tag:blogger.com,1999:blog-26396313496804278902024-03-13T04:31:10.593-07:00Opining RemarksReviews of books and movies. Philosophy and Buddhist practice. Unregenerate feminist wisdom. Poetry. Anything at all, really.Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.comBlogger50125tag:blogger.com,1999:blog-2639631349680427890.post-1188837635491198162022-07-31T08:14:00.003-07:002022-07-31T08:15:46.124-07:00<p> <span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-no-proof: yes;">.</span></p>Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-24672340716476177302019-04-02T14:35:00.000-07:002019-04-02T14:44:12.016-07:00AN URCHIN IN THE STORY: Essays about Books and Ideas<!--[if !mso]>
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<a href="https://www.goodreads.com/book/show/54208.An_Urchin_in_the_Storm"><span style="color: #666600; font-family: "times new roman" , serif; font-size: 12.0pt;">An Urchin in the Storm: Essays about Books and
Ideas</span></a><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><br />
<span style="color: black;">by</span> </span><a href="https://www.goodreads.com/author/show/19109.Stephen_Jay_Gould"><span style="color: #666600; font-family: "times new roman" , serif; font-size: 12.0pt;">Stephen Jay Gould</span></a><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">, </span><a href="https://www.goodreads.com/author/show/353381.David_A_Levine"><span style="color: #666600; font-family: "times new roman" , serif; font-size: 12.0pt;">David A. Levine</span></a><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"> <span style="color: #aaaaaa;">(Illustrator)</span> </span></div>
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<span style="mso-ignore: vglayout;"><br /></span><span style="color: #181818; font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="background: white; line-height: 13.5pt; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://www.goodreads.com/user/show/1777872-juanita-rice"><span style="color: #382110; font-family: "times new roman" , serif; font-size: 12.0pt;">Juanita Rice</span></a><span style="color: #181818; font-family: "times new roman" , serif; font-size: 12.0pt;">'s review </span></div>
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<span style="color: #aaaaaa; font-family: "times new roman" , serif; font-size: 12.0pt;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: red; font-family: "times new roman" , serif; font-size: 12.0pt;">5 of 5 stars</span></b></div>
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<span style="color: #382110; font-family: "times new roman" , serif; font-size: 12.0pt;">bookshelves: </span><a href="https://www.goodreads.com/review/list/1777872-juanita-rice?shelf=science"><span style="color: #215625; font-family: "times new roman" , serif; font-size: 12.0pt;">science</span></a><span style="color: #181818; font-family: "times new roman" , serif; font-size: 12.0pt;">, </span><a href="https://www.goodreads.com/review/list/1777872-juanita-rice?shelf=non-fiction"><span style="color: #215625; font-family: "times new roman" , serif; font-size: 12.0pt;">non-fiction</span></a><span style="color: #181818; font-family: "times new roman" , serif; font-size: 12.0pt;"> </span></div>
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<span style="color: #181818; font-family: "times new roman" , serif; font-size: 12.0pt;">Read in September,
2010</span></div>
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<span style="color: #181818; font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 107%;">These book reviews by Stephen
Jay Gould essays first appeared, from 1963 to 1987, in <u>The New York Review of
Books,</u> a doughty publication if there ever was one, but Gould manages to hold
to his infinitely readable style even in the company of sometimes somewhat
grandiose pontificators there. (I mean that in the friendliest of humor for I
quite enjoy NYRB. ) And humor, as always with Gould, is a strength in these
ruminations, which use book reviewing as another point of entry to lucid and
persuasive philosophical gambits. The humor is spiced with drawings by David
Levine.<br />
<br />
From 19th-century attempts to find anatomical evidence of hierarchies of race
and gender (which merits full and detailed examination in Gould's <u>The
Mismeasure of Man</u>) to Carleton Coon's theory of separate human origins,
Robert Ardrey's distortions of Australopithecus discoveries, and William
Shockley's scaled "racial ratios of IQ," Gould is a kind of flawless
GPS to orient the public in the foreign lands of pseudo-scientific claims. Moreover in
spite of accidents and arguments, passions and fashions, Gould's voice and
persona retain composure. Although he admits to experiencing anger and disgust
and grief at times, he keeps his wits and stands his ground. At the precise
point where I become often literally speechless at what seem to me "lies,
damned lies, and more lies," Gould proceeds with dignity and a lethal
logic to articulate the precise sources of misrepresentations, distortions and
misunderstandings. He is thus a model of patient and immovable resistance to
the hysterical and antirational. What a gift to spend a couple of hours in his
company.<br />
<br />
And he has, it seems, "world enough and time": geological history and social history, biography and biology, the
arcana of Bacon, Newton, Hobbes, Descartes, Pascal and Montaigne. He can
discourse on Herbert Spencer's Social Darwinism and counter it with his own
expertise in Darwin verbatim, Darwin in context, and Darwin via Thomas Henry
Huxley. He knows the crooks and demagogues just as intimately—the rudely concocted
"IQ Experiments," the planting of forged "fossil stones" by
spiteful colleagues to mislead a German Professor, and other examples of bad
faith—hypothesizing about motive, but in the end understanding the human source
of all scientific ideas and methods, and the implication of the human heart in
interpersonal motives and social ideologies.<br />
<br />
The first two sections of the book discuss the "irreducibility of
history" and contingency; one strain of argument stresses structuralist
and historicist alternatives to what Gould calls "the mistaken
functionalist paradigm of adaptation that still [1987] shapes Darwinian theory."
His answer to the problems of social images of popular evolutionary teleology
is to show how unique and unrepeatable each historic epoch and change has been;
i.e., that the path of history was not laid out beforehand as a kind of
inevitable "stairway to the stars," whether we take the Victorian British
Empire to be the major constellation in those stars, or even our illustrious
selves.<br />
<br />
The third section deals explicitly and directly with the social, political and
intellectual ramifications of biological determinism, with essays entitled
"Genes on the Brain," "Jensen's Last Stand," and
"Nurturing Nature." The books reviewed are <u>Promethean Fire</u> (by
Charles L. Lumsden and Edward O. Wilson—yes, that E.O. Wilson), <u>Bias in
Mental Testing</u> (by Arthur R. Jensen, yes that Jensen), and, a book he
much admires, <u>Not in our Genes: Biology, Ideology, and Human Nature</u> (by
R.C.Lewontin, Steven Rose, and Leon J. Kamin) respectively. Throughout, the
book is Gould's plea for rationalism, lamenting "the perilous slide from
our current ignorance into a glorification of the nonrational." A
recurring target here, as will be true in much of his writing to come over the
next dozen years, is "NeoDarwinism," an image or interpretation of
Darwinian natural selection to mean a history of "progress" and
"teleology" which tracks the evolutionary path to humans as if it
were the only path, or even a major one, and then calls that path
"progress" from lower to higher, from formlessness to complexity.
Such a path, of course, would allow one to have credited Francis Fukuyama's
1989 proposal of "The End of History." Such a version of the grand
positive conqueror's history always brings to my mind the Calvin and Hobbes
cartoon strip in which Calvin is gratified to realize the grand scheme of the
universe, which was all "to produce me!!´ He spreads his arms to say,
"Now I'm here and history is vindicated." (Watterson, 1991: <u>Scientific
Progress Goes Boink!</u>)<br />
<br />
Gould's range of knowledge and interest allows him to spice this rich
ideological meandering with references from Kurt Vonnegut and Dorothy Sayers, from
Groucho and Karl, from Gilbert & Sullivan to Gunnar Myrdal. He gives
special attention to dissecting the spurious rise of the idea of a
"well-known 80-20 split" between the influences of nature (inherited
and ineradicable and unavoidable genetics) and nurture (education and
environment)—a mythical belief that is pretty well laid to firm and
not-so-gentle rest as one of many fallacies of "hereditarian"
arguments for the source of complex human social behaviors. Gould deplores the
continued implicit dependence on such debunked data of, for instance, the
fraudulent claims of Sir Cyril Burt with which racialist "scientists"
like Arthur Jensen and others pad their claims of "It has been
shown..." and "Studies have revealed..." He explicitly praises
the book <u>Not in our Genes</u> for going beyond the debunking of
determinist claims--e.g., about IQ and various artificial measurements for
determining social value and hierarchical placement--and attempting a useful
model of the actual, and intricate, interactions of culture and biology.<br />
<br />
Human frailty (call it prejudice or venality) will "infect" scientific
claims, data, and so-called discovery, which is not to say that there is
nothing useful or valid about science, but often not what the public thinks.
Just as Quantum Physicists admit that any attempt to observe, witness, record,
or measure phenomenon will influence the results, there is no disconnect
between observer and observed. (Which Buddhist philosophy has always posited.)
When there is observation, there is presence. Human presence. Which changes
"things." Stephen Jay Gould would—and did—claim that the best we can
do is to put our beliefs, fears, and expectations under the microscope of our
consciousness to find out where our biases lie, and then do our best to
disprove the very conclusions we like so well. If nothing else, we should
communicate our social, personal and ideological position in order to at least
alert the reader's caution.</span>Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-3188236179132276192019-04-02T14:13:00.001-07:002019-04-02T14:16:53.482-07:00BUDDHA WAS A PHYSICIST. I THINK.<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
BUDDHA THE PHYSICIST</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I've been thinking this morning (it's 11:59 a.m.) about
Buddha the man as a quantum physicist. His whole understanding of the universe
is so Michio Kaku!<span style="mso-spacerun: yes;"> </span>When Buddhism is or
seems to be arcane, esoteric, difficult, it's because he saw deeply into the
same contradictions and mysteries that today's quantum physicists (and macro
physicists as well) talk and theorize and puzzle about.<span style="mso-spacerun: yes;"> </span>Parallel universes, wormholes, the curvature
of space-time, the absolute limit of the speed of light, what "makes"
gravity?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It's in my mind because I learned to chant a sutra: "
The Boddhisattva Avalokita …[considered] the five skandhas and found them
perfectly empty."<span style="mso-spacerun: yes;"> </span>Skandha is one of
those words<span style="mso-spacerun: yes;"> </span>almost always left
(stupidly?) untranslated from the Pali or Sanskrit (?who knows, who cares?) in
contemporary Buddhist literature.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It means "heap." Or "pile." <span style="mso-spacerun: yes;"> </span>And it refers to the fact that if you heaped
up a pile of pillows or books or rocks, it does not create a thing, but a
conglomerate.<span style="mso-spacerun: yes;"> </span>(A pile, a skandha) So
when a physicist is looking at the material universe, he discovers that what
seem like things are actually conglomerates.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Take the oxygen and hydrogen out
of water and you don't have a "water thing" left.<span style="mso-spacerun: yes;"> </span>There is no water separate from the oxygen
and hydrogen.<span style="mso-spacerun: yes;"> </span>Water is a
conglomerate.<span style="mso-spacerun: yes;"> </span>And if you take apart an
oxygen molecule, you don't find something you can identify as oxygen:<span style="mso-spacerun: yes;"> </span>you find electrons, protons, neutrons and
(today) a host (heap?) of other little thingish things: quarks, meaning
less-than-physical-thingies.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And even an electron is not definitely a
"thing"--but it might be just a wave (of energy-ish stuff) although
sometimes it acts like a particle (thing) and sometimes it seems to be a
wave.<span style="mso-spacerun: yes;"> </span>And that nucleus of assorted
thingies reveals even more of that kind of "thing."<span style="mso-spacerun: yes;"> </span>A nucleus can have a 'photon' which is either
a packet of 'light-energy' or maybe not.<span style="mso-spacerun: yes;">
</span>I think.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Mostly what an oxygen molecule is made of is nothingness, or
space, or ??</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here's the way Buddha's teaching puts all this:</div>
<div class="MsoNormal">
"Form is emptiness and emptiness is form; form is not
other than emptiness and emptiness is not other than form."<span style="mso-spacerun: yes;"> </span>Matter is mostly empty, and emptiness is
mostly – not empty.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
All very provocative considerations, except that Buddhism
applies this same kind of analysis to the human being:<span style="mso-spacerun: yes;"> </span>there is no separate thingy called
"Juanita" when you get right down to it<span style="mso-no-proof: yes;">. For instance. take away the oxygen and you don't have an oxygen-purified
Juanita; you have rapidly disassociating "thingies," all of which are
equally made up of the void or space in a molecule or atom and all the
not-quite things that make up an atom.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-no-proof: yes;">"I"<span style="mso-spacerun: yes;"> </span>am a pile of material and energy of the
universe.<span style="mso-spacerun: yes;"> </span>I change.<span style="mso-spacerun: yes;"> </span>(If you are younger than 50, take my word for
it:<span style="mso-spacerun: yes;"> </span>you will not be "the same"
one day.)<span style="mso-spacerun: yes;"> </span>Constituent parts fall off,
get heavier, change form, erode and grow.<span style="mso-spacerun: yes;">
</span>But in the end there is no erosion, no growth of any"thing"--the
pile shifts.<span style="mso-spacerun: yes;"> </span>The pile is really there
but it's not made up of some actual stuff that can't be taken down to
constituent elements.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-no-proof: yes;">There's therefore no
birth:<span style="mso-spacerun: yes;"> </span>no appearance, suddenly, of a new
'thing.'<span style="mso-spacerun: yes;"> </span>Just a new assemblage of the
ineffable.<span style="mso-spacerun: yes;"> </span>And no death:<span style="mso-spacerun: yes;"> </span>the components will recycle in infinity.<span style="mso-spacerun: yes;"> </span>I was always full of the universe and will
always be full of the universe.<span style="mso-spacerun: yes;"> </span>Or of
hot air?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-no-proof: yes;">Buddha & Michio Kaku,
or--if Michio is too out-there for you--just Stephen Hawking.<span style="mso-spacerun: yes;"> </span>The yin and the yang that curl around and
come to the same non-place:<span style="mso-spacerun: yes;"> </span>form is
emptiness & emptiness is form.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-no-proof: yes;"> Here's the teaching (sutra; sermon; lesson) from Buddhist ore.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">The Bodhisattva
Avalokita,</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;"> </span><span style="mso-no-proof: yes;">While moving in the deep
course of Perfect Understanding,</span>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">shed light on the
Five Skandhas and found them perfectly empty.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">After this
penetration, he overcame ill-being,</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;"><span style="mso-tab-count: 1;"> </span>[Bell]</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">Listen, Shariputra,</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">form is emptiness
and emptiness is form.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">Form is not other
than emptiness; emptiness is not other than form.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">The same is true
