At Night Through Lighted Windows

As a coda to my fiction course at Wayne State, I asked students to post one paragraph they admire to our course web site—a paragraph from any work of fiction, on the syllabus or not. I made myself do the same. Here's the one I chose, from Marilynne Robinson's Housekeeping.

I do not think Sylvie was merely reticent. It is, as she said, difficult to describe someone, since memories are by their nature fragmented, isolated, and arbitrary as glimpses one has at night through lighted windows. Sometimes we used to watch trains passing in the dark afternoon, creeping through the blue snow with their windows alight, and full of people eating and arguing and reading newspapers. They could not see us watching, of course, because by five-thirty on a winter day the landscape had disappeared, and they would have seen their own depthless images on the black glass, if they had looked, and not the black trees and the black houses, or the slender black bridge and the dim blue expanse of the lake. Some of them probably did not know what it was the train approached so cautiously. Once, Lucille and I walked beside the train to the shore. There had been a freezing rain that glazed the snow with a crust of ice, and we found that, when the sun went down, the crust was thick enough for us to walk on. So we followed the train at a distance of twenty feet or so, falling now and then because the glazed snow swelled and sank in dunes, and the tops of bushes and fence posts rose out of it in places where we did not expect them to be. But by crawling up, and sliding down, and steadying ourselves against the roofs of sheds and rabbit hutches, we managed to stay just abreast of the window of a young woman with a small head and a small hat and a brightly painted face. She wore pearl-gray gloves that reached almost to her elbows, and hooped bracelets that fell down her arms when she reached up to push a loose wisp of hair underneath her hat. The woman looked at the window very often, clearly absorbed by what she saw, which was not but merely seemed to be Lucille and me scrambling to stay beside her, too breathless to shout. When we came to the shore, where the land fell down and the bridge began to rise, we stopped and watched her window sail slowly away, along the abstract arc of the bridge. "We could walk across the lake," I said. The thought was terrible. "It's too cold," Lucille replied. So she was gone. Yet I remember her neither less nor differently than I remember others I have known better, and indeed I dream of her, and the dream is very like the event itself, except that in the dream the bridge pilings do not tremble so perilously under the weight of the train.

Minor Bummer of the Day

Minor bummer of the day: I filled a big paper Yard&Lawn bag with frost-bitten apples and frosty leaves. Frost-bitten apples weigh more than you'd think. I hoisted it, and bear-hugged it, that bag. Filling it had given me a sense of accomplishment. So had hoisting it. ACE, the bag said, and I thought, ACE. Holding it, however, did not give me a sense of accomplishment. It gave me a slippery sense of dropping it. I staggered forth up the asphalt drive. Twice I had to stop and rest and hoist again, and upon attaining the curb, I let it fall, and when it met the ground, it split, as if the paper had been unzipped, and out spilled frosty innards--apples, leaves. Here ends the minor bummer of the day.

The Gift of Seeing What's There

From Robert Hass's "An Oak Grove," which appears in What Light Can Do: Essays on Art, Imagination, and the Natural World:

One of the gifts people who teach can give to students is a sense of complexity, because desire tends to simplify what it sees. We are usually, left to ourselves, egrets fishing through our smeared reflections. Another thing teachers can give them is the gift of seeing what’s there. They can give them some of the skills of distinction, discrimination, and description and give them concepts of enormous power to refine and organize their seeing. Seeing what’s there usually requires patient observation and the acquisition of particular skills and disciplines—not that those things guarantee our seeing clearly or freshly. Often in both the arts and the sciences, we see what’s there in a flash, but it has taken us hours or years of patient labor to get there and then to name what we have seen. 

The Unknowns That Pull at You

From Nicholson Baker's short essay "Mowing":

Finding things out: there is an infinitude of things you don't know, but it's not a very interesting infinitude, because it has no grain. Only some of the unknown things, a much smaller subset, are things that you are aware of not knowing, and then within that subset is a smaller set still—the unknowns that pull at you. Curiosity is a way of ordering and indeed paring down the wildness of the world. Of all the unmown fields, all the subjects I don't know anything about, this one right here is the one I would like to pursue. Why? Because nobody else is, and because it happens to be whole if I pursue this topic, knowing that it is obscure enough that nobody would be foolish enough to duplicate my efforts. I will mow my own lawn, part of it, anyway.

