from Angelus Silesius, partly to talk about the way to bridge the difference between a humanizing medical language and a dehumanizing medical language, and partly because — like someone sitting on a stool at the end of the pub — he was just simply amazed by lines like, “The truly empty is like a fine vase containing nectar; it holds it knows not what,” and he couldn’t help but want to share his delight (“I love him,” an employee silently mouthed to Sylvia), and there was wine waiting outside for us when we were all done, and it looked a bit and felt a bit and was a bit like Upright Citizens Brigade in Paris.

And can we take a moment to talk about the foot traffic? Retailers would kill for the kind of foot traffic Paris gets on a nice day. All the different stores of Gibert Jeune that line the areas near the Quai D’Orsay were just as packed as Shakespeare and Company during the time I was there. Even if Lang’s Law wasn’t there fighting for bookstores to stay bookstores, the sheer interest of French-speaking and English-speaking readers in Paris in reading would still translate into an incredible fight against the Amazons of the world. It was unbelievably heartening.

“There are so many books here,” a man with a leather jacket and a fisherman’s mustache told me from atop a ladder as I was trying to decide whether or not to get something by Mitterand or a collection of Camus’s newspaper articles, “it’s difficult to decide which to choose. Thankfully, I drank a lot of soup, grew very, very tall, and am able to look at everything.”

“Unfortunately,” I said in French, “French isn’t my first language. I didn’t quite catch that.”

He repeated it again in French at the same speed.

I laughed. “And look at you!” I said, gesturing.

Leaving the bookstore, the security guard cordially badgered everyone entering.

“Welcome, beautiful mademoiselle! Welcome to my chateaux of learning and knowledge!”

“A very beautiful castle,” I said to the laughing cashier.

“Oui,” she replied.

Flannery O’Connor Dissing Ayn Rand in 1960

Flannery O’Connor was both one of America’s greatest short story writers and one of our greatest snarky critics. Case in point, the following comments on objectivist “philosopher” and Atlas Shrugged author Ayn Rand:

I hope you don’t have friends who recommend Ayn Rand to you. The fiction of Ayn Rand is as low as you can get re fiction. I hope you picked it up off the floor of the subway and threw it in the nearest garbage pail. She makes Mickey Spillane look like Dostoevsky.

Burn.

Hat tip to Bibliokept for finding that in a 1960 letter between O’Connor and Maryat Lee. The full letter is collected in The Habit of Being.

Here are a few other killer O’Connor quotes:

“Everywhere I go, I’m asked if I think the universities stifle writers. My opinion is that they don’t stifle enough of them. There’s many a bestseller that could have been prevented by a good teacher.”

“I use the grotesque the way I do because people are deaf and dumb and need help to see and hear.”

“Anybody who has survived his childhood has enough information about life to last him the rest of his days.”

“Whenever I’m asked why Southern writers particularly have a penchant for writing about freaks, I say it is because we are still able to recognize one.”

“I don’t deserve any credit for turning the other cheek as my tongue is always in it.”

Short Story Prompts Culled from the News

People love to say that truth is stranger than fiction, but those people apparently read different books than I do. Still, reality can be good fodder for fiction. Here are 11 recent news stories that are just strange enough to use for your next short story:

Man Regrows Van Gogh’s Ear and Speaks into It

Arizona Man Arrested for Firing Pistol at Moon

Zombie Bees Terrorize Hipster Neighborhood

University Librarians Discover a Book Is Bound in Human Skin

Man Attempts to Trade a Salad for a Blowjob to Undercover Cop

Lawyer Willing to Die to Post Nude Photos Online

The Pope Announces He Will Baptize Aliens

Chinese Billionaire Decides to Take 1,000 “Destitute” New Yorkers to Lunch with Him

Zookeeper in Gorilla Suit Mistaken for Actual Gorilla and Tranquilized

Man Builds Meth Lab in His Retirement Community

Woman Hears Repeated Cries of “Daddy!”, Calls Cops on Parrot

DISCARD PILE: German Secret Weapons: Blueprint for Mars

Discard Pile reviews books that were recently withdrawn from the collection at the Barstow School in Kansas City, Missouri.

nazi mars weapons
nazi mars weapons

German Secret Weapons: Blueprint for Mars By Brian J. Ford
Ballantine Il
lustrated History of World War II; Weapons Book No. 5
Ballantine, 1969
$1.00
Dewey Number 943.086 FOR
Entered Barstow Library Oct. 24, 1978

A screaming comes across the library, and I hope I can compare it to a Pynchonian jollity.

I laughed out loud when I saw the cover of Brian J. Ford’s German Secret Weapons: Blueprints for Mars. And then I read it. Outwardly, the work appears to hold promises of advanced rocketry and hints that German scientists were looking to the stars, even thinking about aliens, as they went about their V-2 and Messerschmitt business to please their mustachioed boss.

Even though Ford — a prolific author, independent scientist and broadcaster — documents the Reich’s experiments with sound cannons, vortex-guns, pilotless gliders, rotary-wing kites and one-man submarines, he neither mentions the Red Planet nor the god of war. Such crushing disappointment aside, German Secret Weapons still delivers a payload of gearhead porn — fuel-mixtures, engine diagrams, wingspans, weights, speeds and ranges for any number of German planes, rockets, torpedos, and projectiles. Ford writes of the Natter developed by Herr Oberst Knemayer, who was under orders to build something to combat heavier Allied bombing. “His design was simple: He would take a rocket-powered near-sonic aeroplane, fit it out with armaments, blast it into the path of the bombers, and then let the pilot bale [sic] out. He, and the aircraft, would be recovered subsequently.”

Of course, it didn’t work. The one test flight of the Natter went haywire and left the plane and the pilot in pieces. Repeatedly, Ford gives us an array of facts, descriptions, pictures, illustrations, code names, and scientific information about all sorts of German materiel. He wastes little time on the insignificant matter of the destruction wrought by such weaponry.

german mars invasion

Early on, the Germans threw money at weapons R & D, spending $120 million to establish a secret base at Peenemunde in 1937; there, they worked on all matters of rocketry. We do learn, though, that the scientists at Peenemunde had to respond to the political whims of nearly anyone in charge — be it a General, civilian factotums, competing scientists or even The Fuhrer.

Ford draws a portrait of bureaucratic buffoonery that would challenge a university English department’s dysfunction.

Ford also documents ignored orders, threats, budgetary backstabbing, stunning incompetence, and the slow death of promising projects to utter administrative indifference.

Ford approaches his craft with an unmistakable British fustiness — workmanlike prose, clear organization and a thorough lack of drollery. His title leads one to hope for X-Files skullduggery involving Antarctic caves, green men, and maybe some crystal skulls. Instead he gives us specifications of weapon after weapon, and a host of pictures of planes and rockets screaming across a Teutonic sky.

The Answer

The night he tried to strangle his wife, Daniel Clay was in the process of buying a Slovakian goldmine. He was looking for far-flung investments. He’d considered an Argentine soccer team that was up for sale and a company that sold bottled water that they siphoned off the Lake Michigan aquifer. But the goldmine had, for various reasons (not the least of which was the current price of gold), the most appeal. Still he knew it was a long shot. He’d been under a lot of pressure at the hedge fund where he was partner. Things were going south. Still it was no reason to put your hands around the throat of the mother of your children and try to kill her in front of them.

He spent a night in jail. A very long, dark night of the soul that gave him time to sober up and consider his options. Janice wouldn’t have him back. She made that clear through a lawyer. She would drop the charges as long as he made no attempt to move home and did not fight for custody of their children. It wasn’t, after all, the first time he’d tried to kill her, but Janice was very firm. It was the last.

Daniel didn’t blame her. He’d been drinking a lot. He even kept a little flask in his desk at the office where he’d take a hit of whisky whenever his nerves got bad. And lately they’d been getting bad fairly often. The night in jail haunted him. The sounds that other prisoners made. Mostly drug addicts, moaning as they went into withdrawal. It was cold in the jail and the lights were on. They were bright and fluorescent and Daniel was awake the whole night. In the morning when he made bail, Janice’s lawyer was there to present him with the conditions of his release as well as what was required for him to see his children again. He had to quit drinking, take an anger management class, and do some form of therapy. She asked for three months of sobriety. And she wanted documentation.

He took a medical leave from work and joined AA. His sponsor, a guy named Pete who’d quit drinking after he’d climbed a tree butt-naked at his former best friend’s birthday party, was there every time he called. And Daniel called him often, sometimes twice a day. He picked Pete because it was obvious that his life had been a complete mess and he’d turned it around. “That I did,” Pete said when Daniel approached him. He also found an anger management class and a therapist who practiced dream therapy. Whenever Daniel woke up, he wrote down his dreams. “I saw a tree, crashing in a forest, and all the squirrels ran away.” In sessions the dream therapist interpreted these. “You are the tree…” When he made it to ten days of sobriety, he called Janice.

As she answered, he said, “Janice, it’s me. I was hoping we could talk. I haven’t had a drink in a while.”

“That’s nice, Daniel,” her voice so chilly it could frost glass. “I’m glad for you.”

He wasn’t sure what to say to her. It was as if they’d never met. “I’d like to see the kids.”

“Talk to my lawyer.”

“Look, Janice, I thought maybe we could…” but before he finished, she hung up.

He had no idea why he’d done the things he’d done. It was as if a different person had taken him over. Someone he didn’t know had set up house inside of his head. He sought explanations everywhere. In off-the-cuff comments that cab drivers made. “Happiness is a decision,” a driver from Bangladesh said. In fortune cookies, in Snapple bottle caps. He got one with his strawberry tea (which his sponsor suggested as a good substitute for daiquiris) that read: “The baby caribou can outrun its mother when it is three days old.” Was this a koan? Was it code? Daniel wanted to believe that it was some kind of sign.
After seventeen days of sobriety and one supervised visit with his children who didn’t seem to know how to smile any more, Daniel decided he wanted to get away. Pete was opposed. “You’ve got a system in place here, man. You have your routines.” But Daniel believed that his routines were portable. He had plenty of money and felt he may as well head south. “I’ll go to meetings there, I swear.” Pete had just shrugged, “It’s your call, man.”

Daniel didn’t understand why he drank until he blacked out or did drugs or at times engaged in pointless sex with sketchy women while traveling abroad. But he needed all of this in some form or other to get through the day. It made little sense. His mother had loved him. He’d made his peace with his father with whom he often disagreed, but the childhood arguments over sports teams or the theme of his bar mitzvah hardly constituted abuse.