with feelings, perceptions, mental formations,</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">and consciousness.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;"><span style="mso-tab-count: 1;"> </span>[Bell]</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">Listen, Shariputra,</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">all dharmas are marked
with emptiness.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">They are neither
produced nor destroyed,</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">neither defiled nor
immaculate,</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">neither increasing
nor decreasing.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">Therefore in
emptiness there is neither form, nor feelings, nor perceptions,</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">nor mental
formations, nor consciousness.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">No eye, or ear, or
nose, or tongue, or body, or mind.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">No form, no sound,
no smell, no taste, no touch, no object of mind.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">No realms of
elements (from eyes to mind consciousness),</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">no interdependent origins
nor no extinction of them </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">(from ignorance to
death and decay).</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">No ill-being, no
cause of ill-being, no end of ill-being, and no path.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">No understanding and
no attainment.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;"><span style="mso-tab-count: 1;"> </span>[Bell]</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">Because there is no
attainment,</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">the Bodhisattvas,
grounded in Perfect Understanding,</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">find no obstacles
for their minds.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">Having no obstacles,
they overcome fear;</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">liberating
themselves forever from illusion, realizing perfect nirvana.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">All Buddhas in the
past, present, and future,</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">thanks to this Perfect
Understanding,</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">arrive at full,
right, and universal enlightenment.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;"><span style="mso-tab-count: 1;"> </span>[Bell]</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">Therefore one should
know</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">that Perfect
Understanding is the highest mantra, the unequalled mantra,</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">the destroyer of
ill-being, the incorruptible truth.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;">A mantra of
Prajnaparamita should therefore be proclaimed:</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span style="mso-no-proof: yes;">Gate gate paragate parasamgate, bodhi svaha*<span style="mso-spacerun: yes;"> </span>(3 times)</span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span style="mso-no-proof: yes;"><span style="mso-tab-count: 1;"> </span></span></i><span style="mso-no-proof: yes;">[Bell,<span style="mso-spacerun: yes;"> </span>Bell]</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="mso-no-proof: yes;"> * could be paraphrased as: "Going, going, almost gone, almost completely gone: awakening YES."</span></div>
Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-12412047375862171632019-02-12T15:16:00.001-08:002019-04-02T15:10:10.383-07:00Disgrace by J. M. Coetzee (2)<!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<u>Disgrace</u>
by J. M. Coetzee; a Response.</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Juanita Rice</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal">
<u>SPOILER ALERT</u>: <span style="mso-spacerun: yes;"> </span>This discussion talks generally about the
ending of the novel <u>Disgrace</u>, by J. M. Coetzee, formerly a writer in
South Africa.<span style="mso-spacerun: yes;"> </span>I want to discuss
questions raised by the book, or questions of what I think the book expresses
that is morally incomprehensible to me.<span style="mso-spacerun: yes;">
</span>Since in all modernist fables the moral is framed in the ending, I have
to refer to it in a general way. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"><u>BACKGROUND & OVERVIEW</u> </span><br />
<span style="mso-spacerun: yes;"> </span>J. M. Coetzee is a
distinguished and well-respected novelist of powerfully dramatic stories, a
winner of several literary awards and finally, four years after the 1999 publication
of <u>Disgrace</u>, of the Nobel Prize in Literature. <u>Disgrace</u> is
powerful writing indeed, although that which is 'dramatic' seems somewhat
arbitrarily produced.<span style="mso-spacerun: yes;"> </span>Most of all, however,
the book seems to be a protest against social changes in societies since the
1960s, say. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The narrator is an older white male professor in South Africa, who
loses his job and reputation because of an unwelcome sexual relationship he
establishes with a student and then who is present during an attack on his
daughter at her farm.<span style="mso-spacerun: yes;"> </span>The attackers are
"black" African men.<span style="mso-spacerun: yes;"> </span><br />
<br />
So from
the very get-go, the book is focused on unhappy relationships between white
men, white women and black men from the point of view of a white man whose
social powers and privileges have been diminished by social change.<span style="mso-spacerun: yes;"> </span>Such a book invites questions since these
relationships are so fraught with conflict, contestatory ideology and political
power in the new 21<sup>st</sup> century.<span style="mso-spacerun: yes;">
</span>(The book was first published in 1999.)<span style="mso-spacerun: yes;"> N.B. Since its publication
</span>Coetzee has emigrated from South Africa to Australia: is it because
natives of Australia have not been significantly admitted into social power? Is
it fair to see the novel's questions as the author's? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"></span><u>THE STORY</u> <br />
The narrator, Professor
David Lurie, is divorced and the book opens with his meditations upon
finding<span style="mso-spacerun: yes;"> </span>himself 'adequately served' by
weekly visits to an elegant and anonymous call-girl.<span style="mso-spacerun: yes;"> </span>But when he uses his
position and a wily strategy to overcome a female student's resistance to sexual seduction, he lands in trouble with a sexual harassment charge, which he
will never see as justified.<span style="mso-spacerun: yes;"> </span>His career
is blighted, his reputation badly damaged, and he retreats to a country farm
where his unmarried and 'liberated' daughter lives, and where he is not very
welcome.<span style="mso-spacerun: yes;"> </span><br />
</div>
<div class="MsoNormal">
Then two black African men attack the farm in an orgy of
violence, and his daughter, it seems to him, "knuckles under" and refuses
to lodge a police complaint. Finally, he tries to divert his despair and
bitterness writing a 'chamber opera' about the poet Lord Byron; specifically,
about his affair with a young married woman in Italy.<span style="mso-spacerun: yes;"> </span>It is a poem which will celebrate the glory of
male desire, and (which is unspoken) great white mature male desire.<span style="mso-spacerun: yes;"> </span>Failure and frustration ensue:<span style="mso-spacerun: yes;"> </span>the great Byron Voice he imagines fails to
illuminate his creative efforts.<span style="mso-spacerun: yes;"> </span>What he
finds himself writing, instead, is the voice of what becomes of the mistress
after Byron dies.<span style="mso-spacerun: yes;"> </span>("You'll be sorry
after I die," is the adolescent psychological dream-theme here, it seems.)
And the mistress persona he begins to speak from is a woman "past her
prime, with nothing to look forward to."<span style="mso-spacerun: yes;"> </span><br />
</div>
<div class="MsoNormal">
My question is this: <span style="mso-spacerun: yes;"> </span>What
is it that male writers like Coetzee fail to understand about rape, gender
power and sex?<span style="mso-spacerun: yes;"> </span>Or, to be generous, how
do they understand it so differently than I do? <span style="mso-spacerun: yes;"> </span>And fail throughout the novel, from beginning
to end, to see the character of the professor as anything other than
victim.<span style="mso-spacerun: yes;"> </span>Of women, of the confusing and
oppressive new philosophies, of Afro* peoples.<span style="mso-spacerun: yes;">
</span>I am going to use the tags “Euro” and “Afro” to designate old color line
differences because I want to steer clear of the color labels “white” and
“black,” especially in dealing with characters in Africa.<span style="mso-spacerun: yes;"> </span>By using the label "Euro," I am
continually alluding to the source of the race 'problem' as European Colonialism,
beginning in the 1400s.<span style="mso-spacerun: yes;"> </span>When we say
"white" race and "black" race, we refer to a present state
of affairs without seeing it connected to the systematic source of racial and
ethnic prejudice. <span style="mso-spacerun: yes;"> </span><br />
</div>
<div class="MsoNormal">
It may also be germane to understanding this novel to
explain that “Communication Studies” here is used to represent everything in pedagogy
which<span style="mso-spacerun: yes;"> </span>conservative (and mostly male)
professors view as "debased subjects," a point that non-academics may
miss. Coetzee uses this homely but fairly bland-sounding course label in order
to avoid the political point of what types of courses are most ardently opposed
by conservatives like Professor Lurie.<span style="mso-spacerun: yes;">
</span>If Coetzee had used the example of cultural studies, discourse studies,
gender studies, or ethnic studies, the 'political' point would have been more obvious.<span style="mso-spacerun: yes;"> </span>On the other hand, it certainly would not
have been appropriate to appoint this uneducated professor to the teaching of
those quite-analytical disciplines. <span style="mso-spacerun: yes;"> </span>And
although conservatives find studies of gender, race, ethnicity, discourse
theory and cultural analysis anathema, they cannot label them as pablum,
whereas there is no dearth of professors who have a rather disdainful attitude
to Com Studies. The "pedestrian and egalitarian" discipline of Com
Studies has actually been a good dumping place for outmoded teachers in undesirable
disciplines as the world shifts gears, and is a good example of the cosmic and
sometimes comical counterpoint to Romantic Poetry studies which epitomized the "glorious
genius of Western Civ" which, in the view on that side of the aisle, value
“only the best” in human culture:<span style="mso-spacerun: yes;"> </span>dead
white male poets from Greece in 350 BC onwards. <span style="mso-spacerun: yes;"> </span>That's a tremendously baroque sentence but it
is an understatement of the resentful rage and Manichean vision typical in the
Culture Wars. I'll also plead guilty to a slightly Manichean tendency in myself
as I find the "old privileged Eurocentric guys'" irretrievably
outdated, I hope.<br />
</div>
<div class="MsoNormal">
In the plot of <u>Disgrace</u>, the seduced female student starts
missing Professor Lurie's classes and trying to avoid him until at last she files
a sexual harassment charge. Since he is obdurate to the moral code he is
accused of violating, he takes a martyr’s stand, announcing only (and airily):
“I plead guilty to whatever she said.”<span style="mso-spacerun: yes;">
</span>This way he thinks he is being chivalrous to the girl and posing himself
as a noble figure. Or at least retaining his prominent dignity. Inwardly he
thinks the faculty committee investigating the charge is petty and
malicious.<span style="mso-spacerun: yes;"> </span>He believes he is the one
being harassed, especially by a female professor in his department.<br />
</div>
<div class="MsoNormal">
One expects (I expected) the character to wise up in the
course of the plot, or to break down.<span style="mso-spacerun: yes;">
</span>No.<span style="mso-spacerun: yes;"> </span>Not in this book.<span style="mso-spacerun: yes;"> </span>Can we understand why it was written this way
other than in the end to indemnify the man as the victim of a decadent new
culture?<br />
<br />
<br />
</div>
<div class="MsoNormal">
For the new Africa continues to victimize him at every turn.<span style="mso-spacerun: yes;"> </span>Literally, Professor Lurie is assaulted by
Afro thugs who set him on fire and rape his daughter, loot her farm, and <i style="mso-bidi-font-style: normal;">kill her dogs</i> in a particularly cold and
brutal way. A writer could not concoct a much more powerful image of
"motiveless savagery.” In the aftermath, his daughter will not file
charges and he understands her motive only as a misconceived guilt-complex, a
symptom of the incomprehensible new post-colonialism (if he would name it). Her
behavior seems to him to say only that all Euro peoples should submit to
violation as revenge for their purported historical sins (i.e., four hundred
years of brutal colonialization). <span style="mso-spacerun: yes;"> </span><br />
<br />
He
broods on his noble and refined life being smeared with such incomprehensible
accusations. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
And, oh, by the way, Lurie seduces a married woman who is
his daughter’s best friend.<span style="mso-spacerun: yes;"> </span>His ex-wife
is often scathing<span style="mso-spacerun: yes;"> </span>in her criticism but
he continues to meet with her as—it seems—his only friend.<span style="mso-spacerun: yes;"> </span>Coetzee, it seems to me, draws a
characterization here which is heavily weighted toward sympathizing with Lurie
in his rational responses to her caustic criticisms.<span style="mso-spacerun: yes;"> </span>Did the author only include her as further
evidence of the incomprehensibility of women?<span style="mso-spacerun: yes;">
</span>For there is nothing I can see in David Lurie's character <span style="mso-spacerun: yes;"> </span>that is consistent with continuing to have
lunch with an unfriendly ex-wife.<br />
</div>
<div class="MsoNormal">
To top everything off, Lurie inexplicably goes to visit the
family of the college girl he seduced.<span style="mso-spacerun: yes;"> </span>Why
does he seek them out? Do they let him come to dinner because they expect him
to be contrite and ‘make things right’?<span style="mso-spacerun: yes;">
</span>Instead, he behaves in a completely irrational way with them.<span style="mso-spacerun: yes;"> </span>Instead of a word of apology, he silently
performs an explicable ritualistic kowtow, kneeling with forehead to floor,
terrifying the girl’s mother and sister.<span style="mso-spacerun: yes;">
</span>Does Coetzee expect the reader to comprehend this man’s
perspective?<span style="mso-spacerun: yes;"> I did not.</span><br />
<br />
For Lurie stubbornly clings
to his Euro patriarchal principles, i.e., the European values that justify subjugation
of anyone not a European male (and even a good portion of those who are). Is
this a book about the poor put-upon patriarch and his justifiable sense of
well-deserved natural privilege trodden on at every turn?<span style="mso-spacerun: yes;"> </span><br />
</div>
<div class="MsoNormal">
It is, I think, a book which is part of the white male
backlash that, for instance, drives the Neo-Conservative struggle of the Fox
Network/Koch Bros to turn time back toward their days of Unchallenged Privilege
and Control.<span style="mso-spacerun: yes;"> </span>Coetzee, a Euro-African--now
living in Euro-Australia by the way-- appears to identify completely with every
resentment and bafflement of his hero. The novel’s strange opening—introducing
Professor Lurie as the patron of an elegant prostitute who unaccountably
refuses to continue to see him after meeting him in public—seems little
designed to help us understand him the way he wants to see himself: as a
romantic man who is a noble servant of male desire, surely a vital and valuable
force.<span style="mso-spacerun: yes;"> </span>That is, his violation of a girl
student is an expression of the free flow of male virility seen in western
literature as glorious.<span style="mso-spacerun: yes;"> </span>His stated
self-justification is that a man's urge to copulate is a noble masculine
impetus of the spirit.<span style="mso-spacerun: yes;"> </span><br />
</div>
<div class="MsoNormal">
I was continually troubled by the absence of any sense that
Coetzee intended to show or understand the narrator's viewpoint as ethically
compromised.<span style="mso-spacerun: yes;"> </span>Lurie thinks he has done
nothing wrong.<span style="mso-spacerun: yes;"> </span>His daughter's behavior
after the attack and rape is utterly incomprehensible to him. Lucy insists that
her decision not to report the rape to the police is “a purely private matter.”