Atatürk, Abridged

A sketch I wrote on request for the spring 2013 issue of the Knight-Wallace Fellowship house organ.

photo credit: Josh Neufeld

It was a weekday morning, still early, and when the busload of foreign journalists arrived, Ceremonial Plaza at the mausoleum of Mustafa Kemal (Atatürk) in Ankara was mostly empty, save for a sprinkling of tourists and a gaggle of schoolchildren on a patriotic field trip. The emptiness made the bombastic architecture feel slightly forlorn.

Guards in polished helmets and long topcoats with shiny brass buttons stood sentry on pedestals, still as toy soldiers, one gloved hand propped on a rifle, the other tucked neatly into the small of the back. The foreign journalists snapped photographs of them. Overhead the flag of Turkey made a red motion in the overcast sky.

Into the emptiness and monumental stillness there now came an excited disturbance dressed in black. He had a black ball cap on. A brown leather satchel was slung over a shoulder. He carried a pointer with a red ribbon tied to the tip. Black sneakers squeaking on the marble, he bustled into the midst of the foreign journalists, poking the sky with his pointer and waggling the red bow. “Come! Come!” he said. “We walk in a hurry way, because of time.”

Evan S. Connell: "This over here is a two-thousand-year-old tortilla maker"

Last January, Harper's asked me to eulogize the late novelist and essayist Evan S. Connell (1924–2013):

Last Thursday — January 10, 2013 — news came that one of the most singular careers in American letters had reached its last full stop. Evan S. Connell was found in his Santa Fe apartment, dead at the age of 88. He died alone, attended, one presumes, by the “cracked Old Mexican pots and mutilated statuettes” he collected — which is also how he lived and how he wrote: apart from his contemporaries, in the company of antiquities, as if he did not entirely belong to his time.

He twice traveled solo around the globe. In his writing, he roamed across continents but also across centuries. Time — its obliterating passage — was his great subject. It’s there at the very beginning, in the title story of the first book, The Anatomy Lesson and Other Stories, published in 1957, when Connell was thirty-three. The art professor who delivers the eponymous anatomy lesson shows his students a Rembrandt portrait of a young woman: “He told them that some afternoon they would glance up by chance and see her; then they would know the meaning of Time — what it could destroy, what it could not.” We hear that note again in Connell’s debut novel, Mrs. Bridge,published in 1959. In chapter forty-nine, titled “The Clock,” the novel’s heroine seeks refuge in a stasis she mistakes for permanence: “Time did not move. The home, the city, the nation, life itself was eternal; still she had a foreboding that one day, without warning and without pity, all the dear, important things would be destroyed.” . . . 

[The rest of the eulogy here]

Meanwhile, over at The Paris Review, Gemma Sieff, who used to edit the book reviews at Harper's, published a commemoration of her own and a sneak preview of her Paris Review interview with Connell, long in the making. The full interview, I understand, will be published this summer. One typically delightful exchange:

[Sieff:] Mr. Bridge copies out a love letter by Nathaniel Hawthorne: “Thou only hast revealed me to myself; for without thy aid, my best knowledge of myself, would have been merely to know my own shadow—to watch it flickering on the wall, and mistake its fantasies for my own real actions.” In your poem Notes from a Bottle Found at the Beach in Carmel, you write almost the opposite: “Come with me or stay. I am full of dreams and charged with strange excitement. Although I am not at ease in this world, there is no one who can stop me.”

[Connell:] This over here is a two-thousand-year-old tortilla maker.

The rest of the sneak preview is here. 

"Giant Rubber Duck Found Deflated Under Mysterious Circumstances"

I swear to all monsters of god, IT WASN'T ME.

(Gawker has the details.)