It was his father who insisted he always call himself Daniel, never Dan. “’God is my judge,’ that’s what your name means,” his father told him, “and don’t ever forget it.” Beyond the insistence that he not use a nickname and that he recite his prayers until he turned thirteen, Daniel had had no childhood trauma. No divorce. Nothing to prove. His family accepted him, more or less, for who he was. Still he was driven. He drove himself to make money. He drove himself to be powerful and to be liked, though perhaps not necessarily loved. And now Daniel had driven himself right into the ground.

The night after he made the decision to go away he dreamt he was in a forest of bonsai. He gazed down at the treetops as if he were a giant. He had a watering can in hand and it was his job to water them, but didn’t know how much. He stood, paralyzed before the task. Leaves crinkled from thirst, but still he did nothing. In the morning he called his dream therapist who was now on retainer. “Your dreams are progressive. You are the trees. And you are the giant. You don’t know how to take care of yourself.”

Daniel made plans to fly down to Key West, relax, detox, get tan, clear his head, and then present himself once more to his wife and children in a state of contrition and relative health. He’d drink pineapple smoothies every day and swim for miles in the sea. After checking out hotels, he decided to rent a place. The hotels were expensive (not that that ever stopped him before, but he felt he should show Janice that he was at least trying to exercise restraint), and besides he liked to be able to cook for himself. And he didn’t want to be greeted by strangers — maids knocking on his door or desk clerks asking, “Is everything all right, Mr. Clay?”

He found a realtor named Sue who sent him some pictures of a few apartments. Most seemed small and cramped. Tiny cottages, painted pink and powder blue, with palm trees growing outback. Daniel didn’t think that Hemingway would live in a powder blue house, not that he was Hemingway, but he was manly in ways that Hemingway was, and he didn’t want a pastel cottage. He wanted something bigger, with scope, air, an eye on the world. She sent him some pictures of an apartment, owned by a prestigious pharmaceutical scion who rented it out from time to time to “quality people.” “This just came available,” Sue said.

From the virtual tour he took online he could see that the apartment had a spacious living room, dining room, a big open kitchen where Daniel imagined throwing alcohol-free parties, a master bedroom with French doors that opened on to a wide balcony with a view of the sea. It was located in a secluded spot called the Barracks, which had been used during the Truman years.

“This is perfect,” he said when he phoned her back.

He rented it for the next two weeks with an option to renew. “Stay as long as you like,” Sue told him. She overnighted to him a set of keys. Maybe, he thought, he’d convince Janice, if she’d relent, to come down with the kids for Presidents’ Week. Or just let them come alone. Whatever. Daniel felt that for the first time perhaps in years he had taken some control over his life. This was a start, he felt sure.

On the plane to Miami he struck up a conversation with the man sitting beside him. He was a biologist who was studying zombie bees. These are honeybees that are being infected by a parasitic fly that devours their brains. The way you can tell if they are infected is that the honeybees fly aimlessly, “on a flight to nowhere,” the biologist said, until they die.
In the layover in Miami, he took off his brown loafers and slipped on a pair of sandals, packed up his blue cashmere sweater and put on a pale cream short-sleeved shirt. At a rum bar in the airport he sipped an alcohol-free piña colada. On the flight to the Keys, he got a window seat. Below him stretched mangrove swamps and the warm blue water. When he got off the plane, he was greeted by a blast of hot air and the smell of the sea. A large sign indicated that he was about to enter the Republic of Conch and an airport official greeted him with “Welcome to Paradise.”

In the cab he rolled down his window. The air smelled of jasmine and the sea. Palm trees towered overhead. A great white heron glided by. The cab dropped him off at his place. His apartment was up a flight of stairs. The virtual tour didn’t do it justice. It was sprawling, filled with big comfy chairs, rattan rugs. It was all designed to look out on to the sea. From the kitchen he watched cruise ships — those floating cities — drift in and out of the harbor, not far from his apartment.

He was thirsty. He opened the fridge and found that Sue had stocked it with bottled water, orange juice, eggs, coffee, a loaf of bread, peanuts, and milk. She had placed binoculars and a book on Florida birds on a table near the door that opened on to the deck. These simple acts of kindness stirred him to the core. Daniel almost wept. This is so nice, he told himself. And it was beautiful. This was where he would get well.

He settled in. He opened drawers and put his underwear and T-shirts away. In the closet he hung up his slacks and one beige jacket. He lined up his shoes. He’d always been a neat, meticulous person — despite his bad habits — and he had a domestic side. He plugged in his laptop, but was determined not to check his email more than twice a day. He plugged in his phone. On the bed stand he placed his Kindle Fire that contained an entire library of the books he intended to read.

As the sun was setting, he sat on his deck, sipping a Virgin Mary with lots of lime. From the top deck of the SS Arcadia which had just docked across the harbor a football game was being broadcast. On an enormous screen the Giants were playing the Panthers. He used his binoculars to check the score. The Panthers were ahead by a field goal. Except for the cruise ships Daniel’s view was uninterrupted. He watched the sunset, then headed over to Duval for some coconut shrimp and to check out a drag queen show that was funnier than he thought it would be and not sad, and the piña coladas without rum were plentiful and satisfying.

It was after midnight when he wandered back, feeling almost drunk from the sea air, except he was sober. A gentle breeze blew through the palms, and frogs and crickets were chirping. Birds rustled the branches overhead. Perhaps tomorrow he’d begin a long letter to Janice that he’d hoped to write. It was Pete’s suggestion. His apology. “It’s good to write it down,” Pete told him, “even if you never send it.” Pete had written dozens of these letters over the years.

In the bedroom Daniel pulled back the cover and touched the crisp white sheets. He missed home. The ordinariness of family life. Kids doing homework at the kitchen table. Silly bathroom jokes at dinner that made everyone laugh. He missed Janice though he wasn’t sure he missed the actual person she was now. It seemed more as if he missed who she used to be. Who they used to be. Once they’d gone swing dancing and drank Old Fashioneds on a whim. For years they’d had a secret handshake and no one could crack the code. He had tried, from time to time, to revive what it was that had once sent them tumbling into bed, besides a few Scotches, and producing three wonderful kids. They’d gone on some recent getaways — to Bermuda, Paris for a long weekend, and things did improve until they returned to their apartment and to the rigor mortis that was their marriage.

For now he was alone, doing his penance. He’d like to share this room with someone else. But not yet. Not tonight. Tonight he was making peace with himself and the world. He opened the French doors wide. The sea breeze blew in. He had been sober almost three weeks, and he was finding that with his clarity of mind came a clarity of vision. The world was brighter, clearer. He crawled into the pure white sheets and fell soundly to sleep. He woke once in the middle of the night and saw lightning. Somewhere in the distance a storm brewed. Then the ocean lulled him back to sleep.
At daybreak the rumble of a motor entered his dreams. For a moment he thought someone was calling his name. He’d had this sensation before. A squeaky door, a strong wind, and he’d hear his name. Daniel, Daniel, the voice called. He woke slowly and determined that no one was calling to him. The noise was coming from outside. Some kind of an engine was running and his bedroom, with all its windows and French doors flung open, was filled with diesel fuel. “What the hell?”

He rose, padding to the doors. Stepping out on to his balcony in the crisp morning air, he saw that, not a hundred yards away, a generator had been set up. He was certain it wasn’t there the day before. It was large and red and chugging right below his apartment. Daniel stepped back inside. It wasn’t eight yet. Hopefully this was a temporary situation, the way the cruise ships that came and went with their loudspeakers and football games seemed to be.

He closed the windows. He could still hear the hum of the generator, but at least the smell of gasoline was dissipating. He’d go out for breakfast. Then, if the generator was still running when he returned, he’d find out how long it would be here. Perhaps some bargain could be struck.

He wandered over to Blue Heaven, which had gotten good reviews on Yelp. Sitting under a banyan tree, he ordered a spinach omelet with grits and fresh-squeezed orange juice that he savored as wild chickens scratched in the dust at his feet. He gazed up at the stage beneath an old water tower. It was said that Hemingway had boxed here. After breakfast he thought about going back to his place, maybe relaxing on the balcony and reading a book, but what if the generator was still churning away?

Passing a bike shop, he went in and rented an old Schwinn clunker. “God,” he said to the attendant, “I haven’t ridden one of these in years.” It was good enough to get him around. He’d go exploring. He felt like a boy again as he tooled down Duval, then cut over to the ocean. He followed the path along the sea. At Higgs Beach a group of homeless men clapped as a girl with dreads strummed a tune on the ukulele. Sunbathers danced in the sand while boys with sleeves of tattoos were engaged in a serious game of hacky sack.

The bike path widened and climbed until he was riding above the sea where he paused at the railing. Below large fish swam against old pilings. Stingrays darted back and forth. Settling on to a bench Daniel stared at the sunlight sparkling on the ripples of water. His body felt pliable as if it was made of rubber. Closing his eyes, he felt as if he could sleep. He was so used to being on a concoction of drugs and pills and alcohol to wake him up and calm him down. Now he found himself in a state of drowsiness. He had no compelling need to do anything except sit on this bench and stare at the waters and sailboats drifting by. This was what he’d come down here for. What he really wanted to do was sit on his balcony and do this.

But he couldn’t — at least not for now.

Even in this peaceful spot, all he could think about was the generator. Would it be off when he got home? Would the fumes float into his apartment or drift out to sea? As the sun was dipping towards the horizon, Daniel got on his bike and headed back. He stopped along the way at the only supermarket in town. The bike rack was in front of a massage parlor next door. A girl sat out front, smoking, on a plastic chair. She couldn’t have been more than eighteen and she wore a sequined dress that rode up high on her thighs. Daniel was tempted for a moment, and then shook his head. He could just hear Pete, telling him, “Don’t do anything you’ll regret later.” Instead he picked up some cold cuts, mayo, mustard, chips, and vitamin water drinks. He stuffed all of this into his bike basket and rode to the barracks. As he approached the building, he couldn’t hear the generator. Relieved, he trudged up the stairs.

It was dusk and quiet. He made himself a ham sandwich with cheese, and then sat on his deck, eating it and sipping vitamin water. Stars illumined the black night. Laughter came from the Carnival cruise ship that must have docked that afternoon. Somewhere a band played “Rhinestone Cowboy.”
It was just after seven when he woke, dripping from sweat, in the hot and stuffy room. He heard the motor, but he couldn’t smell the fuel. That was because his doors and windows were closed. But when he stepped outside he was greeted by a blast of diesel fumes. He turned on the central air conditioning and slipped back into bed, but he couldn’t sleep. He put on a pale blue cashmere sweater because of the chill. He made coffee and ate half a grapefruit at the kitchen table.

Then he decided that this was unbearable. He hadn’t come to Florida to be barricaded inside his apartment in a cashmere sweater. This was absurd. He’d have a talk with someone. He slipped into a pair of flip-flops and stormed downstairs. He followed the path between the arching palmettos that led to the beach. As he approached, the generator was so loud and the diesel so strong; if he didn’t know better, he’d think he was approaching an airstrip.