When he accuses her of deluding herself that if she doesn’t report then she
will have “a safe conduct” in the future, Lucy interrupts:<span style="mso-spacerun: yes;"> </span>“I am not just trying to save my skin. . .you
miss the point entirely.”<br />
</div>
<div class="MsoNormal">
But as a reader, so did I. And I am a rape survivor too. At
no point does Coetzee illuminate her reaction, even for me. <span style="mso-spacerun: yes;"> </span>Does Coetzee conceal her rationale to make us
more sympathetic to her father’s non-comprehension?<span style="mso-spacerun: yes;"> </span>To paint a story of the Euro male professor
in contemporary South Africa whose ex-wife, daughter, prostitute, female
department chair, a seduced student, and a current “mistress” are all
antagonists without letting the reader see what motivates any of them, the
women in this book, is to be complicit with the slogan “Who knows what women
want?”<span style="mso-spacerun: yes;"> </span>And then to show all the Afro
characters as equally sinister and "inscrutable" (the standard
Westerner's imperialist accusion) leaves me as baffled as the Professor in the
story, if not more so.<span style="mso-spacerun: yes;"> </span>I do not
understand Coetzee.<br />
</div>
<div class="MsoNormal">
American writer Louise Erdrich, in a recent novel <u>The
Round House</u>, uses an adolescent boy as narrator, and still she manages to
illuminate a female rape victim's similar reaction.<span style="mso-spacerun: yes;"> </span>But she found the creative means to let a narrator be non-comprehending and
yet to allow the reader sympathetic understanding, so I know it can be
done.<span style="mso-spacerun: yes;"> </span>My question is whether Coetzee's
talent fails him here, or whether what I experience as a fault is in fact his
male blindness.<br />
</div>
<div class="MsoNormal">
The novel gets murkier.<span style="mso-spacerun: yes;">
</span>Lurie tries to evade his dark despair by trying to write an opera about
Byron and his potent sexual affair with the younger and married girl in
Italy.<span style="mso-spacerun: yes;"> </span>And here things get provokingly
complicated from my point of view. Lurie cannot find a “melodic voice” for
Byron himself, but only a projected voluptuous craving in the voice of the girl, a voice of longing for
the passionate lovemaking that lifted her from a mundane domestic arrangement
into something rapturous and sublime.<span style="mso-spacerun: yes;"> </span><br />
</div>
<div class="MsoNormal">
Is this symbolic for the idea that a creative man looks for a
woman’s voice that expresses his own values? And the only woman's voice which
meets masculine expectations is a woman's voice created by another man?<span style="mso-spacerun: yes;"> </span><u>M. Butterfly?</u> , for instance? But also
relevant is the fact that Coetzee cannot find a voice for any of the Afro
characters in his plot.<span style="mso-spacerun: yes;"> </span>Why do the men attack
Lucy?<span style="mso-spacerun: yes;"> </span>Who are they?<span style="mso-spacerun: yes;"> </span>Is her former employee really malicious and
sinister because one of the attackers, the ‘young’ one, is his wife’s
brother?<span style="mso-spacerun: yes;"> </span>For in the end a friendly Afro
man who is farming nearby, does get Lucy’s property since she can no longer use
it profitably. She gets only her house as her private area. It's an explicit
agreement, and almost explicitly a protection racket.<br />
</div>
<div class="MsoNormal">
Ex-professor Lurie, in attempting to make sense of his life, sees his
punishment at the university as a cultural expression of trying to make unnatural
the literary (Greek) trope of the marriage of Cronus and Harmony.<span style="mso-spacerun: yes;"> </span>“That was what the trial was set up to
punish.”<span style="mso-spacerun: yes;"> </span>He was “on trial for his way of
life.”<span style="mso-spacerun: yes;"> </span>Lurie continues: “For unnatural
acts: for broadcasting old seed, seed that does not quicken, <u>contra naturam.</u>"
He finds another justification: it’s an unfair struggle of young males
against old males. (The female student’s boyfriend harasses Lurie.)<span style="mso-spacerun: yes;"> </span>He thinks he’s being discarded because he’s
old: “if the old men hog the young women, what will be the future of the
species?”<span style="mso-spacerun: yes;"> </span>Is this intentionally a piggish way to look
at relations between men and women?<span style="mso-spacerun: yes;"> </span>He
characterizes his university trial as accusing him of violating a prohibition
on old “seed.”<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .5in; margin-right: .5in; margin-top: 0in; mso-outline-level: 5;">
That, at bottom, was the case for the
prosecution.<span style="mso-spacerun: yes;"> </span>Half of literature is about
it: young<span style="mso-spacerun: yes;"> </span>women struggling to escape
from under the weight of old men, for the sake of the species.</div>
<div class="MsoNormal" style="mso-outline-level: 5;">
Well, it’s a fair description of "Western Lit.<span style="mso-spacerun: yes;">" </span>Think of Zeus and all his
rapes and abductions. When you label the king-god Cronos (Zeus’ father) you can
see the metaphor as “old men” in symmetry with labeling old women as Crones.
But the young women’s struggles are not for the sake of the species, nor just
of youth against age, but struggles of a person against assault.<span style="mso-spacerun: yes;"> </span>For the sake of choice, freedom, autonomy,
safety, integrity: take your pick.<span style="mso-spacerun: yes;"> </span>The
rapist is not performing a propagative act, but an assault and violation.<span style="mso-spacerun: yes;"> </span>An expression of hatred and contempt.<span style="mso-spacerun: yes;"> </span>“We” know this.<span style="mso-spacerun: yes;"> </span>I.E., we women and feminists and civil rights
campaigners know this.<span style="mso-spacerun: yes;"> </span><br />
<br />
Coetzee actually
knows it.<span style="mso-spacerun: yes;"> </span>In another book, <u>The Heart of the Country,</u>
there is evidence that Coetzee sees the contempt of the male character who
brutalizes the female characters as springing from anger and resentment; in
that novel the man is an Afro former servant of the Euro daughter/owner. When
she becomes powerless to continue to oppress him and begins to fear him, he is
free to enact his hatred.<span style="mso-spacerun: yes;"> </span>His revenge
for decades of emasculation of Afro men by Euro men and women.<br />
</div>
<div class="MsoNormal" style="mso-outline-level: 5;">
Therefore, NOT all “literature”
but a good half of it, is about women being victimized by men; that much
is true.<span style="mso-spacerun: yes;"> </span>And the literature rarely
depicts it as victimization<span style="mso-spacerun: yes;"> </span>but, as
Professor Lurie sees it, as the natural expression of noble desire.<span style="mso-spacerun: yes;"> </span>I.E., love, right? Euro novels previous to 1970, say, incorporate such deadening sexism that often the "Great Titles" are unreadable to many of us. Jack Kerouac, <u>On the Road</u>; Ernest Hemingway, F. Scott Fitzgerald, for starters.<br />
<u></u><br /></div>
<div class="MsoNormal" style="mso-outline-level: 5;">
But the values of western literature are not universal values; it's just that if you were educated in the Europhile tradition from 1700 to 1980, it seemed "universal" because it was all you could find at the "university." From the Greeks
to the moderns, women (and slaves) are explicitly, per Aristotle, not
appropriate subjects for heroic depiction.<span style="mso-spacerun: yes;">
</span>They can be powerful but that will inevitably spring from being evil,
and probably supernatural:<span style="mso-spacerun: yes;"> </span>from Medea
and Clytaemnestra and Medusa and the Erinyes to the wicked Witch of the east,
the cruel stepmother, all the way to bad fairies. (An aside I can’t resist here
is to point to the rehabilitation of these symbols in such cartoons as<u> Schrek</u>
and <u>Maleficen</u>t, and Super-Power films like <u>Snow White and the Huntsman</u>
in which the wicked queen is portrayed as the victim of a cruel spell against
which she struggles in vain.<span style="mso-spacerun: yes;"> </span>And the one
film which most of all inverted the Road Buddy film, <u>Thelma and Louise</u>,
in which the female heroes have to die, just like all the fallen women of
Victorian drama, but which evoked such an outcry of men feeling that the movie
encouraged women to murder men.)<span style="mso-spacerun: yes;"> </span>(Sorry
for the digression.)<span style="mso-spacerun: yes;"> </span>(Not really sorry.)<br />
</div>
<div class="MsoNormal" style="mso-outline-level: 5;">
If this point of view is new to
you, I don’t know what to say.<span style="mso-spacerun: yes;"> </span>I cannot
possibly summarize all the stunning Post-Colonial re-visioning of that
literature and mythology which had been valorized globally since the
Renaissance. Need we specify European Renaissance?<span style="mso-spacerun: yes;"> </span>Yes, we should. Precisely because it is so
widely taught and referred to as “THE” Renaissance, when actually what is being
born is only the initial discovery stage of the values and virtues of European
invasions and aggression against all the “non-Euro” world.<span style="mso-spacerun: yes;"> </span>When Italian, French, Spanish, English (and
later Belgian and Dutch) feudal nations (monarchies) discovered how to make
money by subjugating others--imperialism at first, an old imperialism like
Roman Empire--but eventually, more profitably, by colonizing: permanently
supplanting and exploiting the people of other places and cultures.<span style="mso-spacerun: yes;"> </span>Notably not described as other “nations”
since those other persons were probably not capable of such progressive
concepts.<span style="mso-spacerun: yes;"> </span>Inferior, <i>tour court</i>.<br />
</div>
<div class="MsoNormal" style="mso-outline-level: 5;">
If Lurie were right about all
sex being based on the undeniable male urge to procreate, then his attempts to
“sow his seed,” of course, were as blameless as the biological imperatives for men,
and he can justifiably feel victimized for simply being old. Not for his
violation of a position of power as her professor, not for his arrogant belief
that his potent desire (“a fire burning”) entitled him to manipulate her into
his sexual embraces.<br />
</div>
<div class="MsoNormal" style="mso-outline-level: 5;">
As for Lucy, she eventually
opens up a little more to her father, at least enough to say that the robbery
and killing of the dogs was probably incidental, that the men’s main intent had
been rape—rape with “such hatred.”</div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .5in; margin-right: .5in; margin-top: 0in; mso-outline-level: 5;">
I think they have done it before.<span style="mso-spacerun: yes;"> </span>I think that they are rapists first and
foremost.<span style="mso-spacerun: yes;"> </span>Stealing things is just
incidental. A side-line.<span style="mso-spacerun: yes;"> </span>I think they <u>do</u>
rape.</div>
<div class="MsoNormal" style="mso-outline-level: 5;">
She continues, addressing her
father as always by his first name:</div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .5in; margin-right: .5in; margin-top: 0in; mso-outline-level: 5;">
When it comes to men and sex, David,
nothing surprises me any more.<span style="mso-spacerun: yes;"> </span>Maybe,
for men, hating women makes sex more exciting.<span style="mso-spacerun: yes;">
</span>You are a man, you ought to know.<br />
<br />
(I want, here, to quote a series of lines
in the book:)</div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .5in; margin-right: .5in; margin-top: 0in; mso-outline-level: 5;">
He remembers, as a child, poring over the
word <i style="mso-bidi-font-style: normal;">rape</i> in newspaper reports,<br />
trying
to puzzle out what exactly it meant.</div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .5in; margin-right: .5in; margin-top: 0in; mso-outline-level: 5;">
David remembers the painting <u>The Rape
of the Sabine Women</u></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .5in; margin-right: .5in; margin-top: 0in; mso-outline-level: 5;">
What he suspected rape to be: the man
lying on top of the woman and<br />
pushing himself into her?</div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .5in; margin-right: .5in; margin-top: 0in; mso-outline-level: 5;">
He thinks of Byron.<span style="mso-spacerun: yes;"> </span>Surely some of the many women [Byron] pushed<br />
himself into would have called it rape.</div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .5in; margin-right: .5in; margin-top: 0in; mso-outline-level: 5;">
“You don’t understand,” David is told by
Lucy and by her friend Bev. [But]<br />
he does understand; he can, if he
concentrates, if he loses himself, be there,<br />
be the <i style="mso-bidi-font-style: normal;">men,</i> inhabit them, fill them with the ghost of himself.<span style="mso-spacerun: yes;"> </span>The question is:<br />
does he have it in him to be
the woman?</div>
<div class="MsoNormal" style="mso-outline-level: 5;">
<br />
Meanwhile the forcibly retired
professor has been trying to write his chamber opera about the mature
Byron.<span style="mso-spacerun: yes;"> </span>“Byron in Italy” he thinks of
calling it. As he works on it, the opera comes to be about Byron’s
“bitch-mate,” his Italian mistress Teresa Guiccioli.<span style="mso-spacerun: yes;"> </span>At first “he can find words for Byron but the
Teresa that history [his-story, his-version] has bequeathed him—young, greedy,
willful, petulant—does not match up to the music he has dreamed of…” That music
he characterizes as music with “harmonies lushly autumnal yet edged with
irony.” So he tries to imagine her in middle age: “a dumpy little widow,” with
Byron long dead and her obsessed with the mythicality of her famous lover.<span style="mso-spacerun: yes;"> </span>She is heavy and stocky, peasant-like, with
an overheated complexion and “attacks of asthma that leave her heaving for
breath.<span style="mso-spacerun: yes;"> </span>Without Byron she is nothing, a
woman past her prime.”</div>
<div class="MsoNormal" style="mso-outline-level: 5;">
<br />
Does David Lurie the character, or
does Coetzee the writer, recognize the pitifulness of this pretense to create a
pitiful woman who is nothing without the man who used and abused her, this
imagined figure, David’s self-important Priapic-Patriarch projection of all the
women he has used and left behind? His worship of his own penis-impulses, a
weak pretense that he has been the brief moment of glory in the life of every
woman—wives, prostitutes, girls, other men’s wives and daughter in his long
sexual history.<span style="mso-spacerun: yes;"> </span>The only glory he can at
this point imagine is the man who has been <u>disgraced</u> by history, as he
sees it, a picture of himself having been the lone Lover, even if (like Byron)
he only indulged his own sexual appetites and “enriched” himself in each
encounter.<br />
</div>
<div class="MsoNormal" style="mso-outline-level: 5;">
Or does he also imagine his “old
age” as blighting him and making him like the Teresa he imagines, past his prime
and without prospects, thus longing for his young passionate flamboyantly
romantic self, his Byron persona, his youth, all his western-civ being.<span style="mso-spacerun: yes;"> </span>But dead Byron’s vocal music is, for him, in
his chamber-play faint, vague, directionless.<br />
</div>
<div class="MsoNormal" style="mso-outline-level: 5;">
And finally, David’s (or
Coetzee’s) imaginings of male glory are of “entering” as a matter of mating, a
matter of giving (as if of a precious commodity) seed.<span style="mso-spacerun: yes;"> </span>He confuses the Romantic era’s male poses as
somehow consistent with his Spencer-esque Social Darwin image of (white) male
mastery as a service to the species.<span style="mso-spacerun: yes;"> </span><br />
</div>
<div class="MsoNormal" style="mso-outline-level: 5;">
How can an accomplished author
write a book like this and not be pilloried for such apologia for the last four
hundred years of aggressive exploitation on the part of white male “mastery”?<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="mso-outline-level: 5;">
Can I add to all this the fact
that he finally can picture to himself the whole violent attack on his
daughter, on himself as her old man defender, and on all that she loves, as
merely a consequence of the male need to propagate? <span style="mso-spacerun: yes;"> </span>That is to say, the rapists were “enriching”
her with the gift of seed.<span style="mso-spacerun: yes;"> </span>I cannot
reconcile myself to an imagination so far from my own understanding of race and
gender relations.<br />
</div>
<div class="MsoNormal" style="mso-outline-level: 5;">
Such a potentially provocative
book, and by that I mean, provoking thought and challenging accepted imagery,
and such a murky project in the end.<span style="mso-spacerun: yes;"> </span>I
am puzzled and would welcome comments (pitched in a tone of discussion and not
accusatory diatribes, thank you). If you can explain this book to me in a way
that eases my discomfort and assuages my incredulity, please do. I promise that
any comment which only attacks my stupidity or my <i>Feminazi </i>'political
correctness' will receive precisely the attention and the response it deserves.
</div>
<div class="MsoNormal" style="mso-outline-level: 5;">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 5;">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 5;">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 5;">
<br /></div>
<div class="MsoNormal" style="margin-right: .5in; mso-outline-level: 5;">
<br /></div>
<div class="MsoNormal" style="margin-right: .5in; mso-outline-level: 5;">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 5;">
<br /></div>
Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-39124155573307403692019-02-12T14:13:00.001-08:002019-02-12T14:13:26.689-08:00Stephen Jay Gould: The Mismeasure & Rehabilitation Carl Sagan was once nominated to the National Academy of Sciences, in a list that was usually approved en masse at meetings, but he was singled out of 60 others and subjected to a specific vote. And failed to be approved. Given the fact that he actually did significant research on the solar system and was involved in NASA work and a professor at Cornell, his rejection must seem peculiar. Was it because he was so dedicated to stopping the nuclear arms race? Was it because he supported the search for signs of 'intelligent life' in the universe? Or was it just because, like Neil deGrasse Tyson, Sagan was a popular media lecturer in astronomy? Some combination?<br />
<br />
In a similar sense, Stephen Jay Gould (1941-2002) was the target of specific enmity, although he was elected to the National Academy of Sciences. As in Sagan's case, the general public knew very little about attacks made on Gould by other scientists although even a good sampling of Gould's more popularly accessible writings would make it clear that he and his ideas were often targeted with a great deal of invective. Such active enmity is pretty familiar in academia, where it has been said that disagreements are often so emphatic and disrespectful over ideas and theories of so little import that the disagreements give "more heat than light." But the main attack on Gould's reputation occurred after he died. I cannot but think this cowardly. And, like Sagan, part of the animosity was surely political. Opposition to the arms race in Sagan's case; opposition to "social Darwinism" as a pseudo science supporting racism and justifying contempt for the social suffering of "inferiors" on the part of Gould. <br />
<br />
Gould, like Sagan, attempted to illuminate for the reading public many aspects of science usually unintelligible and unfamiliar, especially through the 300 consecutive columns that appeared in <u>Natural History</u> magazine from 1974 to 2001. His columns were entitled "This View of Life," taken from the last sentence of Darwin's 1859 book <u>On The Origin of Species</u>: "There is grandeur in this view of life." He wrote about the Cambrian Explosion and the odd bill of a Flamingo, he tells stories from the long attempt to understand the first findings of fossils. He might write about Aristotle's theory on why human fetuses resemble non-humans or he might use a baseball legend to illustrate the usual misunderstandings of statistics. He wrote about snails, geology, Leonardo da Vinci, Goethe, about the meanings of trends and taxonomies and trilobytes. Like the Walrus and the Carpenter in conversation about "cabbages and kings, and why the sea is boiling hot, and whether pigs have wings," Gould saw that the trivia and tatters of history, arts, sciences and society, were all related in a gigantic cosmic web, and he delighted in picking some small curious detail like a fake fossil in Morocco's tourist trade or a passing phrase in the remarks of someone writing about a pleasant evening of relaxation with his peers after a long day's work on what turns out to be The Wannsee Protocol: the obscene document that set such a meticulous and euphemistic plan for a "final solution" to the problem of the inferior beings that needed to be cleared away from the earth: the ultimate plan being to kill them all: "the careful calculation of railroad cars and their volumes, the siting of death camps at the hubs of transportation lines."<br />
<br />
Gould died in 2002, aged only 60, after nearly 35 years of prolific publications: some twenty-five books of which probably half of which are edited collections of the <u>Natural History</u> columns, 300 juried scientfic papers many produced with collaborators, plus though-provoking reviews in <u>The New York Review of Books</u>, plus some few uncollected popular essays. I won't try to count them, but "one review of his publications between 1965 and 2000 noted 479 peer-reviewed papers, 22 books, 300 essays,<sup class="reference" id="cite_ref-nhessay300_8-1"><a href="https://en.wikipedia.org/wiki/Stephen_Jay_Gould#cite_note-nhessay300-8">[8]</a></sup> and 101 "major" book reviews." [Wikipedia, 1/24/2018]<br />
<a class="external text" href="http://www.stephenjaygould.org/bibliography.html" rel="nofollow"><br /></a>
The book most non-scientists knew best, however, was <u>The Mismeasure of Man, </u><br />
<br />
<u>TO BE CONTINUED </u>Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-38389848800001569372018-02-12T19:06:00.000-08:002018-02-12T19:06:17.898-08:00URSULA K. LE GUIN: A Remembrance <!--[if gte mso 9]><xml>
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<br />
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Ursula K. Le Guin, a Remembrance</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>"At the
moment, I tend to avoid fiction about dysfunctional urban middle-class people </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>written in
the present tense. This makes it hard to find a new novel, sometimes."</div>
<div class="MsoNormal">
<span style="mso-tab-count: 5;"> U.K.Le Guin, 2015</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I have eagerly read most of what Ursula Kroeber LeGuin wrote
during her eighty-eight years. She wrote novels that reached deep into the
genres of "science fiction" and "fantasy" –whether dystopian,
utopian, magic, or poetry, what Margaret Atwood combatively called
"speculative literature"—and emerged with jewel-like parables of
human psychology and sociology.<span style="mso-spacerun: yes;"> </span>Her heart,
intelligence and dedication to craft allowed her to hover over large questions,
the big themes of human life.<span style="mso-spacerun: yes;"> </span>What
actions could create space for peaceful community?<span style="mso-spacerun: yes;"> </span>Where does evil come from?<span style="mso-spacerun: yes;"> </span>Why are humans the only creatures on earth
who are sexual (in "heat") every day of their reproductive
lives?<span style="mso-spacerun: yes;"> </span>Fear, loneliness, contempt,
self-reflection: what causes these themes to dominate people's lives?<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
<div class="MsoNormal">
One story she wrote marks itself indelibly on the minds of
all who read it: "The Ones Who Walk Away from Omelas." </div>
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<br /></div>
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In it, there is a perfect city where all people are healthy
and happy.<span style="mso-spacerun: yes;"> </span>Their laws are mutual
agreements.<span style="mso-spacerun: yes;"> </span>Their enforcement is through
skillful loving-kindness.<span style="mso-spacerun: yes;"> </span>There is
little disease before natural lifespans are achieved, and their medical skills
can treat--and cure if necessary and desired—pain, injury and disability.</div>
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<br /></div>
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In a deep cellar in the city, however, in darkness and
chilly dampness, there lies a pathetic child whose mind is dysfunctional,
retarded by the absence of social contact or kindness or comfort.<span style="mso-spacerun: yes;"> </span>Thin eerie wails could be heard if one were
nearby.<span style="mso-spacerun: yes;"> </span>A feeder comes once each day to
throw food scraps into the well.<span style="mso-spacerun: yes;"> </span>No one
speaks of this child, but as they reach the age of maturity, at twelve or
thirteen or fourteen , each young person is conducted to see the child they had
no idea existed at the heart of their bright world.</div>
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<br /></div>
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They are each warned that this is a moment they are never to
speak of.<span style="mso-spacerun: yes;"> </span>It is a condition, they say, it
is needful. This is the price that is paid for their utopia.</div>
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<br /></div>
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And indeed <span style="mso-spacerun: yes;"> </span>it is
never spoken of.</div>
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<br /></div>
<div class="MsoNormal">
But from time to time someone, usually young, fills a bag
with food and water, and turns her or his back on the familiar world of
childhood, away from family, away from friends, in order to refuse a social
happiness rooted in that suffering.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>A few others may see them go—and join
them.<span style="mso-spacerun: yes;"> </span>One or two or three at a time,
even more occasionally, turn their faces away and leave that home forever. </div>
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<br /></div>
<div class="MsoNormal">
Thank you, Ursula: October 1929 to January 2018.<span style="mso-spacerun: yes;"> Rest in the Peace. You have done good work. </span></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-3667720138052892112017-08-30T12:36:00.001-07:002019-02-12T13:41:43.602-08:00A POEM ON DISSOLVING BACK INTO THE COSMIC INTANGIBLES<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
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<span style="mso-tab-count: 1;"> Thich Nhat Hanh, Noble Truths</span></div>
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<br /></div>
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<span style="mso-tab-count: 1;"> Today, August 13, 2017, I saw an online photo of Thich Nhat Hanh arriving at an airport in Vietnam. Thich Nhat Hanh is a poet, scholar, gardener, a great soul and a wise and generous Zen Master from Vietnam who came to the US during the Vietnamese War; his purpose was to persuade Americans to withdraw from the hideous carnage among his people. He seemed, to many Vietnamese, to join the "Imperialists" who had oppressed Southeast Asia for centuries. Remember, before the U.S. jumped in, the war was meant to drive the French colonizers out and achieve national independence and reunion with North Vietnam, to reunite the country after European/U.S. forces had divided it. </span></div>
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<span style="mso-tab-count: 1;"> </span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> Then the U.S. made it a "war against Communism" and all that political confusion cast Thich Nhat Hanh as the pro-Imperialist enemy to Vietnamese freedom fighters. When the U.S. at last withdrew, the whole region--Vietnam, Laos, Cambodia--had been turned into a vast Killing Field, and US propaganda still blames "Communism" and refuses to acknowledge all its own genocidal guilt. </span></div>
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<span style="mso-tab-count: 1;"><br /></span></div>
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<span style="mso-tab-count: 1;"> Because of this complex history, so poorly understood by Americans in the 21st century, Vietnam, the new reunited Vietnam, refused to allow Thich Nhat Hanh to return until 2005, forty years after he left. In 2008 he visited once more, and yesterday, August 30, 2017 (in the U.S. time zone) he arrived for what seems almost inevitably a final visit. For in the late fall of 2014, "Thay" (a term of endearment used for a teacher, and the brief name for him among thousands of Buddhist students worldwide) suffered a massive brain hemorrhage. In the nearly three years since then his health stabilized but he had suffered some paralysis and a limiting aphasia. He could express his wishes and he could inspire with his deep and radiant happiness, but the long walks together with his students, lay and monastic, and his beautiful haunting long dharma talks in the softest truest voice would never return. He would never again tell the story of accidentally hitting his left hand with a hammer in his right hand--and how quickly, instantly, both hands gave each other love. "My left hand," he always smiled at this point, holding back the punchline, "never said: 'I want justice! Give me that hammer!'"</span></div>
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<span style="mso-tab-count: 1;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> Seeing the photo of him this morning, sitting in a wheelchair at an airport after a long, long trip, broke my heart, again, and yet inspired me. Thay's face so still, so quiet, so inward. His body so obviously letting go, retiring, becoming an inadequate container for his great heart and spirit. Like an inflated balloon slowly leaking its air through old soft skin. And because he taught so well and so much about the interbeing of all creatures, and the illimitless "recycling" of all the separate elements that we mistakenly see as permanently unique and separate "things"--whether person, plant, star, idea, or emotion--I can also see this process as a grief to those of us who love as a human must, on the 'historical' level. While I also consent to That Which Is on the 'ultimate level, as a perfect illustration of No-Self and Impermanence, of Nirvana perhaps. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> He has talked so much and so wisely of how the raincloud cannot disappear into nothing. We see the raincloud in every manifestation that contains water. The raincloud has not died; it has changed. It is in the sunflower and the infant child; it is in the mud and swamp where orchids and lotus grow. It is in you, in me. And Thay is not disappearing; as he empties his physical body, he continues. His mark may be perpetual. His thoughts and words and actions were magnificent and may they find continuation in each person, each flower,each calligraphy, each book, that has been touched by him.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> <span style="font-size: large;">My Poem's sources</span></span></div>