Two hippie boys, who looked as if they were just out of high school and had spent most of it smoking weed, were setting up a shed that appeared to be filled with tools, rope, and winches. Daniel poked his head inside. “Hey, guys.” At first they couldn’t hear him over the roar of the engine outside. Then one with long hair and a red bandana around his forehead looked up. “So,” Daniel asked, “what’s happening here?”

The boy gazed quizzically at Daniel. “Just setting up.” He spoke as if it was a question that any fool could answer, but Daniel shrugged. “For the regatta.”

“The regatta? What regatta?” Daniel’s feet were sinking into the sand, and he felt himself growing smaller.

“The Key West Regatta.” The boy turned back to help his friend who was coiling rope. “Happens every year. You know, sailboats.”

“Oh, okay. Sure.” He relaxed. A regatta. How noisy could sailboats be? “Hey, that’s cool.” It might be nice for a weekend to have colorful sailboats, cruising in and out of his harbor. It might even be restful. He envisioned himself, sitting with a Diet Coke, as the boats breezed by. He gave the boys a wave as if he was just wandering past.

As he headed back up the beach, his mood lifted. He recalled one of the lessons Pete tried to impart to him. “Things may be as bad as they seem, but usually they aren’t.” That afternoon he pedaled over to Hemingway’s house. He examined the desk where Papa wrote standing up, and stroked the six-toed cats named Mr. Bette Davis and Gregory Pecker. This was Key West after all. In the evening he went to the Coconut Lounge where he ordered a Virgin Mary at the bar. A blues combo was playing.

At the piano a black man in dark glasses set the tempo with hands the size of catcher’s gloves. He never looked down at the keys. Instead he seemed to be staring straight at Daniel. It was unnerving at first, but soon Daniel got used to it. Perhaps because he was sober, it seemed as if he could hear all the notes. He didn’t miss a moment. He smiled at the piano man. He nodded his head when the piano man did a whirling riff and clapped when he finished a mind-boggling solo.

At the end of the set the piano man stood up. He was as huge as his hands. Tall and sturdy yet he fumbled with the top of the keyboard. He stood still, not moving, though this time instead of looking at Daniel he was looking at the ceiling. Daniel was about to go up to him and shake his hand when the bass player took the piano man by the arm and led him through the maze of instruments, through the crowds, and to the bathroom. The piano man kept his hand out in front of him so he wouldn’t bump into tables or chairs.

That night as he was drifting off, Daniel was thinking about what it must be like to be blind. He would be frightened if he had to always trust people to tell you if the light had turned green or if there was a hole in the ground. But the piano player didn’t seem frightened at all. Still what if he didn’t have someone to take him by the arm? How could you get around then?

Just as he was falling asleep, something banged against his bed. Or it seemed to be banging. He put his hand on it, then his ear to the wall. “Oh, come on, baby,” he heard. “Come on. That’s right.” As the couple in the next apartment made love, with their headboard striking the wall, Daniel pulled his bed into the middle of the room, curled up, and tried to sleep.
What had he been dreaming? A woman beckoning to him? Was it Janice or someone he had yet to meet? He could see her long, brown hair, but not her face. Were those flippers she had for feet? He was floating towards her, almost reaching her, when a clang shattered his sleep. It was as if a lead pipe had been dropped beside his head. Daniel shot upright, and staggered to the window. There on the beach in front of his apartment a three-story crane was unloading cargo containers from the back of flatbed trucks. Daniel gazed out numbly. He had assumed that the boats for the regatta would sail into the harbor. He was actually looking forward to watching them sail in. But it appeared as if they were being delivered and assembled like something you’d order from Ikea.

As he was making his pot of decaf, cargo containers were being pried open with crowbars. Hull and the makings of boats appeared. He was surprised at how neatly they were packaged. Full-blown sailboats, all folded up, emerged from the containers. He reasoned that once the boats were unpacked and assembled, the containers would be taken away. But instead the giant crane plucked them up and lined them along the shore. “This isn’t possible,” Daniel said as he poured his coffee down the sink

He found the hippie boys, as he’d come to think of them, in the shed along with a couple of older men who appeared to be ship captains. “Ah, excuse me,” Daniel said. “I was just wondering.” They all turned and looked at him. “This regatta, it’s just for the weekend, right?”

The four men exchanged glances. “Oh, no,” the long-haired boy replied. “It goes on all week. Ten days.”

“But the generator. The noise?”

The guys just shrugged. “Sorry, Mister. But this happens every year. Somebody should’ve told you.”

Daniel nodded in agreement. “Yes,” he muttered, “somebody should have.” Stomping back upstairs, he called his realtor and left a message, asking that she phone him immediately. He said “immediately” with emphasis. But by ten in the morning as the mini-vans were arriving with dozens of what seemed to be college students, she still hadn’t called. The college students wore different colored uniforms. Some were all in blue. Another group was in black except for the trim around their colors. These, he assumed, were the crew. They were helping with the unpacking of the ships. Soon the hulls sat on boat trailers as the rigging and the masts began to go up. Now the generator was really churning away as crew members were shouting to one another through bullhorns.

At noon he slathered sunscreen on and tried to sit out on the deck, but between the generator and the shouts of the crews, there was no point. He stormed back in and phoned Sue again. He left another message — this one slightly more urgent sounding. He had gotten himself upset. For the first time in weeks he wanted a drink. He really wanted one. Probably he should find a meeting. He thought of calling Pete, but he channeled him instead. “Come home,” Pete would say. “If a door closes, break a window.”

Daniel made himself a ham and cheese sandwich and packed a large bath towel. Then he rode his bike over to Fort Zachary Taylor State Park. It wasn’t that far from the Barracks, and for the time being he left the beach with the generator and the crane and the cargo containers behind. The minute he entered the park it was quiet, and the breeze among the groves of pine trees was soothing. He rode until he found a spot right by the water. He put down a towel and took off his shirt. He sat for a while, staring out at the sea, then slowly munched his sandwich.

He took a deep breath. Daniel felt good. He’d lost weight — thanks to sobriety. His skin was tawny and he felt younger than his almost forty years. Nothing was perfect, but as he sat on the towel, gazing at the ocean, he was touched with a sense of renewal. It was warm in the sun and soon he lay down on the bath towel. Perhaps for the first time since he’d arrived in Key West he slept soundly. He woke to his cell phone ringing. “So how is it?” Sue asked.

“How’s what?”

“Well, the apartment. Is it what you expected?” She was cheerier than a human being with consciousness had a right to be.

“The apartment is fine, but did you know about the regatta?”

“The regatta? Oh, yes, they do it every year. It’s a big deal around here.”

“And did you know that they assemble the ships right in front of my apartment?”

Sue paused. “Well, yes, but I didn’t think it would be a problem.”

Daniel took a deep breath. Half a dozen jet skiers were careening towards the beach where he lay on his blanket. “And you didn’t think it might be a good idea to tell me it would be going on? So I could decide that for myself?”

“Most people enjoy it,” Sue said. “I’ve never had a complaint before.”

“Well, you have one now.”

Another pause. “If you’d like to move, I could try to find you something comparable…”

But here Daniel hesitated. He was complaining, yes, but he wasn’t sure that he wanted to move. Moving felt like a defeat. He needed to face his problems head on. Not run away as he’d always done. And it seemed like so much effort to pack everything up and go elsewhere. Besides there might just be another problem at the next place. Loud neighbors, mosquitoes, sewer gas. He didn’t have that here and at least the nights were quiet. Perhaps he could work around the noise. Become nocturnal? And perhaps the race itself, once it got underway, would be exciting. “I just wish I’d known before I moved in,” he said, and then he hung up.

For dinner he went down to the wharf where they served great pink shrimp. He sat at the bar and ordered a platter and a ginger ale. The bartender gave him a knowing nod and when Daniel was on his third ginger ale, the bartender leaned forward and said, “So you been to any meetings down here?” When Daniel looked surprise, he pointed to the ginger ale. “I can tell you where to go.”

Daniel shook his head. “I’m doing fine,” he said.

“Well, if you change your mind, I’m always here.”

Daniel nodded, a half-smile on his face. A woman sat down beside him. Her heels clicked on the barstool. Without looking at her he could tell that she was leggy and blond and smelled of roses. He wouldn’t mind talking to someone. He glanced her way. “Buy me a drink,” she said. “A Tom Collins.”

Daniel hesitated. He hadn’t ordered a drink for anyone since he got sober. But the whiff of her and those long, slender legs made him go ahead.

“Give the lady a Tom Collins,” he said to the bartender. Then he turned to his companion. “What’s your name?”

“Amber.” What is it, Daniel wondered, about women who are named Crystal, Tiffany, or Amber?

“So how long have you been down here?” Daniel asked.

“Just a few days. And you?”

“Oh, I’ve been here for a while.” As Amber reached for her drink, Daniel noted her firm biceps. The pronounced Adam’s apple. He felt the sudden urge, the desire almost, to wrap his fingers around the base of her throat. Instead he put a twenty down on the bar. “Sorry,” Daniel said, “I was just heading out.”

He took the long way home, trying to calm down as he contemplated the fact that the closest he’d come to intimate contact since “the incident,” as he now referred to the attack on his wife, was with an under-aged hooker and a transvestite. He would have to do better or stick with nothing at all. It was just past ten when he got home, but he was tired since he’d hardly slept the night before. He was anticipating being woken early.

Daniel closed all the doors and windows, put an extra blanket on the bed, and turned on the air conditioning full-blast. As he curled up under the covers, he heard once again that pulsing and the voices coming from the apartment next door. “Oh yeah, like that, baby.”

It had been a long time since he’d touched himself, but he felt the urge in his groin. He was growing stiff and hard and he put his hand on to himself. “Come on, baby,” a man’s voice said in the next room. “Do you like that?”

There was a soft murmuring, a groan. He thought about Janice, not her breasts, and not her cunt. But her neck. Like a swan. He recalled the pressure of his hands around her throat. How neatly they’d folded around her. The smoothness of her skin. The look of terror mixed with fury in her eyes. He was staring into the dark pit of those eyes as he came.
When he woke the next morning, he was greeted by silence. Lying in bed, he listened. Nothing. It was seven-thirty and, thus far, no noise. Perhaps a miracle had happened. Or a neutron bomb dropped. Whatever the cause he luxuriated in it. Then, as he stepped on to his balcony to take in a breath of fresh air, the generator began, spewing its fumes and noise pollution everywhere. By eight the beach was a hive of crew and riggers, calling out to one another with blow horns. He slipped back inside.

Though the room was both stuffy and cold, he didn’t dare open the windows. “I’m going to turn this into something positive,” Daniel said to himself. Again he thought of Pete. “When life hands you lemons, don’t buy orange juice and spike it with vodka.”

As he gazed out, an idea came to him. A solution began to emerge. It was so simple like any perfect equation. E=mc2. If they could string up a barrier, a tarp or something between the generator and his balcony, the problem would be resolved. A buffer zone. That’s what was needed. Daniel chuckled to himself. That’s what he’s always needed. Something to stand between him and the world.

In shorts and flip-flops Daniel headed to the beach. As he walked along the side of his building, he could barely hear the generator and, for a moment, he believed it was turned off, but as he came up to the beach, he heard it once more and he smelled it. The hippie boys were in the shed, helping riggers with their lines. They looked up at Daniel and he could tell that they had already dubbed him “Mr. Pain-in-the-Ass.” The long-haired boy gave his friend a nod, then stepped outside.

“Look…” Daniel began, “I’m only down here for a couple of weeks and that’s my balcony right there.” The young man gazed up. “I can’t even go outside.” He pointed to the generator.

“I see the problem,” the young man said.

“So I was thinking, I know you have to do your job and I’d like to have a vacation. I mean I’d like to sleep with the windows open, have a cup of coffee outside. So I was just wondering if maybe, somehow…” He was making this up as he went along — something Daniel was in fact rather good at. “I was wondering if you could rig up some kind of a tarp or something between me and the noise.”

The young man stared at Daniel blankly. He thinks I’m a nut job, Daniel thought, and I don’t care.

“If you have a problem, you should talk to Mr. Kaufman. He’s the one in charge of all the equipment.”

“Mr. Kaufman?”

“That’s right. John Kaufman. He’s the crane operator.”

A Jewish crane operator? Daniel shook his head. Sure why not?

The big yellow crane sat idle up the beach. If his kids were here, he’d make a joke. Call it T-Rex and pretend it was going to get them. Something stupid like that. It seemed that Mr. Kaufman hadn’t made it to work yet. Still Daniel headed up the beach to make certain. Walking towards the crane, he found himself in a maze of sailboats. There were dozens of them, all in various states of assembly and perched on their trailers. There were some with shiny beige hulls and others gleaming white, their masts towering. The rigging banged like chimes in the wind.

As he meandered among the rows of ships, he made note of their peculiar names. Almost like racehorses — a sport he was all too familiar with. There were the names that evoked the guilty pleasures such as Wicked and Bad Boy and My Other Wife. Some were puns like Tomato Sloop, Blew Bayou, and For Sail. And the occasional obscene such as Blow Job. Then there were the boats that evoked the free spirits of a life at sea. Gypsy Rover, Voyager, and Open Road.

He roamed among them, weaving in and out until he came to one with a pitch black hull. Some of her sails were black as well though the mainsail was a creamy beige. Her lines were clean — sleek and dark. She was classy though she also evoked those boats from his favorite adventure stories — the kind pirates might sail. Daniel looked up to see if she was flying the Jolly Roger. She seemed to be flying the flag of Sweden instead. Embossed on her stern in white, raised letters was her name. She was The Answer.

Daniel paused, taking this in. He could kind of understand most of the other names, but The Answer perplexed him. This boat was the answer to what? To tedium and misery? To loss and despair? Its simplicity irked him.

A man with a red scraggily beard was working on her top deck, checking her lines. “So this is The Answer?” Daniel shouted.

The man looked his way. “Yep, this is she.”

“So what’s the question?” Daniel replied, laughing at his own joke.

“You have no idea, Mister, how many people say that to me.” The man looked as if he was about to spit but he didn’t. Instead he turned back to his rigging.

“I’m sorry,” Daniel said. “I couldn’t resist.”

“They all say that too,” the man replied.

Daniel nodded, clearing his throat. “You don’t know Mr. Kaufman, do you?”

He pointed up the beach. “I think he went to check on something. He should be back soon. You need a crane operator?”

“Yes,” Daniel nodded. “In a manner of speaking, I guess I do. He glanced over at the boat. “That’s a nice ship you have,” Daniel said.

The man grinned. “She’s a classy one.”

“My name’s Daniel,” Daniel said.

“Ah, like the Apocalypse.” The man tipped his sailor’s cap. “I’m Bruce.”

Daniel gave him a wave as he headed up the beach in search of John Kaufman. If he could find him, Daniel believed that somehow everything would be all right. But the crane was still immobile. Heading back to his apartment he thought that perhaps he should phone, be professional about this. He checked the Yellow Pages for John Kaufman, crane operator. No luck. He called directory assistance. There was no listing for a crane operator named John Kaufman.

At lunch as he was munching on a sandwich, he got a call. He was hoping it was one of his kids, but it was Pete. “So how’re you doing down there?” Pete asked. “I haven’t heard from you in a while.” Daniel explained about the apartment and the generator and the regatta. He told the story of his mishaps in a way that made them both laugh. “So you found a meeting yet?”

Daniel didn’t hesitate. “Yep, been twice.” It was the first time he’d lied to Pete and it surprised him how badly it made him feel. He’d always been up front before. But Daniel didn’t know how to explain this. Just being down here, sipping coconut juice, riding his bicycle along the shore, going to the butterfly conservatory, it was almost as if he was going to meetings all day long. He was finding his own ways of healing. Except for the whole thing with the generator Daniel would have to say that things had been working out.

“That’s good to know, buddy. Give a shout sometime,” and they got off the phone.
John Kaufman was older than Daniel expected. For whatever reason he thought he’d be a younger man, but he was at least in his 60s with a shock of pure white hair. He listened carefully, leaning in as Daniel explained his problem. Perhaps, Daniel thought, he’s hard of hearing, but apparently John Kaufman was just concentrating. Daniel pointed to the generator and to his balcony and John Kaufman nodded. “I do see the problem,” he said, nodding in agreement. “Yes.”

“You do?” Daniel was relieved. He had the feeling that John Kaufman didn’t think Daniel was crazy the way the hippie boys did. He sensed that this man understood him.

“I’ll think of something,” John Kaufman said, leaving Daniel alone on the beach. He went upstairs to make lunch. As he made himself a salad, he could see more sailboats unloading. From the balcony he could see the crews arriving in school buses, dozens at a time. They went to their boats like soldiers about to deploy. This could be Normandy. The Gulf of Tonkin. Tomorrow was their big day. On the beach a kid was playing catch with his dog. Curious cyclists peddled by. A man set up his fishing rod on the beach. But Daniel could enjoy none of this.

He went inside and called Janice. He wasn’t sure why he was calling her or what it was he wanted to tell her. But he felt a sense of urgency as if he had something important to say. Some message he had to convey. But it was Sammy who answered the phone. “Daddy, Daddy,” his seven year-old voice blurted.

“How’s my big boy,” Daniel said, his eyes welling up. “How’s the best soccer goalie on the whole Junior East Side League?” And Sammy went on about all the potential goals he’d blocked. He doesn’t remember. He doesn’t remember that his father had tried to kill his mother. It was all behind him now. Children forgive. Children move on. “Is Mommy there?” Daniel interrupted Sammy’s monologue and the moment he did he regretted it.

Sammy hesitated, unsure of what he was expected to do. “Mommy said that if you called to say she wasn’t home.”

“Okay, buddy, I get it. No problem. I’m gonna come home and see you real soon.”

“I’ve got a game on Tuesday.”

Daniel wished he didn’t know this. He didn’t want to know this. “I’ll try and be there.”

“Cross your heart?”

“Hope to die.” Then he heard the hollow click of the phone on the other end.

It took him a moment to pull himself together. Had he just lied to his son? Or was there a chance he’d be home by Tuesday? Maybe he’d try. Certainly he’d call. He wanted a drink. He wanted to numb every neuron in his body. Instead he took a deep breath and sipped his decaf coffee. Breathe, he told himself. Just breathe.
That afternoon he stood in the relative quiet of his balcony, watching as The Answer was carving a smooth trough through the sea. Her sails caught the wind as she came about, heeling to port. Another turn, then over to starboard. She was doing a test run. Other boats were out as well, but his eyes were on The Answer until she sailed in. Then the crane lifted her from the water, as it did with each boat, putting her back onto her trailer as gently as a cat would do with her kittens.

An hour later Daniel took a walk along the beach as sails were being lowered and folded, rigging secured in preparation for the race. Bruce was on deck, cleaning the hull. “Hey, Bruce,” Daniel waved. “How’d she do today?”

“She’s in good shape. Just tidying her up.” He was swabbing down the sides. “Would you like to come on board?”

Daniel’s heart thumped against his chest. It was as if he was about to touch a woman he’d wanted to touch for a long time. “Yes, I’d like that a lot.”

“Well, then, climb on.” Bruce pointed to a small ladder and Daniel hoisted himself up. She swayed a little under his feet, and then settled down. “She’s beautiful,” Daniel said. And it was true. For a few barefoot summers his parents had rented a home on Fire Island and he and his brothers had gone to sailing camp one summer. He hadn’t given it a thought in years, but suddenly he found himself recalling the points of sail — close haul, close reach, beam reach. He knew a little about how to tack and heel and test the wind.

“How old is she?” Daniel asked, wondering if this was a proper thing to ask. Was it like asking the age of a woman?

“Oh, she’s got about ten years on her. She’s old for a racing boat, but they refitted her well. Her lines are perfect. She’s a classic.”

He ran his hand along her black hull. “She looks like a pirate’s ship,” Daniel laughed.

And Bruce laughed along with him. “That too.”

“What’s she worth?”

Bruce’s features pursed and shook his head. “I couldn’t tell you. She’s not mine. I just captain her.”

“Ballpark?”

Bruce scratched his red beard. “Oh, a couple hundred thousand, I’d guess. Why? You looking to buy a boat?”

“Maybe. I might be in the market for a boat.” Even as he said it, it seemed to Daniel as if it was so. He was in the market for a boat.

“Can I offer you a beer?” Bruce asked as he popped a cold one.

That popping sound, the fizzing noise. It would be so easy to have just one. “No thanks.” Daniel shook his head and made his way to the ladder. “I should get going.”

“Well, then,” Bruce gave him a wave of his calloused hands, “Another time.”

It was close to dusk when Daniel returned to the apartment. He poured himself a seltzer and lime and stood at the picture window. Looking out, he saw that the yellow crane was moving a cargo container. The crane plucked it up with its talons and was carrying it into the sky. The crane ground its gears as it reversed, and then dropped the container behind the generator. The buffer zone he’d asked for was being created. And suddenly he could barely hear a sound.