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<span style="mso-tab-count: 1;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> The most recent Zen Scholarship Thay was working on was a new translation of the Sutra (a dharma talk by the Buddha some 2600 years ago) called "The Heart Sutra" or "The Heart of Perfect Understanding" or "The Prajnaparamita Sutra." The poem I transcribe here is based on my understanding of the Prajnaparamita linked with my experience sitting alone beside my father during his last three days of life. In the Sutra, a Boddhisattva voice says repeatedly, "Listen, Shariputra: Form is Emptiness and Emptiness is Form. Form is not other than Emptiness; Emptiness is not other than Form." </span><br />
<span style="mso-tab-count: 1;"> My understanding of the apparent contradiction underlies my Buddhist practice of the last thirteen years: meditation leading to concentration, concentration revealing the concrete reality of the existence of things and beings on one level while on the other there are only transient assemblages of that which is neither particle nor wave, neither matter nor energy. </span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> As a Shakespeare scholar and theatre artist, I found semantic memories of Prospero's words arising in conjunction with the Sutra. A particular passage from <u>The Tempest</u> helped me "sing" about the mystery of life and death: in the play, Prospero, an exiled king and a great wizard, has caused an assembly of his loved ones and his former enemies to witness a heavenly pageant, literally a performance by gods and goddesses in the clouds. When it ends and one, at least, of the onlookers expresses confusion and concern, Prospero chides--or reassures--them:</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> Our revels now are ended. These our actors,</span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> As I foretold you, were all spirits and</span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> Are melted into air, into thin air,</span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> And, like the baseless fabric of this vision,</span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> The cloud-capped towers, the gorgeous palaces,</span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> The solemn temples, --the great globe itself,</span></div>
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<span style="mso-tab-count: 1;"> Yea, all which it inherit, shall dissolve.</span></div>
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<span style="mso-tab-count: 1;"> And, like this insubstantial pageant faded,</span></div>
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<span style="mso-tab-count: 1;"> Leave not a rack behind. We are such stuff</span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> As dreams are made on, and our little life</span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> Is rounded with a sleep. </span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> Act IV, Sc. 1, lines 148-158</span></div>
<br />
<div class="MsoNormal">
<span style="mso-tab-count: 1;">So I am adding my own ponderings to that stunned witnessing. Here, as a tribute to the teachings of Thich Nhat Hanh, is my own poem. You may want to print this out and let yourself take it slowly; it is meant to be a song, maybe a contemporary chant.</span></div>
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<span style="mso-tab-count: 1;"> </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> <span style="font-size: large;"> </span></span><u><span style="font-size: large;">Sutra on
the Baseless Fabric</span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"></span></u></div>
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<br /></div>
<span style="font-size: x-small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: x-small;"><span lang="ES"> "<i>Ga-te,
Ga-te, Paraga-te, Parasamga-te</i>" </span></span></div>
<span style="font-size: x-small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: x-small;"><span lang="ES"> (<i>Going,
Going, Almost going, Almost completely gone)</i></span></span></div>
<span style="font-size: x-small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: x-small;"><span lang="ES"> </span></span></div>
<div class="MsoNormal">
<span lang="ES" style="mso-ansi-language: ES;"><span style="mso-tab-count: 1;"> I</span></span><br />
</div>
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<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;"><span style="mso-tab-count: 1;"> </span></span><span style="font-size: 10.0pt;">("<i style="mso-bidi-font-style: normal;">An actor
is a sculptor carving in snow."</i>)</span></div>
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<br /></div>
<div class="MsoNormal">
Ice statues, carving ourselves in a substance</div>
<div class="MsoNormal">
of endless deliquescence, struggling for permanence,</div>
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the illusion of perpetuity, delusions</div>
<div class="MsoNormal">
of existence: <span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Vivo, ergo sum</i>.</div>
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<br /></div>
<div class="MsoNormal">
Ice melts as it warms. We melt </div>
<div class="MsoNormal">
As we cool.<span style="mso-spacerun: yes;"> </span>Ice blooms
as heat recedes:</div>
<div class="MsoNormal">
Thick atoms slow and crystallize.</div>
<div class="MsoNormal">
But we form when heat quickens: </div>
<div class="MsoNormal">
Our solidity not
solid, but crystal motion.</div>
<div class="MsoNormal">
We are not ice but flame.<span style="mso-spacerun: yes;">
</span>All melts. All trembles.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Dancing<b style="mso-bidi-font-weight: normal;"> </b>and
flickering, wavering over ashes,</div>
<div class="MsoNormal">
Moulten in soft dust, and blown away, blown out:</div>
<div class="MsoNormal">
Sandcastles labored, compulsive structuring,</div>
<div class="MsoNormal">
Shoring up ever-evanescing towers,</div>
<div class="MsoNormal">
Anguished at imperfections, the annual</div>
<div class="MsoNormal">
Losses, anxious labors to make fixed, </div>
<div class="MsoNormal">
To firm up artifacts among these windblown drifts,</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"> These our actors, were
all Spirits</i>, men and women</div>
<div class="MsoNormal">
Of snow:<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Les
neiges d'antan</i>. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
II </div>
<div class="MsoNormal">
Watching, then, permanently, my permanent father</div>
<div class="MsoNormal">
Disappear, slip away, the very body diminishing </div>
<div class="MsoNormal">
Hour by hour.<span style="mso-spacerun: yes;"> </span>The
flesh goes first, a layer of stuff</div>
<div class="MsoNormal">
We think is meat, solid-- the person incarnate,</div>
<div class="MsoNormal">
We think--but yet it disappears. Its absence</div>
<div class="MsoNormal">
Alters suddenly the person, enacts a stranger,</div>
<div class="MsoNormal">
Leaves a body but the skin sinks onto bone</div>
<div class="MsoNormal">
And reshapes, redesigns: an alien emerges, </div>
<div class="MsoNormal">
The gaunt death-ikon appears in place of face:</div>
<div class="MsoNormal">
Jaw, skull and shoulder sockets
extrude—</div>
<div class="MsoNormal">
As cheek, mouth, and biceps vanish.</div>
<div class="MsoNormal">
Knee-joints and hip-bones, elbows and ribs</div>
<div class="MsoNormal">
Grow monstrous and huge:<span style="mso-spacerun: yes;">
</span>no thighs, no calves,</div>
<div class="MsoNormal">
only jagged lines, only bones.<span style="mso-spacerun: yes;"> </span>O scarecrow, skeleton.</div>
<div class="MsoNormal">
O staggering weak collection of rods and sockets</div>
<div class="MsoNormal">
Above the swollen talons that were feet. <i style="mso-bidi-font-style: normal;">Leave not a racke behinde.</i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">We are such stuffe </i><b style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;"> </span>(</b>A
pageant, apparition) <b style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;"> </span></b><i style="mso-bidi-font-style: normal;">as
dreames</i>. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
He shrank before my eyes--</div>
<div class="MsoNormal">
Like the snow outside those dim December days-- </div>
<div class="MsoNormal">
Dispersed, becoming pale and then invisible.</div>
<div class="MsoNormal">
The snow was melting in a winter sun,
a slow </div>
<div class="MsoNormal">
and ceaseless warming, and his was cooling,</div>
<div class="MsoNormal">
his life that had been flame, had blazed and sparked,</div>
<div class="MsoNormal">
had spit and glowed, became a pale translucent glow,</div>
<div class="MsoNormal">
Still vaporizing till the heat was gone. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
III</div>
<div class="MsoNormal">
And then go thoughts, attention, all </div>
<div class="MsoNormal">
But a faint trace of person dissolves—</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>a smoke
dispersed in air;</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>mere
indistinct wisps remain.</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
O pale, pale: --where goes the blood</div>
<div class="MsoNormal">
That its tint not lingers beneath the skin, </div>
<div class="MsoNormal">
The tinge of living in transparency?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And the face like an infant in winter, in having</div>
<div class="MsoNormal">
No person, no tension, no history etched, or hope:</div>
<div class="MsoNormal">
Habitual frown, wry grimace, lifted eyebrow,</div>
<div class="MsoNormal">
Winked eye, flashed frown-- all erased:</div>
<div class="MsoNormal">
What you thought they looked like in the flesh</div>
<div class="MsoNormal">
that was not flesh, but the imprinted power,</div>
<div class="MsoNormal">
A present strength of will. . . <i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span>all Spirits.</i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The chest looms over this rickety scaffolding.</div>
<div class="MsoNormal">
The thin claws of hands that clasp nothing.</div>
<div class="MsoNormal">
His feet had lost the ground; he tipped in some</div>
<div class="MsoNormal">
Gravityless ether.<span style="mso-spacerun: yes;">
</span>His hair, bleached and</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Blushing
straw, on end.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Like candleglow, he flickered at the last,</div>
<div class="MsoNormal">
Like wisps of spark, he sank, dispersed, and sighed.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So easy this extinction, eternity's bland mask of death.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Even in
sleep, expression remains.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Not here: <span style="mso-spacerun: yes;"> </span>this country <i style="mso-bidi-font-style: normal;">from whose Bourne</i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"> </i><span style="mso-bidi-font-style: normal;"> </span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: normal;"> IV </span><i style="mso-bidi-font-style: normal;"> </i></div>
<div class="MsoNormal">
At last, not human, further gone in time</div>
<div class="MsoNormal">
To fish or lizard, a mouth that opens slowly</div>
<div class="MsoNormal">
To no air, once and once and once again</div>
<div class="MsoNormal">
And then the tiny skeletal foetal curl.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So silent, gradual. Where was the line crossed,</div>
<div class="MsoNormal">
when did the bolt slip into the slot,</div>
when was the door so
closed it sealed into wall,
<br />
<div class="MsoNormal">
why can't it come back, why can't we reach through,</div>
<div class="MsoNormal">
why can't we return, why can't we see further?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The bottom of all runs out. The hole disappears.</div>
<div class="MsoNormal">
There isn't. Not. None.<span style="mso-spacerun: yes;">
</span>Gone.<span style="mso-spacerun: yes;"> </span>Done.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
------------------------------------------------------------------------------------------</div>
J. RiceJuanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-41422184894661327632017-06-01T15:04:00.001-07:002017-06-01T15:04:46.455-07:00THE BRIEF WONDROUS LIFE OF OSCAR WAO by Junot Diaz (Book Review)<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
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<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
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<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
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<div class="MsoNormal">
<u>The Brief Wondrous Life of Oscar Wao</u> by Junot Diaz.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>Written 4/27/2012</i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
"Wow!" "Wao!" </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>"Wao" is a
phonetic spelling for "Wilde," along the lines that Mexican comic
books talk about the Yunaitesteits (for United States).<span style="mso-spacerun: yes;"> </span>Here's the way the book opens: </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>They say it
came first from Africa, carried in the screams
of the enslaved;</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>that it was
the death bane of the Tainos, uttered just as one world perished</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>and another
began; that it was a demon drawn into Creation through the</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>nightmare
door that was cracked open in the Antilles.<span style="mso-spacerun: yes;"> </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Fuku americanus</i></b><i style="mso-bidi-font-style: normal;"><u>,</u></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="mso-tab-count: 1;"> </span></i>or more colloquially, fukú—generally
a curse or a doom of some kind; </div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>specifically
the Curse and the Doom of the New World. Also
called the </div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>fuku of the
Admiral because he was both its midwife and one of its great</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>European
victims; despite "discovering" the New World the Admiral</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>died
miserable and syphilitic, hearing (dique) divine voices.</div>
<div class="MsoNormal">
<span style="mso-tab-count: 5;"> </span></div>
<div class="MsoNormal">
I liked this book very, very much.<span style="mso-spacerun: yes;"> </span>And not the least of its pleasures is its historicizing
footnotes, the first of which, on the second page of text, begins: </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>For those
of you who missed your mandatory two seconds of Dominican </div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>history: Trujillo, one of the
twentieth century's most infamous dictators, </div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>ruled the Dominican Republic
between 1930 and 1961 with an implacable</div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>ruthless brutality.