He grabbed the binoculars to get a better look. He couldn’t see the driver but he could read the name on the side of the crane. It read: “John Coffin. Owner and Operator.” Daniel shook his head, laughing. So his name was Coffin, not Kaufman. An easy mistake to make, especially if you come from New York. Definitely not a Jewish crane operator but rather something out of old New England. He’d remember to thank Mr. Coffin for his help.
Daniel slept like a baby until nine and then only woke to the loudspeaker, announcing that the Key West Regatta was about to begin. Raising his arms, he gave himself a thumbs’ up. He hadn’t heard a peep from the generator. Outside the judges were checking the wind and the boats had just received their course. A medley of sails bobbed up and down. Now they were jockeying for position, trying to get to the start line as quickly as they could. The Answer floated in the middle, calm and assured, with her dark hull gleaming, her sails unfurled, and crew standing by.

Daniel watch from the window in flannel pajama pants and a t-shirt, a cup of coffee and binoculars in hand as the first canon sounded the five-minute warning. The ships scurried toward the imaginary starting line that existed between a green buoy and the judges’ boat. They were missing one another by inches as they rushed to cross first and pull ahead. The three-minute canon sounded and the boats, mainsails taut, were catching the wind. Daniel went out on to the balcony. He couldn’t even hear the whir of the generator, now further muffled by the loudspeaker and music that poured from the boats.

Daniel noted the morning breeze. Not too strong, yet steady. He licked his finger and held it up into the air. Blowing from the southeast. A wind that would be good for sailing. He sipped his coffee, excited that the race that had disrupted his vacation was about to begin. The final canon sounded and the race was on. All the boats were heading west. Gypsy Rover took the lead with My Other Wife close behind. Rosebud tacked and Pourquois Pas? brought her boom around. Blow Job was nowhere to be seen. But his sights were set on The Answer. Her hull cut through the water like a giant sea creature, a serpent, almost slithering through the waves, her sails trim, as she zigzagged out of the harbor, away from the beach, and toward the open sea.

She grew smaller and smaller until she was almost nothing at all. Just a black speck like cinder on the horizon. He watched through the binoculars as she tacked and came around, now sailing back in his direction. It was as if she was sailing right to him, and there seemed to be a certain inevitability to the whole thing. That was when it came to him. It was as clear as anything had been in months. It was inevitable. Meant-to-be as his mother used to say. He understood the signs. Everything that had brought him here to this apartment, the generator, the regatta. He’d been on a blind date with destiny. It all made sense to him now.

He would buy The Answer. Surely she could be for sale. Surely there was a price that she could be sold for. Everything has its price, doesn’t it? He wasn’t entirely sure what benefit could come from purchasing a sailboat, especially one that required a crew, but hadn’t he once bought a racehorse named You Are My Sunshine that only ran well on a wet track? Something about his shoes and the track conditions. Daniel had never understood the issue of his racehorse and the shoes, but he did understand that some things are sound investments and some things are larks, and he had done distinctly better with the larks. He had, for example, bought several thousand shares of Piercing Pagoda before it became a hit in every suburban mall with teenagers who wanted belly button rings and safety pins through their eyebrows, and he’d made a fortune.

The Answer, Daniel realized, was the answer. That was why he’d come down to Key West and why he’d stayed in this very apartment during this very regatta. It was all part of the plan. A plan he hadn’t even recognized until now. Even a divine plan, perhaps. Now he’d understood that dream of a woman with fins for feet. It wasn’t about a woman. It was about a boat — even about this very boat. Boats are women who go to sea, aren’t they? What would his dream therapist say?

He’d buy her and take up sailing again. Maybe get his kids involved. It would be a great way to bring them all together again as a family. Maybe even Janice would see her way to forgive him. This was no racehorse after all. It had no investment value. It could not really be used for personal gain. For the first time in years Daniel would do something only because he wanted to. For the sheer pleasure of the thing itself. That was what had been missing for so long. That was the answer.

And it wasn’t a complete reach. He felt certain that, as with anything, like riding a bicycle, what little he knew about sailing would come back to him. It already was. You just had to remember how to tame the wind. It was as if he’d always been fighting against nature — his own in particular, as if he had some autoimmune condition. He’d always needed drugs to wake him and drugs to put him to sleep. He’d needed drugs to focus on his work and others to party. And now, suddenly, he was sober, and he didn’t want to fight nature anymore.

That was the thing about sailing. You don’t go in a straight line to your destination. You zigzag, you tack. You let nature carry you along instead of always trying to power through it. And that was what he did. At his work, at tennis. In bed. At anything he did. Now he was done with that. He was trusting. He was putting himself in nature’s hands.
That night he slept with his windows open and in the morning he barely heard a thing and the scent of gardenias, not diesel, filled his room. He was so proud of himself. So pleased of his solution. How he’d utilized cooperation. He was a real problem solver. That’s what people always said about him. He knew how to get to “yes.” The buffer worked. John Coffin and the regatta must do their work, and Daniel Clay must have his holiday.

During the day he watched the race, then rode his bike around the island in the late afternoon. When he returned, the sailboats were coming back into the harbor. Changing into a pair of chinos and a polo shirt, he headed out to find his boat with Bruce on her deck. Even from a distance he could see the black hull and the man with the red scraggily beard. “Can I come aboard?” Daniel asked, giving Bruce a wave.

Bruce nodded. “Sure, why not?”

Daniel climbed up the ladder, pausing to run his hands along her smooth wood trim. He patted her sides. The Answer was fit and steady. Solid. There was something about this ship that he could trust. “Bruce,” he paused, unsure if he should go on, and then he did, “Can you find out how much for her?”

“How much? Why?” Bruce squinted in the setting sun as he looked over at Daniel. “You want to buy her?”

Daniel nodded. “Yes. I do.” This was better than a goldmine or a racehorse or any of his other sketchy investments. It was something else. It was the opposite of an investment. It was a gift. A gift he’d give Janice and the kids and, in this way, he’d win them back. “I can write you a check… for the down payment at least.”

Bruce looked at him askance, shaking his head. “She’s not for sale.”

“The price doesn’t matter to me.”

Bruce frowned. “Well, it should.”

“Just tell me how much. You can remain her captain if you want. I’ll even pay you a salary. But I want this boat.”

“Why don’t you make an offer on Sunday’s Child? She’s for sale.”

“Because I don’t want Sunday’s Child. I want The Answer.”

The Answer was his peace offering. Janice had, after all, left a small window open for reconciliation. Hadn’t she said, when they last talked, something about how if he stayed sober for six months, they’d talk about things? It wasn’t as if she’d served him with divorce papers. And he had in his own way been missing her. Now suddenly the solutions to everything lay in this boat. The words to that song floated in his head. “Love is the answer.” He hadn’t quite grasped it until now.

“All right,” Bruce nodded. “Give me your cell number. I’ll see what I can do.”

That night he stopped in at the Coconut Lounge. That same bluesy jazz band was playing and the blind keyboardist was killing it, as his oldest, James, would say. Daniel sidled up to the bar and ordered a ginger ale. After the set he went up to the piano man, to shake his hand, and tell him how much he liked his playing, but before he said a word, the blind musician said, “Oh, you’re back again.” Daniel was confused. He couldn’t understand how this man could know he was here. “You were here once before, weren’t you?”

Daniel nodded, muttering “yes,” wondering if perhaps after all the man could see. But the man wasn’t looking at him. He seemed to be looking passed him as if he could see something further away — just not what was in front of his eyes. The musician clasped Daniel’s hand in a bone-crushing grip. “You take it easy now, pal,” the piano man said, his face growing somber. “You be careful now.”

His words sent a chill through Daniel because it sounded almost as if the blind man knew something that Daniel couldn’t possibly know. As if the blind man had literally seen right past him into some other time that hadn’t happened as yet. “Thanks, man,” Daniel said. He wanted to ask him if he’d seen something, but that seemed absurd. If Daniel was drunk, he would have asked him, but sober, he knew that the question made no sense. He was a blind man. How could he see?
By week’s end after dipping into a few assets that no one would miss, Daniel had the money for a down payment. Near dusk when the racing day was done he went to find Bruce. He had a check for twenty-five thousand dollars in his pocket, made out to cash, as the owner had requested. But The Answer wasn’t on shore where he usually found her. He walked up the beach, searching for her as if she were his lost dog. He saw her, floating a hundred yards off shore. It seemed that her race was over. Daniel gave a shout, and Bruce must have heard him because he got into the dinghy that was attached to the boat and made his way back to shore. “How’d she do?”

Bruce shrugged. “Well enough in her class.” Daniel nodded, then handed the check to Bruce who just shook his head. “I hope you know what you’re doing, buddy.”

“I can have the rest of it…” Daniel did a quick calculation. It might take more than a week. He had no idea how much Janice might have tied up their finances. “In a little while. Maybe next week.”

Bruce cocked his head as if he was. “Well, we should take her for a little test run, don’t you think? Like a car. A little whirl around the harbor?” Daniel pondered this. It did make sense if he was going to buy this boat that he should see how she sails.

“Sure,” Daniel said, “Let’s do it.”

He hopped into the dinghy as Bruce pushed off. The sea was smooth, almost glass-like and inky as they puttered across to where The Answer stood, waiting. The black of her hull blended with the gray of the waters and it was hard to tell where the boat ended and the sea began. They came to a halt and Bruce anchored the dinghy. He scrambled on to the boat. Then he extended a hand to Daniel and pulled him on board.

Without a word Bruce went to work, pulling up the sailboat’s anchor, untying the lines, one of which he handed to Daniel. “Hold this,” he said, “until I tell you to let go.” With rapid tugs, Bruce hoisted the mainsail, but kept her slack. He turned on the motor and took the wheel. Then he motioned to Daniel, “Let the line go now.” As he did, the sail unfurled.

They motored out of the harbor and Bruce shut the engine. He set the sail and a strong breeze caught it. Soon they were heading on to the open sea. She rode so smoothly it was as if they were skating. “Well, she’s steady,” Bruce said as he secured the rigging. “Let’s seal the deal. What’ll you have?” At first Daniel wasn’t sure what he meant, but he saw that Bruce was heading to the cooler. “I’m having a beer. A Harpoon ale?”

Daniel knew the answer to this question. It was always the same. I don’t drink. He’d rehearsed it dozens of times. Said it over and over even in his sleep. It was easy. Three short words. Nothing to it. But this was an occasion, wasn’t it? And he’d been sober now for what — over thirty-four days. He was surprised at how easily it had happened. He’d quit just like that. Really it was nothing compared to giving up cigarettes or cocaine for that matter. For Daniel booze had been the lesser of all his evils. “A beer would be great.”

The sun was setting as a gentle wind rocked the boat. His boat now. At least almost his. He heard the familiar sound of the bottle cap popping as Bruce handed him a cold one. Daniel took a swig. The taste of the beer stung his mouth the way smoke burned his lungs when he hadn’t inhaled in a long time. It was sharp as a knife and rippled through him. I’ll just have this one, Daniel told himself.

He settled down into the white plastic seat cushions. The air was so fresh and the beer so cold. It doesn’t get much better than this, Daniel thought as he lay back. The boat rolled up and down through the crests and troughs of the waves. As they sailed, the land receded and the wind picked up. The ship gathered speed, skimming the surface, and Daniel reached for another beer. He cradled it on his chest as he gazed up at the sky.

He must have drifted off for when he woke the motion had stopped and it was night. The boat was anchored back near the shore, the sails furled, and the dinghy was gone. Before he’d left, Bruce had stowed the empties neatly in a plastic bin. The boat pitched on the dark water. The lights of Key West were dim and the cruise ships silent so Daniel knew it must be late. In the cooler he found another bottle of ale. Popping it open he took it with him back to his seat. As he lay there, he recalled a dream he’d had as a child. In fact it was a dream he’d had a few times.

In it a small boy with a red bucket and shovel is playing in the sand. The rest of the dream is in black and white, but that bucket and shovel were bright red. The boy is playing with his back to the ocean as an enormous dark wave rises and is racing to the boy, almost about to engulf him, but just then Daniel always woke up. He wished he could share this with his dream therapist now. Daniel had always thought that this was a dream about his fears, but now he knows it was about his future. It was what the blind musician had seen over Daniel’s shoulder. It was where he’d been going all along.

Sherlock Holmes and the Mystery of Public Domain

Your Sherlock Holmes fan fiction is now just regular fiction, as a US court has ruled that Sherlock Holmes is in the public domain. Wait, you may be asking, wasn’t Sherlock Holmes already in the public domain? Didn’t he first appear in freaking 1887, well over 100 years ago?

Even though the US has absurdly long copyright — it took 95 years for Holmes to start appearing in the public domain — companies and estates routinely try to find loopholes to keep copyright extending for forever. In this case, the Doyle estate has been using an argument out of an undergrad English class discussion: that Sherlock Holmes is a “round character” and the full character can’t be public domain until every single Holmes story has passed the copyright expiration mark. Since Sir Arthur Conan Doyle fleshed out Holmes into the 1920s, and copyright extends the life of the creator plus 70 years, the full Sherlock Holmes shouldn’t be in the public domain yet.

Luckily, the judge apparently came from a different school of literary criticism. As Michelle Dean at Gawker notes, his decision even included a discussion of Star Wars:

Repeatedly at the oral argument the estate’s lawyer dramatized the concept of a “round” character by describing large circles with his arms. And the additional details about Holmes and Watson in the ten late stories do indeed make for a more “rounded,” in the sense of a fuller, portrayal of these characters…We don’t see how that can justify extending the expired copyright on the flatter character. A contemporary example is the six Star Wars movies: Episodes IV, V, and VI were produced before I, II, and III. The Doyle estate would presumably argue that the copyrights on the characters as portrayed in IV, V, and VI will not expire until the copyrights on I, II, and III expire.

And that’s how the case of Holmes and the Public Domain was solved… at least until the appeal.

Brian Evenson on Samuel Beckett’s Molloy

Molloy

Colin Winnette asked Brian Evenson to suggest a book. Brian picked Molloy by Samuel Beckett. Then they talked about it

Brian Evenson is the author of many books of fiction, most recently the story collection Windeye and the novel Immobility. In 2009 he published the novel Last Days (which won the American Library Association’s RUSA award for Best Horror Novel of the year) and the story collection Fugue State, both of which were on Time Out New York’s top books of 2009. His novel The Open Curtain (Coffee House Press) was a finalist for an Edgar Award and an IHG Award. His work has been translated into French, Italian, Spanish, Japanese and Slovenian. He lives and works in Providence, Rhode Island, where he teaches in Brown University’s Literary Arts Program. Other books include The Wavering Knife (which won the IHG Award for best story collection), Dark Property, and Altmann’s Tongue. He has translated work by Christian Gailly, Jean Frémon, Claro, Jacques Jouet, Eric Chevillard, Manuela Draeger, Antoine Volodine, and others. He is the recipient of three O. Henry Prizes as well as an NEA fellowship.

Colin Winnette: What motivated this recommendation?

Brian Evenson: It’s a book I’m very fond of, and

I tend to think contemporary American fiction would be more interesting if more writers knew <i>Molloy</i>.

I think it’s also a very funny book (though weird humor sometimes) and has some amazing sentences.

CW: How did you first encounter this book? What was your initial reaction, if you can remember?

BE: At the end of my senior year in high school, we had to read Edward Albee’s play Zoo Story for class. In the note in the textbook for that play, it said that if you’d liked Albee you’d probably also like Samuel Beckett. There was a little used bookstore in an industrial area in Provo, Utah and I ended up picking up Beckett’s Endgame there for a dollar. I loved it — still my favorite Beckett play — and that ended up leading me to Beckett’s trilogy (Molloy, Malone Dies, and The Unnamable). I like all three of those books, but Molloy was the one that really blew me away. I was at once intrigued by it and felt like I was missing a lot. I also think that the fact that the first section is just two paragraphs (one a couple of pages long and one about 80 pages long) kept me going: I didn’t feel like I could stop reading until I’d reached the end of a paragraph, and that made for a very strange, anxious experience. I also think its ability to juxtapose two narratives and still work as a whole is really admirable. It was really different than anything else I’d ever read, which may be what kept me going, but I think also when the narrative switches from Molloy to Moran that did something for me and I wanted to keep reading to see how the two narratives would or wouldn’t come together.

CW: What’s your sense of how the Moran section (part II) interacts with the Molloy section (part I)? What’s revealed/complicated?

BE: Well, it’s a discontinuous juxtaposition, one that seems like it’s structured so that the second part will resolve the first part. There are all sorts of gestures made towards that in things said in the Moran section, but as it progresses you begin to realize it’s not going to actually sew up or resolve anything, at least not completely. Instead, it’s almost as if Moran is going through a kind of “Becoming-Molloy” (though that too is discontinuous and not completely parallel). Very little is accomplished by Moran (apart from a death he’s not sure he understands); he returns to where he started from, but that place has fallen apart in his absence just as he too has fallen apart in being absent. And of course the way it ends calls into question everything about the narrative itself and about narrative in general.

CW: Was the connection to Albee profitable (other than motivating you to discover Beckett)?

BE: Not really. I liked Zoo Story and I like the other Albee plays I’ve read or seen, but I feel that Beckett’s a different sort of animal than Albee. But sure, they’re animals that are pretty close evolutionarily even if they’re not the same. I think whoever wrote the notes for the anthology had read Martin Esslin’s The Theater of the Absurd and saw both Beckett and Albee as being part of that tradition. And in any case, I owe Albee a debt for not only changing my idea of what drama could be when I was in high school but also for leading me indirectly to Beckett.

CW: Will you talk a little about Beckett’s apparent obsession with decay, with aging, rot, even mental/psychological decay? Molloy isn’t the only Beckett work that leads you in one direction, only to lose its narrative “trajectory” to decay and stagnance.

BE: I think it’s more than apparent. It has something to do with Beckett’s philosophical notion that we move from the cradle to the grave, that that’s the only direction that anything moves, at least anything organic. As he suggests in Waiting for Godot: We “give birth astride of a grave, the light gleams an instant, then it’s night once more.” We are left each day with a little less — though moments in his work ironize this or call it into question.

Beckett’s about the night, but he’s also about the brief gleam.

CW: How might writers knowing about Molloy make contemporary American fiction more interesting?

BE: I guess what I think — and I’ve talked about this elsewhere — is that there are two very different strands of innovation in American fiction. One can be traced, roughly, back to Joyce (Ulysses in particular) and involves a kind of excessive maximalism and lots of pyrotechnics. David Foster Wallace, for instance (who I admire a lot). There’s a great deal to be admired in that strand, and a lot to be learned from it, but at the same time I feel sometimes like those writers seem like they want to cram the whole world into a paper bag. It’s impressive, in a way, to watch that cramming take place, but what you have in the end often strikes me as being a little too proud of itself, wanting a little too much attention for being virtuosic. The other strand for me is traced back to Beckett and Kafka, who manage to do amazing things with language but also aren’t really interested in being impressive. Those works don’t say “Look at me”; instead they get down to the very serious business of figuring something out, of following and pursuing a line, and then don’t mind cutting out the noise of other things that don’t feel relevant. They’re modest in one way, incisive and deadly in another. I tend to think if more American writers ended up reading Beckett, and Molloy in particular, it’d shift the American sense of what experiment is. I can see it in contemporary French literature — Beckett has had a very positive effect. And then of course there are the non-innovative/non-experimental realms of literature. I think realist writers in particular should be confronted with Molloy’s lack of tidiness.

CW: Are there any contemporary American realist writers who you think have been positively affected by Beckett, or Molloy, in particular?

BE: Hmmmm. Offhand, I can’t really think of any.

I think there are a lot of innovative writers influenced by Beckett but few if any realists.

I think some of those innovative writers might have started as realists, but Beckett’s kind of a gateway drug to places beyond realism.

CW: Do you reread Molloy regularly? How do you approach it? Are you still looking to learn from it?

BE: Yes. I used to reread it once a year; now it’s every few years or so — mainly because I want to forget it enough in between to feel like it’s partly new again. When I was in graduate school I ended up going through the French and English versions and comparing them line by line and wrote an article about the differences and similarities, so I feel like I’ve gone over it more intensively than any other book. When I reread it, it’s like seeing an old friend again, and being reminded of why you’re friends. There are lots of moments I remember from reading to reading, but other moments that I only remember as I’m reading them, and moments which didn’t strike me on an earlier reading that strike me now.

CW: Could you provide a link to that article, for interested folks?

BE: It’s called “Heterotopia and Negativity in Beckett’s Molloy(s)” and was published in Symposium in 1992. You can get to it from that title, though probably need a university library to access the full article.

CW: For those who don’t know, can you talk a little bit about Beckett’s relationship to French? I know he wrote in French, though it wasn’t his first language, and he did so for very particular reasons.

Beckett photo

BE: Beckett said he wrote in French “parce qu’en français, c’est plus facile d’écrire sans style” [because in French it’s easier to write without style]. I think you always have a different relationship to your adopted tongue than you do your native tongue, and Beckett felt that writing in French meant stripping away a lot of the stylistic fillips and language games that he was using at the time in English (in writing, for instance his early novel Dream of Fair to Middling Women). It’s a deliberate impoverishment of his syntactic and vocabularic repertoire.