. . .one of the longest, most damaging U.S.-backed dictatorships </div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>in the Western Hemisphere. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Diaz sets up the novel to illustrate a fukú, the New World
Curse, through the story of a New Jersey Dominican, Oscar De Leon, who had all
the right moves with the <i style="mso-bidi-font-style: normal;">muchachas</i>
until he was seven years old and then—was it a curse for dropping one little
girlfriend at the behest of another?—becomes an undate-able awkward obese
nerd.<span style="mso-spacerun: yes;"> </span>Committed to "the
Genres," which I take it means Sci-Fi and Fantasy literature, Comic books
and Cartoons, and role-playing games like Dungeons and Dragons. <span style="mso-spacerun: yes;"> </span>The narrator is another Dominican man, a
"player," who has a crush on Oscar's sister Lola and thus volunteers
to be Oscar's roommate and keep an eye on him.<span style="mso-spacerun: yes;">
</span>He intends to play pal just long enough to win Lola over, but the
connection turns out to be more than "for fun for awhile."<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Oscar's story pulls in his whole family history.<span style="mso-spacerun: yes;"> </span>His sister Lola's story starts when her
mother, Beli, calls her into the bathroom to evaluate a knot in her breast
"just beneath her skin, tight and secret as a plot," another fukú,
but to go back to the beginning of Oscar's family curse. the story goes back in
time to 1944 or so when Oscar's long-lost aunt in the Dominican Republic was
preparing to go to college.<span style="mso-spacerun: yes;"> </span>She was a
beautiful, socially accomplished girl, but dictator <span style="mso-spacerun: yes;"> </span>Rafael Trujillo had a taste for girls—the <u>droit
de seigneur</u> being one of his favorite indulgences. The girl's father, a
physician, tries tragically to conceal her from Trujillo, and is consequently
emprisoned brutally while his wife was expecting a third child.<span style="mso-spacerun: yes;"> </span>In 1946, after more than a year of torture
had utterly undone and unmanned him, he was sentenced to 18 years in
prison.<span style="mso-spacerun: yes;"> </span>The two teen-aged daughters and
wife Soccoro all died "accidentally" in the next few years.<span style="mso-spacerun: yes;"> </span>The newly born infant, a third daughter, was
a social jinx and was sold into "<u>criada</u>" service.<span style="mso-spacerun: yes;"> </span>(Remember Cosette at the Thenardiers' in <u>Les
Miz</u>?)<span style="mso-spacerun: yes;"> </span>This daughter is Beli, the
mother of Oscar and Lola. She is rescued by a family cousin, "La Inca,"
whom Oscar and Lola come to know as their Abuela (grandmother).<span style="mso-spacerun: yes;"> </span>And this history—of life under Trujillo—is ultimately
the heart of the book, but the story also portrays Dominican emigrants of the
Diaspora as non-tragic, powerful, vital human beings.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The events are terrifying but told with linguistic liveliness,
which creates a kind of angry ironic distance often enough to make the story
more believable or at least 'tolerable'; the narrator's bitter jokes about the
cursed history of families destroyed and demoralized in twentieth-century Latin
America and the Diaspora rings with slangy Spanglish and Dominican idioms
spiced up with a rich sprinkling of Tolkien, Stan Lee and <u>Watchmen</u>.<span style="mso-spacerun: yes;"> </span>Its real literary base, however, is Derek
Walcott: an epigraph from his "The Schooner: <u>Flight</u>," Stanza
1, "Caragena, adios," captures the mood and the linguistic turn. (I
will have an excerpt for the meeting.)<span style="mso-spacerun: yes;"> </span>And
Walcott's verse follows another introductory quotation from the <u>Fantastic
Four</u> (Stan Lee and Jack Kirby, 1966): "Of what importance brief,
nameless lives . . . to <b style="mso-bidi-font-weight: normal;">Galactus??</b>"</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The narrator, "Yunior" (Spanish rendering of
'Junior') revels in sexuality, especially of women's bodies, and there are many
racy scenes in juicy language.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>But women in this story are powerful
persons<span style="mso-spacerun: yes;"> </span>as well as sexual subjects,
subjects who choose and enjoy as well as suffer.<span style="mso-spacerun: yes;"> </span>There is no celebration here of cruelty, use,
exploitation.<span style="mso-spacerun: yes;"> </span>"Yunior" is a
womanizer, but finally that is his tragedy and he knows it.<span style="mso-spacerun: yes;"> </span>Like most of the characters, he is abused and
neglected by parents who inherit the trauma of dictatorship and terrorism.<span style="mso-spacerun: yes;"> </span>We want sometimes to believe that surviving
victimization creates wisdom and virtue.<span style="mso-spacerun: yes;">
</span>It's not true: abuse more often makes monsters of us.<span style="mso-spacerun: yes;"> </span>In Yunior's defense he knows he's damaged,
and at least he loyally loves Oscar –and sadly, Lola.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">I admit this is a
book I probably won't loan to teens I work with in juvenile detention, but not
because it would shock or harm these girls who have seen more sexual dirt and
violence than this bit of prose-fiction.<span style="mso-spacerun: yes;">
</span>Maybe they'd feel less schizophrenic and alienated if they could read
more things like this, Toni Morrison, Louise Erdrich, David Foster Wallace, instead
of the Post-Rapture fantasy-literature they are fed locally: "good
Christian books."</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">And I won't suggest
the book to my local book club, which is essentially mostly made up</b> <b style="mso-bidi-font-weight: normal;">of women (all Methodists!) in rural
Nebraska, most of whom (or many) are retired teachers.</b><span style="mso-spacerun: yes;"> (So I thought and wrote in 2012; after 5 years with them, I have suggested it.--jrice) </span>The language alone is clearly off-limits
there, where several expressed a reluctance to "read about sex" when
our group began, although they did enjoy Erdrich's <u>The Master Butchers
Singing Club</u>, even with Delphine's surprised glimpse of the man she lives
with having sex with another man. <span style="mso-spacerun: yes;"> </span>It
would be interesting to think through problems of acceptable and unacceptable
language but not here, not now.<span style="mso-spacerun: yes;"> </span>I will
just say that stories of Oscar and his family, class, and culture would be
artificial and false without the language of sex, drugs and alcohol, for this
is the language of tough gutsy people even as these are phenomena in the life
of so-called "nice" people too, and language tastes have more to do
with class and culture and "niceness" than with value.</div>
<div class="MsoNormal">
<br /></div>
Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-47095206040310541592017-02-20T15:25:00.001-08:002017-02-20T15:25:14.216-08:00<a href="https://www.goodreads.com/book/show/95747.The_Miracle_of_Mindfulness" style="float: left; padding-right: 20px;"><img alt="The Miracle of Mindfulness: An Introduction to the Practice of Meditation" border="0" src="https://images.gr-assets.com/books/1320448079m/95747.jpg" /></a><a href="https://www.goodreads.com/book/show/95747.The_Miracle_of_Mindfulness">The Miracle of Mindfulness: An Introduction to the Practice of Meditation</a> by <a href="https://www.goodreads.com/author/show/9074.Thich_Nhat_Hanh">Thich Nhat Hanh</a><br />
<br />
My rating: <a href="https://www.goodreads.com/review/show/1883031524">5 of 5 stars</a><br />
<br />
<br />
This is an almost indispensable guide toward establishing an understood meditation practice. Why, how and what: that is, why meditation, how to meditation, and what is meditation, actually. No nonsense, no hoo-ha, no mystification: this is a book my son uses In PRISON to help prisoners discover how they can avoid despair, rage, bitterness, and actually find compassion for themselves and others. Note that an affectionate title many of his students use to refer to the Zenmaster Thich Nhat Hanh is "Thay," a Vietnamese term for teacher or respected teacher. Like calling someone "Maestro" or "Rabbi" or "Pastor." <br />
<br />
Some people will say that "Thay" caters too much to Western middle-class desires for self-help and self-actualization and selfish personal happiness, but I say, okay, start there if that's where people are. And not only the middle-class craves help and personal development. It's just that the middle class generally has the time and the means to articulate it for themselves and "buy in" to retreats and books and DVDs and CDs. But youth at risk and people on the edge need it just as much if not more.<br />
<br />
And many of Thay's books are at least accessible and straightforward. I myself have taken transmission of the Five Mindfulness Trainings and have formally "Taken Refuge" in the Buddha, the Dharma and the Sangha, from/with Thich Nhat Hanh. He is a poet, a scholar, a communicator,and the gentlest iron butterfly in the world.<br />
<br />
This book is a great introduction to meditation and can pay off in almost instant if gradual changes.<br />
<br />
<br />
<br />
<br />
<br />
<a href="https://www.goodreads.com/review/list/63971348-juanita-rice">View all my reviews</a>Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-70065454489337154162017-02-20T15:22:00.002-08:002017-02-20T15:22:43.726-08:00Cemetery, Isla Mujeres<div class="set_div" id="set_div72157677002068044" title="">
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Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-53613734033719784722017-02-20T14:45:00.004-08:002017-02-20T14:45:59.575-08:00A Poem for February: "IN WILDNESS"<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="0" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="0" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="0" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
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<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
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<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
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<br />
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-spacerun: yes;"> </span>IN WILDNESS</div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
A dreary February day. Gray.</div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-spacerun: yes;">
</span><span style="mso-spacerun: yes;"> </span>Dirty snow melting.</div>
<div class="MsoNormal" style="line-height: 200%;">
Then suddenly there are three
yellow crocus, petals shining,</div>
<div class="MsoNormal" style="line-height: 200%;">
looking up expectantly for sun:</div>
<div class="MsoNormal" style="line-height: 200%;">
fresh, open, children waiting to be
fed.</div>
<div class="MsoNormal" style="line-height: 200%;">
The leaves around them green and
crystal clean</div>
<div class="MsoNormal" style="line-height: 200%;">
Thrust up through ground that only
days ago </div>
<div class="MsoNormal" style="line-height: 200%;">
Was frozen solid. So suddenly
flowers. </div>
<div class="MsoNormal" style="line-height: 200%;">
Sweet tears come. And then from
above me </div>
<div class="MsoNormal" style="line-height: 200%;">
Come cries of snow geese hidden</div>
<div class="MsoNormal" style="line-height: 200%;">
In that sky the crocus blossoms
look to:</div>
<div class="MsoNormal" style="line-height: 200%;">
Forms invisible in soft gray clouds
until,</div>
<div class="MsoNormal" style="line-height: 200%;">
Abruptly, Seen!--those white far-flying</div>
<div class="MsoNormal" style="line-height: 200%;">
Creatures, shining wings tipped in
black,</div>
<div class="MsoNormal" style="line-height: 200%;">
Wavering skeins of hundreds of
birds</div>
<div class="MsoNormal" style="line-height: 200%;">
Skittering and slipping across the</div>
<div class="MsoNormal" style="line-height: 200%;">
Watery sky. Silvery confetti , </div>
<div class="MsoNormal" style="line-height: 200%;">
Animate, feathered, aloft. Calling,
urging.</div>
<div class="MsoNormal" style="line-height: 200%;">
Perhaps rejoicing?</div>
<div class="MsoNormal" style="line-height: 200%;">
Then atop the voices of the geese, </div>
<div class="MsoNormal" style="line-height: 200%;">
Shrill purling cries:</div>
<div class="MsoNormal" style="line-height: 200%;">
And sandhill cranes appear, rowing
up high</div>
<div class="MsoNormal" style="line-height: 200%;">
Through the clean currents of the
atmosphere,</div>
<div class="MsoNormal" style="line-height: 200%;">
In ancient ritual travel to the arctic
north.</div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
And then I too cry out!<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in; text-indent: .5in;">
Some
involuntary, throaty, </div>
<div class="MsoNormal" style="line-height: 200%;">
Foolish, inarticulate noise pressed
out of me</div>
<div class="MsoNormal" style="line-height: 200%;">
So sharp I half expect a neighbor
to call</div>
<div class="MsoNormal" style="line-height: 200%;">
And ask if I am hurt.<span style="mso-spacerun: yes;"> </span>"Yes," I would answer.</div>
<div class="MsoNormal" style="line-height: 200%;">
"Always.' </div>
<div class="MsoNormal" style="line-height: 200%;">
Every time.</div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
"In wildness is the
preservation of the earth."</div>
<div class="MsoNormal" style="line-height: 200%;">
In wildness is it hidden—that which
will wrench </div>
<div class="MsoNormal" style="line-height: 200%;">
Your bones, compress your heart in
earnest: </div>
<div class="MsoNormal" style="line-height: 200%;">
Even the crocus, which we humans
plant, </div>
<div class="MsoNormal" style="line-height: 200%;">
We do not, cannot cause</div>
<div class="MsoNormal" style="line-height: 200%;">
To live. To surge through icy mud</div>
<div class="MsoNormal" style="line-height: 200%;">
And show their colors, share their fragrances,</div>
<div class="MsoNormal" style="line-height: 200%;">
To skies and
birds, to us, to secret others.</div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;">"In
wildness is the preservation."<span style="mso-spacerun: yes;"> </span>In
wildness </i></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;">Is
it hidden, that which will wrench your </i></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;">Bones,
compress your chest, in earnest,</i></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;">Not
always pretty, as spring flowers, or awesome</i></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;">As
sandhill cranes migrating, but also sudden animal</i></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;">Snarling,
</i></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;">
</span>Death, </i></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span>Wounds that bleed
dark blood,</i></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;">Fountaining
out: then the reflex gasp, the noise</i></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;">In
the lungs rattling, the russet feathers spread</i></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;">Across
the garden soil where something struck. </i></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;">It
springs upon us sometimes by surprise.</i></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;">We
take a breath, we start, we stop.</i></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
And when the hidden spring's revealed,
again,</div>
<div class="MsoNormal" style="line-height: 200%;">
Again like children playing hide
and seek</div>
<div class="MsoNormal" style="line-height: 200%;">
Who laugh and shriek, </div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>we sometimes even
cry.</div>
<div class="MsoNormal" style="line-height: 200%;">
And don't know why, </div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-spacerun: yes;"> </span>for even
that is hidden</div>
<div class="MsoNormal" style="line-height: 200%;">
In our secret
long-before-Pleistocene connections</div>
<div class="MsoNormal" style="line-height: 200%;">
To the core and secret motives of
the earth.</div>
<div class="MsoNormal" style="line-height: 200%;">
Earth spells Heart. </div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Look. It's
true.</div>
<div class="MsoNormal" style="line-height: 200%;">
And the earth whirls our hearts through</div>
<div class="MsoNormal" style="line-height: 200%;">
Vast and inconceivable miles of
space</div>
<div class="MsoNormal" style="line-height: 200%;">
At speeds that dizzy and blind our
vision.</div>
<div class="MsoNormal" style="line-height: 200%;">
When the mother first sees the
baby,</div>
<div class="MsoNormal" style="line-height: 200%;">
Newly born, one of these hidden
connections</div>
<div class="MsoNormal" style="line-height: 200%;">
Tightens on her heart and impels a
noise, </div>
<div class="MsoNormal" style="line-height: 200%;">
An opening of her throat, </div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>a
blossoming at her breasts;</div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"></span>that motive power</div>
<div class="MsoNormal" style="line-height: 200%;">
Which hurls the earth away yet
holds it fast</div>
<div class="MsoNormal" style="line-height: 200%;">
In always-close proximity to the
sun,</div>
<div class="MsoNormal" style="line-height: 200%;">
Inhabits her. </div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-spacerun: yes;"> </span>And that's the hidden
web</div>
<div class="MsoNormal" style="line-height: 200%;">
Which makes me gasp at spring and
life</div>
<div class="MsoNormal" style="line-height: 200%;">
And holds me fast in fact of death
and winter.</div>
<div class="MsoNormal" style="line-height: 200%;">
Nine sandhill cranes head north
along </div>
<div class="MsoNormal" style="line-height: 200%;">
Invisible magnetic tracks, without </div>
<div class="MsoNormal" style="line-height: 200%;">
Our management or comprehension.</div>
<div class="MsoNormal" style="line-height: 200%;">
Flowers that rise from a
dead-seeming root</div>
<div class="MsoNormal" style="line-height: 200%;">
In the icy dark.<span style="mso-spacerun: yes;"> </span>Power unharnessed, </div>
<div class="MsoNormal" style="line-height: 200%;">
And self-sustaining, self-directed,</div>
<div class="MsoNormal" style="line-height: 200%;">
Outside and beyond the human social
brain.</div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;">I
cry out some involuntary thing,</i></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;">Some
inarticulate noise erupts,</i></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;">So
sharp I half expect someone to call</i></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;">And
ask if I am hurt.<span style="mso-spacerun: yes;"> </span>"Yes," I
would answer.</i></div>
<div class="MsoNormal" style="line-height: 200%;">
"<i style="mso-bidi-font-style: normal;">Always."</i> <span style="mso-spacerun: yes;"> </span>This wound
direct to the heart</div>
<div class="MsoNormal" style="line-height: 200%;">
To be a witness of this awe-full
mystery,</div>
<div class="MsoNormal" style="line-height: 200%;">
Our world with all its wonders
whirling </div>
<div class="MsoNormal" style="line-height: 200%;">
In unfathomable nebula-gleaming
space.</div>
<div class="MsoNormal" style="line-height: 200%;">
This<b style="mso-bidi-font-weight: normal;"> </b>joyous<b style="mso-bidi-font-weight: normal;"> </b>hurt to the
heart always to</div>
<div class="MsoNormal" style="line-height: 200%;">
Be a witness to these mysteries. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="line-height: 200%;">
Is this why also flying geese </div>
<div class="MsoNormal" style="line-height: 200%;">
Are crying, and cranes call out and
dance?</div>
<div class="MsoNormal" style="line-height: 200%;">
Is this why tiny flowers in the
snow </div>
<div class="MsoNormal" style="line-height: 200%;">
Open astonished eyes, coming to
life?</div>
<div class="MsoNormal" style="line-height: 200%;">
Again?<span style="mso-spacerun: yes;"> </span>And again surprised?<span style="mso-spacerun: yes;"> </span>Is this why</div>
<div class="MsoNormal" style="line-height: 200%;">
Men and women fling their bodies
together</div>
<div class="MsoNormal" style="line-height: 200%;">
And make such wildness in their
voices</div>
<div class="MsoNormal" style="line-height: 200%;">
And with flesh and bone press
together?</div>
<div class="MsoNormal" style="line-height: 200%;">
We serve the<span style="mso-spacerun: yes;"> </span>hidden source of life</div>
<div class="MsoNormal" style="line-height: 200%;">
and do not own it, or know wherein
it lies.</div>
<div class="MsoNormal" style="line-height: 200%;">
"In wildness is the
preservation of the earth."</div>
<div class="MsoNormal" style="line-height: 200%;">
Jubilation and terror.</div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; tab-stops: 71.25pt;">
<span style="mso-spacerun: yes;"> </span>--Juanita Rice, a February</div>
Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-33695567909588446732017-01-17T11:56:00.001-08:002017-01-17T11:56:17.568-08:00The Hunters - by Claire Messud<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
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<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
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<span style="color: red; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> Read February 2009</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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<span style="color: #181818; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">This 2001 book
contains 2 Novellas, "A Simple Tale" and "The Hunters." It
was a finalist for the Pen/Faulkner Award and is Messud's third book
after <u>When the World Was Steady</u> and <u>The Last Life</u>.<br />
<br />
The <u>NYTimes</u> review called it "a work of near-miraculous
perfection," but a week after reading it, I recall very little of it.
"A Simple Tale" traces the life of a Ukrainian woman from her capture
by the German army as a teenager, her survival of Krupp's labor camps, marriage
and emigration to Canada, and then her disappointment in her only son's
"bad marriage." Through most of her adult life she comes in as
domestic maid for families that eventually die out until she only has one left,
a Tuesday at the home of Mrs. Ellington where she has worked for 46 years when
the story actively begins.<br />
<br />
The closing event of the narration, a purchase of a brightly colored painting,
and the catharsis it seems to represent failed to follow or"signify" to me. What is simple about "A Simple Tale"?
Perhaps the author means to refer to the socially insignificant status of
Maria--peasant, labor-camp slave, wife and mother, cleaning woman. Her writing
is not simple in syntax, certainly; see below for a sample in the story. It is
not simple in lacking dramatic incidents, although they mostly left me curious,
not involved emotionally.<br />
<br />
Of "The Hunters," I recall little but irritation. The language is
more intricate than the first story but without charm. Again, my curiosity was
awakened but not my empathy. Despite myself, I was hooked on the author's
elaborate concealment of the fictional narrator's gender. I believed I deduced
it, but I disliked all the characters, and felt neither surprise nor
satisfaction nor sorry when the overly foreshadowed "tragedy" was
revealed.<br />
<br />
The fussy complexity of syntax was just one more stylistic "delay" of
revelation: "But in that summer so far from all that was familiar to me,
in which I barely believed in my own flesh, which I could bite or pinch or draw
blood from, in that summer of strange enclosedness, in which the vast panes of
glass in my flat, through which I could observe so much about which I felt so
little seemed to travel with me outside into the city, like an invisible
protective pope-mobile, I viewed the entire world at a muffled remove, without
emotion."<br />
<br />
My sentiments exactly.</span><br /><br />PS, January 2017: Curiously, although I was miffed at the way the writing
obstructed my easy passage only to end in non-revelation, I find that
these stories which I thought failed to make an impression are deeply
recalled after 8 years. !!??</div>
Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-91602703470828308562017-01-17T11:20:00.000-08:002017-01-17T11:33:00.746-08:00I Have Landed: The End of a Beginning in Natural History by Stephen Jay Gould<a href="https://www.goodreads.com/book/show/57365.I_Have_Landed" style="float: left; padding-right: 20px;"><img alt="I Have Landed: The End of a Beginning in Natural History" border="0" src="https://images.gr-assets.com/books/1390955467m/57365.jpg" /></a><a href="https://www.goodreads.com/author/show/19109.Stephen_Jay_Gould"><br /></a><br />
<br />
My rating: <a href="https://www.goodreads.com/review/show/1882966805">4 of 5 stars</a><br />
<br />
<br />
Numerologists would boggle at this book’s various numerical coincidences, as does Gould himself. First, as the title suggests, this is the last of his books of essays from the journal <u>Natural History</u>. It is also neatly the tenth such book. Moreover, there were exactly 300 such essays, one published in every issue for 30 years, with not "one missed," as Gould says, “despite cancer, hell, high water or the World Series.” There is also a quarter-century between his first popular book and first scientific book in 1977, and this book and a new major scientific title in 2002. <br />
<br />
And then--numerologically speaking-- there is the fact that January 1, 2001, the date of the last essay, was the first day of the new millennium. And that essay was the title essay for the book, and celebrated a personal centennial: Gould’s grandfather arrived, a young Hungarian immigrant, in NYC in 1901. In Gould’s library was a book of his grandfather’s, an English grammar with an inscription celebrating the day: “I Have Landed, Sept. 11, 1901.” <br />
<br />
While the book was being prepared, that date sadly took on a different and opposite connotation for Americans, so a separate section was added at the end of <u>I Have Landed</u> to balance the celebratory opening.<br />
<br />
And as a final coincidence, one completely unforeseen, in 2002, Gould died swiftly of a previously unsuspected cancer, so that the title <u>I Have Landed: The End of a Beginning in Natural History</u> could also be the title of a sober eulogy. The dedicatory invocation at the end of the first essay, especially, takes on haunting connotations: “Dear Papa Joe, I have been faithful,” it begins, and it concludes, “I have landed. But I also can’t help wondering what comes next.”<br />
<br />
All this is irrelevant to the content, but I pass it on because in pursuing my intention to read all of the books of Stephen Jay Gould I have developed such respect and gratitude for his devotion to the task of educating the non-scientists of the world without patronizing or simplification that his death at the comparatively young age of 60 still saddens me, ten years later. He was that rare thing in America today, a public intellectual with wealth of knowledge plus a passion for a just, rational and humane world. I also have developed that most dangerous of reviewer attitudes, an odd kind of personal liking, and even, on occasion, irritation with his quirks and imperfections. He is so overt, so open, and so enamored of his sense of humor, his delight in the ‘signifying’ detail, his classicism, and his antiquarian books. We can ill spare him. <br />
<br />
The great value of the book, of course, is impersonal and extensive: it consists of intelligent and articulate writing, a passion for explication, thorough knowledge of science and the history of science, almost the history of knowledge. With Gould, every fact becomes a doorway to an interconnected universe, and as one reads, these connections light up illuminating previously concealed significance. I'll take, for instance, his acute ability to find concrete examples of his perhaps favorite theme, that of the often invisible influence of social assumptions and hidden preconceptions upon the conclusions of scholarship, including the sciences. As Gould tries again and again to persuade readers, when something just "feels right," then the need to examine one's premises and reasoning is even more imperative. What it "fits" may be something completely unrealistic. <br />
<br />
In an essay called "Jim Bowie's Letter and Bill Buckner's Legs," Gould examines two very different examples of the way facts can be—and are—blinked in the human need to make events conform to a pre-existing mental idea or pattern. At the site of the Alamo, Gould found a letter written by Bowie to the Mexican general Santa Ana exploring a negotiated surrender. This letter contradicts the popular legend that Bowie joined his impulsive co-leader William B. Travis (widely recognized as impetuous and vainglorious) in declaring the intention to fight to the death rather than surrender or escape. The letter is prominently displayed in glass at the historical site in San Antonio, Texas, but official information–even in the Tom Wolfe novel, <u>A Man in Full</u>—maintains the legend. Gould points to this example of myth-perpetuation with contrary evidence "hidden in full sight," as only one small example of what he ventures to call a trait of the human brain, its operation as a device to recognize patterns. Depending on the patterns generated by the beliefs and fables of a society, its members will tend to see facts through a selective bias that pushes the facts to fit the patterns. <br />
<br />
But it's not just patriotism or heroic great-men narratives that are so influenced. The second example in this essay deals with a sports myth: that of the catastrophic failure of Boston Red Sox first-baseman Bill Buckner to snag a grounder to end a ninth inning in a sixth World Series game in 1986 that –had the Sox won—would have brought them their first World Series ring since 1918. And had Buckner picked up the ball, the Sox would –well, that's the point at which the "story" ignores the facts: they would only not have lost yet. The score was already tied. Had Buckner gotten the third out, the game would have continued into extra innings. And that's Gould's point. The Mets had already gained their two-point deficit.. So if Buckner had picked up the grounder, and stepped on first base, there's no guarantee that the Sox would have won. <br />
<br />
How did the story come about that Bill Buckner "lost" the game for the Sox, and "lost" the Series? This was, as I said, the sixth game. For you who don't follow American Baseball, a World Series is the last round in a series of playoffs. The two teams play for the best of seven games. So at least four games must be played. The Red Sox had already won three games by this game, the sixth in the 1986 series, so if they had won the game, the World Series would end with them the champions. But even if they lost this game, there was still a seventh game to play. How did one play in the sixth game "take away the Series"? <br />