CW: Can you offer some advice for readers interested in Beckett, but who might feel intimidated by this book?

Molloy

BE: Well, if you can make it through the first two paragraphs, you’re good. After that, you get roughly normal paragraphing. I think it’s a slightly tricky book in that for me a lot of the satisfaction comes from getting through Molloy’s narrative and then entering Moran’s very different narrative, and then starting to make the little connections between the two. The Molloy section deliberately wanders, and gives us very little to hold onto until we get quite far into it. The voice carries us forward, I think, and the obsessions of the narrator, and the idea that it’s a kind of journey, but that’s undercut by Molloy’s own confusion. I think the best way to read Molloy is to relax into it, not worry about whether you’re missing something, and just plunge ahead. The book won’t give answers to some of the questions that it raises (and that more traditional novels would answer) but it gives a lot of satisfactions in terms of what’s going on with language. I think, like Samuel Delany’s Hogg (which is a very different, very extreme book), that there’s going to be the temptation to stop reading, but that if you do you’re not getting the part of the reading that helps you make sense of what you’ve already read. So, persist, don’t worry about what’s significant or not, and just forge ahead.

CW: What are some of the unanswered questions? What’s offered instead?

BE: Why is Molloy in his mother’s room? Who is the man who takes his pages? To what degree is Moran’s story constructed and to what degree is it based/tied to real events? And on and on… What’s offered instead is a lively voice, confusion, humor, and more questions.

CW: Can you talk a little more about the function of obsession in Molloy? For me, Molloy’s obsessive and compulsive behavior compellingly complicates his frequent fatalism. And how might Moran’s deterioration relate?

BE: I think this is something that you find in most of Beckett’s work, not just Molloy, that the obsessiveness and the interest in formulating the world is what drives the work itself. It’s not a tidy sort of directionality, like a 19th century novel plot or a typical story arc, but like little eruptions of obsessiveness. So, in Molloy, suddenly it seems imperative to the narrator to explain his sucking stone system. Or in How It Is there’s a very meticulous outlining of the shape and structure of the world that’s been created and how it all interrelates. It’s an obsession with systematization, which is something that we use to try to control the world around us, to try to make sense of what is difficult to make sense of at all.

CW: In the past, you and I have talked about your love for “…following the articulation of a system or a series of ideas: it doesn’t really matter…how wrong the system or the idea is (or if I know whether it’s wrong or not) as long as I can pursue its development and processing…” Is this interest, on your part, something that drew you to Beckett, or something that developed out of, or alongside, your encounters with his work?

BE: That’s a really good question. I don’t know which came first, but I imagine I responded to it in Beckett because I already had that impulse, that reading Beckett fed something that was already there but buried.

CW: When did you first lock into what appealed to you about what Beckett was doing? Do you remember the moment when you realized this book was going to stick with you?

Beckett photo

BE: I think for me I started reading wondering what had happened to Molloy, how he had come to be where he was, and who it was that was having him record his story. That’s a good entry point, and gives a kind of tension that makes you wonder whether his digressions and lack of clarity have something to do with his own suspicions about who his audience is. But, as it progresses, you have to give up at least some of those concerns, slowly realizing you might never have a complete answer. But the offbeat humor is something that gets under your skin slowly. And ultimately for me, by the time we get to the last lines the book has profoundly questioned reality.

CW: The narrative voice is both compelling and destabilizing. As a reader, you’re pulled in two directions at once.

BE: Yes, you are. The voice gives you something to hold onto, but after a while you wonder what it is exactly you’re holding onto. That tension is similar to something Beckett refers to at one point, I can no longer remember where, as the “two-fold vibration.” I like that in that it implies a kind of movement back and forth that strikes me as being more than a tension, and describes for me better the effect it has on the reader.

CW: In many ways, the character of Molloy is a typical Beckett centerpiece. An older, enfeebled figure, attempting a report on his life, while also simply attempting to move (often characters will strain to even lift a leg — I love the description of Molloy riding a bike). It made me suspicious of Moran — a character who, at first, is unlike the majority of characters in the Beckett universe.

BE: Yes, that’s true. Molloy’s a transitional book for Beckett in many regards. For me that’s one of the appeals of it, that it retains something of the structure of a novel at a moment when Beckett is moving past the novel — it’s like it’s the novel’s ghost, I suppose. We feel the way the gestures might go if Beckett were writing at a different time, and he nods toward those gestures and then does what he really wants to do.

CW: There’s something I always wonder, when encountering a hardcore Beckett fan, so I wanted to ask you here, because it seems particularly relevant given your body of work: is death a primary concern of yours? Aging? Decay? I guess I mean personally. How much do these thoughts occupy you, and is work like Beckett’s a balm or an irritant for those concerns?

BE: The Times review of my first story collection pointed out that of the 29 stories in the collection 11 begin with a death in the first paragraph, so I think that yes, it’s likely that there’s an obsession with death for me, at least in my fiction. I don’t think that extends much to my life. I’m not abnormally afraid of death, and not all that scared of aging.

I think there’s a kind of stoicism that comes from growing up in the American West as the descendant of pioneers, where I was raised to just see death and life as two sides of the same coin.

So, I don’t think I’m particularly morbid as a person — most people when they meet me are surprised to find that I’m a fairly gentle, relaxed, happy human — but also don’t think that there’s any reason not to think and write about difficult stuff, partly because they reveal things to us about human experience that might not be revealed by less extreme situations. And yes, for some reason, I do find joy and satisfaction in some of Beckett’s darker moments.

CW: Could you leave us with a passage? Or something to keep in mind?

BE: I love the way Beckett plays with narrative expectation, and the black humor of this book as well. My favorite passage of the novel, which I’ve quoted a few times elsewhere, is “He thrust his hand at me. I have an idea I told him once again to get out of my way. I can still see the hand coming toward me, pallid, opening and closing. As if self-propelled. I do not know what happened then. But a little later, perhaps a long time later, I found him stretched on the ground, his head in a pulp. I am sorry I cannot indicate more clearly how this result was obtained, it would have been something worth reading.”

Peter Matthiessen and Hunting Crows at Yale

by Win Bassett

The acclaimed naturalist started his writing career with a hunting and fishing column in his college newspaper.

Before Peter Matthiessen chronicled his attempts to capture musk oxen as large as nine hundred pounds in Alaska, and before he narrated his expedition to harpoon narwhals with the Greenlandic Inuit amidst challenges by animal-welfare groups, he wrote about shooting crows near Yale’s campus in New Haven, Conn.

“Cruising along the back roads in an automobile is not only the most comfortable, but the most efficient way of locating the crow,” he wrote

with friend John N. Cole in a 1947 issue of the Yale Daily News. “Make sure the cover chosen is not so dense that it prohibits rapid gun handling, for swift shooting will be necessary.”

Matthiessen succumbed to leukemia in April. Up until his death, he was well-known among literati and environmentalists. A short list of his descriptors reads like a mass-market paperback thriller: novelist, naturalist, CIA agent, Zen Buddhist priest, and founding editor of The Paris Review. He can be seen in the new film Plimpton! Starring George Plimpton as Himself, which debuted this month on PBS, and one of his last interviews was conducted by Ron Rosenbaum for Smithsonian Magazine. The former showcases his boyhood friendship with Review editor George Plimpton, and the Smithsonian interview focuses on Matthiessen’s lifelong vocation to understand the natural world through his writing. “I can’t find a single thing in nature where one animal, on purpose, tortures or is cruel,” he says. “But human beings can be cruel, especially cruel to their own kind. Why?”

Prior to his writing career, Matthiessen served in the U.S. Navy during World War II and then enrolled at Yale. There, he met Cole, an enthusiastic outdoorsman from Maine who became his writing buddy and later, his business partner in professional fishing and charter boat ventures. “At New Haven…I was an English major (with a strong side interest in zoology and ornithology courses at the Peabody Museum) and I co-wrote a hunting-fishing column for the Yale Daily News,” Matthiessen once noted. In addition to his studies, many hours spent outdoors, and nights drinking dry martinis at the Fence Club, Matthiessen published eight columns with Cole in 1947, all while claiming that he “never made the most of my Yale years.”

Two years before Matthiessen’s roommate Thomas H. Guinzburg became managing editor of the Yale Daily News under chairman William F. Buckley, Jr. (the same Buckley that founded the conservative magazine National Review in 1955), Matthiessen and Cole presented their undertaking to the newspaper’s readers in the first “Two in the Bush” column on October 9, 1947:

Over the course of the year, we shall attempt to deal with the possibilities and seasons for local hunting and fishing. The purpose of the column is to acquaint the reader with field sports within striking distance of New Haven and to comment more or less informatively upon facilities and methods for enjoying them.

The two college students, who later celebrated careers as writers and naturalists (Cole founded Maine Times, and Matthiessen won three National Book Awards), wrote about using owl decoys to hunt hawks in one of the first, if not the first, pieces of published writing from either of them. “The best investment, we think, is a stuffed bird, usually a Great Horned Owl, which retails for around $25.00,” they wrote. “Abercrombie’s for one, turns out a large dignified specimen of a supercilious demeanor calculated to infuriate any right thinking hawk.” (Abercrombie & Fitch, a company that now sells clothing for teenagers, existed previously as an upscale purveyor of sporting goods.)

Matthiessen and Cole’s humorous anthropomorphism characterized their columns and transformed often dry and callous writing about killing animals into what they believed these types of outings should be — encounters between clever, manipulative creatures whose ultimate goal was to outwit each other. “Grouse will run a little if they feel such a procedure to be necessary, but are more apt to wait until you have passed before taking off the other way,” they wrote. “[B]e careful to mark the point where they fall, whether dead or cripple; upland birds get increasingly elusive with age, up to and after death.”

Their columns also leave meaningful vestiges of traditional “sporting,” whose demise Matthiessen lamented with similar humanizing techniques and greater intensity as he grew older. “One of the turtles winked at me lugubriously, and both of us released a doleful sigh,” he noted while hunting green turtles near the Cayman Islands, an experience that served as the basis for his fifth novel, Far Tortuga. This book, along with his other longer works, displays Matthiessen’s thematic evolution from youthful and playful bird hunting to the cruelty of humans toward other animals. “[S]ad, weary sounds, along with the ‘tears’ of lubricating fluid that squeezed regularly from the turtles’ eyes, went unnoticed by the crew,” he continued. “[O]ne turtle lay next to where I slept on the deck…it’s eye not three feet from my own.”

Eyes captivated Matthiessen. His writings illuminate how these organs serve as an entry point for empathy between humans and nonhumans.

Robert Stone wrote in his New York Times review of Far Tortuga, “[T]he reader senses that the narrative itself is the recapitulation of a cosmic process, as though the author has sought to link his storytelling with the eye of creation.” Matthiessen had been telling stories since the beginning of his writing career with this eye, and with the many more he encountered during his travels. While hunting crows around New Haven from a car, he and Cole learned that a “crow’s wisdom is exceeded only by the keenness of his vision, and if you are observed slinking to the blind no amount of calling will bring any reaction but derision from your quarry.” Matthiessen likely never dreamt that his literary, activist, and environmentalist contributions over the past eighty-six years would bring him closer to this “sinister bird” than any camouflaged blind, or automobile, ever could.

Selected Matthiessen Work Available Online:

Aerial Circus Italo Calvino in Austin, TX

cosmicomics cover

Have you ever wanted to see your favorite short story collection in aerial circus form? Well, if you live near Austin, Texas, you can head on over to the Long Center for “an aerial theatre production of COSMICOMICS, adapted from Italo Calvino’s beloved collection of short stories.”

I can’t say that I’ve seen an aerial circus adaptation of anything, much less a short story collection. But Cosmicomics is a truly fantastic collection of fabulist science fiction stories — which I’d highly recommend — so this might be worth checking out. Runs from June 21st to 29th.

(h/t Kelly Luce)

MEDIA FRANKENSTEIN: Ghostbusters

The Vanishers cover

THE HEAD: The Vanishers by Heidi Julavits (2013)

This phrase from a friend once stuck in my mind describing how women are cruel to each other: “girl-on-girl violence.” It implies, on the one hand, that women can wound just as much if not more than the most violent men, and yet on another that they are above it, that cruelty reduces them to middle-school girlhood and that in a society that tells them to smile, what to do with their bodies, they owe it to each other to be basically decent — collegial, if they can stand it (the friend was female, by the way). Heidi Julavits’ 4th novel The Vanishers (2013)simultaneously attempts to decipher the rulebook of female cruelty and explode it by setting her own unique tale of “girl-on-girl violence” at the Institute of Integrated Parapsychology — aka the Workshop — a sort of Deep Springs for spiritual mediums in rural New Hampshire. Here Julia Severn, a psychic prodigy, falls afoul of house mother Madame Ackerman and, in the wake of a devastating psychic attack that makes Julia’s gums bleed, her fingernails snap, her scalp chafe and her bowels rebel, Julia flees to Manhattan. There Julia becomes embroiled in the search for a missing avant-garde filmmaker named Dominique Varga, which leads her on a madcap and frequently uncanny quest through dueling milieux of plastic surgery-enthusiasts, vanishing cults, schizophrenics and a Hungarian skin-care heiress. But where does the ghost enter in, you might ask? In the tragic exemplar of Julia’s mother, who Sylvia-Plath-ed herself into the ether when Julia was just a girl (the poet and her suicide become a motif throughout the novel) and appears to be somehow related to Varga. Our hero has meanwhile begun to receive a series of spectrally threatening emails — “a blob of clockwise-spinning fog, inside of which I could occasionally discern the shape of a woman lying motionless in a bed.” These ghost-in-the-machine missives are coming from someone called only “aconcernedfriend,” whom Julia at first assumes is Madame Ackerman — or someone privy, anyway, to the soul-crushing way that her mother checked out. (Where Plath used the oven, Julia’s swallowed pills). This haunting and dissociated mother/daughter relationship is what lies at the core of Julavits’ novel, which locates itself by and large among women. Radiating out like waves from the dark astral limbo that Julia visits in her psychic “regressions” are various other female pairings (mentor and protégé, friend and friend, a woman’s kinship with herself).

<em>The Vanishers </em>brilliantly subverts both the web-work detective novel and the metaphysical ghost story in having its veils of supernatural mystery fall away on nothing less than a mother’s troubled love for her daughter, and vice-versa.

In embracing ghost story tropes amidst a largely female milieu, the novel suggests a substratum of real, harmful chaos beneath the cat scratching and bless-your-heart manners American culture attributes to women, more smartly brought off for the signature fact that Julavits’ mediums are anything but passive as the 19th and 20th centuries have them (e.g. a woman is to spirits as a tampon is to blood), but actively nasty and unwisely fucked with. The ghost gets busted in the end, but never in the way you’d think.

Portishead album cover

THE TORSO: Portishead’s Portishead (1997)

What better record to underscore The Vanishers’ substratum of female chaos than the British band Portishead’s sophomore outing Portishead (1997). Widely classed in with the mid-to-late 90’s phenomenon of trip-hop alongside Tricky and Massive Attack, Portishead, fronted by vocalist Beth Gibbons, has also been described as “Gothic hip-hop” or “musique noire for a movie not yet made.” You need look no further than the album’s second track “All Mine” (also released as a single) for confirmation, in which a big-stepping, Dick Tracy-esque horn section with a mournful undercurrent of string instruments punctuated by shudders of deep bass is subsumed by a massively twanging ascension of guitar. Over the course of some very impressive (yet never straining) vocal spikes and declivities, Gibbons sings: “All the stars may shine bright/ All the clouds may be white/ But when you smile/ Ohh how I feel so good/ That I can hardly wait/ To hold you/ Enfold you/ Never enough/ Render your heart to me/ All mine…/ You have to be.” Sure, the lyrics could be and most likely are the musical equivalent of a magazine-cutout stalker’s paean to some former lover (if I can’t have you no one will); but even so they might, too, signal the fallout from a female friendship gone awry or a mother’s unbounded and terrible love. Gibbons has the voice of some malign songbird or a spirit in limbo, beseeching the living. A few of the songs on Portishead (most notably “Cowboys,” “Over” and “Elysium”) could go on to score Julia Severn’s astral projections in The Vanishers, in which she wanders the halls of a “bluestone” building “varicrosed by dead ivy” and encounters a spirit wolf named Fenrir,with eerie perfection. Portishead’s musical arrangements — a mixture of nightclub orchestra, beat-box minimalism and a record player repeating itself in the ballroom of a haunted mansion — are painfully crisp at first, even over-produced, only to succumb to guitar-swirling and record-scratching entropy as the tracks progress.

If there’s a ghost in <em>Portishead</em>, then it’s the ghost of thwarted love.

The album takes shape as an anguished attempt to reckon with the fact that even when love has died in the mind of the love object — or never lived there to begin with — it will never succumb in the mind of the lover. It struggles, haunted, hapless, on.

volver poster

THE LEGS: Volver dir. Pedro Almodóvar (2006)

Where The Vanishers and Portishead envelope us in spectral fog, Pedro Almodóvar’s film Volver (2006) adopts a more concrete approach — say, a fog machine that breaks down and stutters every few minutes to reveal to us our beautiful and mundane surroundings. Although Volver also has undertones of noir and the supernatural (as do many of Almodóvar’s movies — see Bad Education (2004) and The Skin I Live In (2011), respectively) and although it, too, like The Vanishers is a clever subversion of the ghost story, Volver utilizes an almost completely female cast led by Penèlope Cruz and Lola Dueñas to tell the far more earthbound story of three generations of Spanish women. Switching back and forth between Madrid and the fictional wind-swept village of Alcanfor de la Infantas (translates: “Camphor of the Princesses”), the film follows Raimunda (Penèlope Cruz), her teenage daughter Paula (Yohana Cobo), Raimunda’s sister Sole (Lola Dueñas) and Sole and Raimunda’s mother Irene (Carmen Maura), who has died in a fire three years previous to when the movie begins but whose remarkably chatty and un-charred corpse begins to appear to various members of the family when they return to Alcanfor for the funeral of their beloved Tía Paula. Almodóvar is a phenomenally talented and poetic filmmaker. Several early scenes in the film are nothing short of astounding, including a high-angle shot at Aunt Paula’s wake that has dozens of black-clad biddies clutching at Sole while muttering their condolences which achieves an unlikely harmony between poignancy and claustrophobia. Speaking of those old Spanish women in mourning garb, they’re just the tip of the coffin when it comes to female presence in the film. All of the principals are women and damn fine actresses into the bargain, especially Cruz — Almodóvar, in many ways the anti-Hitchcock Hitchcock, clearly reveres women and has always managed to elicit career-making performances from them — and apart from a few ancillary characters or characters who are some iteration of absent or dead, there is hardly a man to be found in Volver. Indeed, the early murder and concealment of a particularly nasty male specimen comes to seem as inconsequential after a certain point as the character himself as the film draws focus more and more on the relationships among the women. Raimunda’s mother continues to haunt, hiding underneath beds, in car-trunks, in spare rooms. You begin to suspect that what she is is far more frightening than a ghost: a dispossessed person who suffers and loves and needs her daughters more than ever. It’s a curiously suspenseful and innovative use of magical realist tropes by Almodóvar — black comedy leavened by wrenching tenderness. And while Volver is gentler in its harnessing of female chaos than either The Vanishers or Portishead, its principle players don’t always play nice. In a kitchen scene between Raimunda and her estranged ghost-mother Irene, Irene asks: “Have you always had such a big chest?” to which Raimunda answers with pained incredulity: “Yes, since I was little.” Irene’s response: “I remembered you having less. Have you had anything done?” As Raimunda attempts to confront her own troubled past while shielding her already-far-from-innocent daughter from the world’s utmost cruelties, family secrets emerge, alliances are made, broken and repaired among the sisters and the Márquezian winds of Alcanfor de las Infantas continue to blow. When Paula’s ghost gets exorcised, it’s a quiet and world-weary moment for all, suggesting at last that the stygian realm underlying the bedrock of female relations isn’t chaotic so much as just grasping.

What the supernaturalism of <em>The Vanishers, Portishead </em>and <em>Volver </em>seem to be saying is that when women (and by extension all humans) treat each other badly or underhandedly there is always something far more rarified and mysterious at work: people trying, clumsily, to bare to each other their unquiet souls.

Alternative Cuts:

(Big Machine by Victor LaValle (2009); Tricky’s Maxinquay (1995); Dark City dir. Alex Proyas (1998))

(The Innkeepers dir. Ti West (2011); Ghost B.C.’s Opus Eponymous (2010); The Haunting of Hill House by Shirley Jackson (1959))

(Beloved by Toni Morrison (1987); The Best of Billie Holiday: 20th Century Masters (2002); Kara Walker’s Gone: An Historical Romance of a Civil War as It Occurred b’tween the Dusky Thighs of One Young Negress and Her Heart (1994)) (Ju-On dir. Takashi Shimizu (2002); Revenge: Eleven Dark Tales by Yoko Ogawa (2013); Boris’ Amplifier Worship (1998))

In Two Weeks: Surveillance

Two weeks ago: Manmade Apocalypse