<br />
Gould collected the evidence of this revisionist history—much of it in sports journalism,<br />
where writers seldom have time to track down details of apocryphal stories that "everyone knows." The revelatory fact, however, is that the story of Buckner's Disaster occurs also <br />
in "rarefied books by the motley crew of poets and other assorted intellectuals who love to treat baseball as a metaphor for anything else of importance in human life or the history of the universe." (Gould himself has used baseball as a major metaphor, in <u>Full House</u>, an investigation of how statistics are so poorly understood that evolution can be seen, wrongly, as a story of increasing complexity, and therefore an inherent dynamic with humans as the apex.) <br />
As he says, "something deep within us drives accurate messiness into the channels of canonical stories, the primary impositions of our minds upon the world." Neither story, perhaps, is of great importance, but these "common styles of error—hidden in plain sight, and misstated to fit our canonical stories—occur as frequently in scientific study as in historical inquiry." <br />
<br />
I will add that because they "fit" patterns, these fictional versions of reality are widely employed in political discourse. If you want to persuade people, and animate them to emotional investment in political decisions, you can't bother with the "accurate messiness" of reality. For instance, yes, crime has decreased as prison populations have increased, for instance, but there is not a one to one correspondence from state to state, or in types of crimes, or even over time. That two phenomena co-occur is no clue to causation. And yet, how does one answer false conclusions?<br />
<br />
Then we must also deal with the problems caused by who writes or concocts the stories we hear. It is true that the victors tell the world their version of what happened. And so we think that what is coincides with what ought to be; might therefore creates right. History, sociology, psychology, as well as science, are all infected with this seemingly inevitable "silly and parochial bias." Thus we read of the first land animals as having been "a conquest," and hear the story that dinosaurs were "doomed" to fall "in favor of" the triumph of mammals (us). But fish still constitute a good 50% of all vertebrates, those lucky victors on land not having gained any advantage (yet). And dinosaurs only died because of a once-in-known-history collision of an extraterrestrial object with earth. Dinosaurs had held pride of place for over 130 million years. Mammals didn't "vanquish," but were an accident of history, "for reasons. . . that probably bear no sensible relation to any human concept of valor"or " intrinsic superiority." <br />
<br />
All this is a summary of the meaty gist of just one essay among thirty-two, dealing with everything from Gilbert and Sullivan to theories of human race, from the mosaics at San Marco in Venice to the landscape paintings of Frederic Edwin Church, from Freud's evolutionary fantasies ("the penis as a symbolic fish, so to speak, reaching toward the womb of the primeval ocean") to Nabokov's "other" vocation as a lepidopterist, and several analyses of racism both toward Jews and blacks ("Age-Old Fallacies of Thinking and Stinking"). <br />
<br />
Especially because this book was published posthumously, I must just add my regret that for all Gould's vast knowledge he never found the occasion to study Post-Colonial theory seriously, a rubric which includes gender studies, culture studies, ethnic studies, philosophy, and significant portions of post-modern thinking. He would there have found ample support for his arguments about human tendencies to think in terms of super-imposed social story forms; in general, the term in the humanities for these forms is "Master Narratives." As a historian of science, however, and –as he will humorously say, a 'white professor over sixty,'—his cultural idols remained uniquely European, and overwhelmingly male, although he recognized gender bias as one of those patterns which compromised accuracy only too often. Gilbert & Sullivan, Bach, Handel, Shakespeare: all worthy arts, but not comprising all the worthy. He admits in another book* that this Eurocentrism and devotion to European classics all too often occurs among "folks like me...who don't wish to concede that other 'kinds' of people might have something important, beautiful, or enduring to say." This generous acknowledgment of the desire of some scholars, professors, intellectuals and scientists to "maintain old privileges" is thoroughly indicative of what I, with some hesitation, call Stephen Jay Gould's intrinsic goodness; he may sometimes make light of certain vices, joking about the Baconian metaphors of "masculine science" "ravishing the formerly innocent Miss Nature," a crudity that estranges me, but he is, was, and now will always be, the quintessential man of good faith. <br />
<br />
*<u>The Hedgehog, the Fox, and the Magister's Pox</u>.<br />
<br />
<br />
<br />
<a href="https://www.goodreads.com/review/list/63971348-juanita-rice">View all my reviews</a>Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-24631727215626647462017-01-17T10:55:00.001-08:002017-01-17T10:55:35.554-08:00Riding the Bus with My Sister by Rachel Simon<!--[if !mso]>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
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<b style="mso-bidi-font-weight: normal;"><span style="background: white; color: #181818; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></b><span style="background: white; color: #181818; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span><a href="https://www.goodreads.com/book/show/40100.Riding_the_Bus_with_My_Sister"><b><span style="background: white; color: #333333; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Riding the Bus with My
Sister: A True Life Journey</span></b></a><span style="background: white; color: #181818; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> </span><span style="color: #181818; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><br />
</span><span style="background: white; color: #aaaaaa; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">(Goodreads Author</span><span style="background: white; color: #181818; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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<a href="https://www.goodreads.com/user/show/1777872-juanita-rice"><span style="color: #382110; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></a><span style="color: #181818; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"></span></span><b style="mso-bidi-font-weight: normal;"><span style="color: red; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">3
STARS</span></b><span style="color: #181818; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Aug 12, 12</span></b></div>
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<span style="color: #181818; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"<i>Mentally
retarded</i>. Words we said about my sister, but never said to her."<br />
<br />
As children it hadn't mattered to Rachel Simon that there was "something
wrong" with her sister Beth. Beth was only eleven months younger and they
were good playmates. But over the next two decades their lives went very
different ways. Rachel was shamed and embarrassed at school where other
children laughed and mocked the "retards," which led her to a sense
of separateness and difference, even resentment. Then their father, a college
dean, left the family, pointedly <i>not</i> taking the four children:
he'd "met someone." The profoundly depressed mother eventually lost
all semblance of function and one by one the older children left, but Beth
stayed with her. The mother's circumstances disintegrated, until at last Beth
was rescued by her father from a nightmarish situation, but not unscarred or
unscathed. Rachel was nearly fortywhen she began to get to know her "retarded" sister again.<br />
<br />
There was far too little in the book about the father's ordeal over the next
twenty years as he tried to do his best with the maturing Beth. She was not
docile; she was not cooperative; she definitely did not fit that cliche about
the retarded: "God's little angels." Rachel Simon tells maybe
too much of her own personal story instead of the larger picture, but it's the
larger picture—with Beth as the heroine, not Rachel—that makes this book
worthwhile.<br />
<br />
Beth is at last living independently in an urban setting when her sister, the
author, decides to try to get to know her again. It is not an easy decision
because Beth is neither mild nor sensitive. She is—at 39—overweight, loud, very
often obnoxious, especially to anyone from whom she detects criticism. She
wears the clothes an unsupervised nine-year-old might choose, including shorts
and flip-flops if the weather's "over forty." Her diet is also
similar to that of a nine-year-old. She is not healthy. Her main interest and
activity is the city buslines which she rides from early morning to night. Its
drivers are her social world and their schedules are her schedule. Although
Beth has learned to read and write, and could conceivably hold a menial job
like clearing tables at fast-food restaurants, she doesn't, and from what we
see of her, it would be unlikely that she would work in public smoothly. What
she does is ride the busses. Her other friend is her boyfriend Jesse, also
mentally retarded. Jesse rides bicycles instead of busses. And yes, they are
lovers—that is, the forbidden and fearful topic of "sexual congress"
is part of their lives.<br />
<br />
Perhaps the most enjoyable aspect of the book is what seem to be accurate
transcriptions of the bus trips Rachel takes with Beth; Beth's behavior and
conversation were vivid in Simon's writing and certainly underlined the main
point of the book: there is no easy categorization of people afflicted with
"mental retardation" according to some abstract scale--"mental
age," extent of disability, or any other single factor.<br />
<br />
But in the same way in which the narrator hovers on the threshold between
loving acceptance and frustrated rejection of Beth, so the book also hovers on
the line between an empathetic portrait of Beth and objectification. It's
tricky any time a writer tries to sketch someone whose experience is foreign to
both writer and reader. However well Simon succeeds in disabusing her own
ignorance and thereby the reader's, she remains—and thus the book does—noncomprehending.
She learns, and communicates, why "mental age" is an inadequate
measure of the quality of life for any given individual and just how
individual, even unpredictably eccentric, a developmentally disabled person can
be.<br />
<br />
She also learns how little she actually had ever understood the challenges facing
Beth at every level, as well as how difficult is any assistance effort that
respects the individual's freedom of choice. And why such respect for that
freedom is important. The beginning of coercion is always the beginning of a
bad story. The portraits she draws of Beth and of her boyfriend Jesse enlighten
us about those challenges. Beth is childish in her resistance to seeing a
dentist, choosing a healthier diet for her weight and cholesterol, dressing
"sensibly," or foreseeing danger or sickness, or understanding how
her behavior offends and bothers other people because of the boundaries she
violates with an almost utter lack of empathy. But she is also childlike in her
indifference to appearances, to judgments of others based on her manners and
niceties; she is childlike in her energy and enthusiasm, her enjoyment and
eagerness, her tenacity and her concern for those she cares about.<br />
<br />
We don't get to know Jesse as well although he seems more serious, more aware
of consequences and sensitive to the nuances of relationships. A display of his
startling skills in a martial arts routine gives both Simon, and the reader,
tangible evidence of the unpredictability of each "disadvantaged"
individual. and of the complexities that should unsettle easy stereotypes.<br />
<br />
Moreover, to add to the ambivalence, Rachel Simon is only too well aware that
at the same time she finds Beth pitiable and criticizes her insensitivity, she
sees that Beth has devoted friends among the bus-drivers and her caretaking
social workers, and unlike her older sister, does have a settled love
relationship. Simon on the other hand was unhappily single, a workaholic, and
at burnout flashpoint when the bus-riding year begins.<br />
<br />
There are at least four storylines at work here. First, the portrait of a
complex adult with mental disabilities; second, the difficulties encountered
within the Simon family in relation to Beth; third, the particular
dysfunctionalities within that family that further complicate their lives, and
fourth, the author's use the story to increase readers' comprehension of the
multiple realities of lives of the "retarded." A fifth storyline cuts
across these and blurs them: that of the author's evolution and emotional
"salvation" during and because of this year of "Riding the
Bus" from a lonely, unhappy workaholic to a blissful woman about to be
married. True or not, it seemed sappy and detracted from Beth's story.<br />
<br />
All of the stories, in fact, come at some expense to the others. The author's
happy reconciliation with an ex-fiance was irrelevant hokum to me, no matter
how true; I would have preferred more reflection on the general theme of the
functionally disadvantaged and their impact on families of origin and vice
versa. Her happy ending seemed to me to be of a piece with the "easy
cliches" she seems to want to debunk. Now her happy ending probably goes
quite a bit further: with the Rosie O'Donnell film directed by Anjelica Huston,
the happy ending probably went all the way to the bank.<br />
<br />
The book made me ponder how our "advanced" civilization, our
"progressive" society, has made wounded, injured, invalid or
nonfunctional family members an impossible or nearly impossible burden in the
busy nuclear family or its remnants. In Nebraska several years ago legislation
was passed which was meant to save unwanted infants' lives by offering safe
haven for parents to surrender children at hospitals without penalty. Within
less than three months fourteen children were left at hospitals: seven of them
teens. Legislators and other conservatives called this irresponsible:
"they [such parents or grandparents] were tired of parenting," one
person sniffed. The truth is that severely depressed or manic or otherwise
mentally ill or disabled children are almost unmanageable by parents,
especially since almost all adults must be working to support the family. Laws
designed to protect children from abuse sometimes go so far that the guardians
are prevented from using the only recourse, physical restraints. And with the
absence of universal healthcare so that psychiatric help could be obtained and,
of course, since the complete dismantling of public psychiatric care in these
neo-con decades, the situation is desperate. If you have not witnessed
first-hand the craziness of a grandmother or a single parent trying to help
defiant and depressed, and sometimes aggressive, children, you probably cannot
imagine the circumstances. The Nebraska guardians surrendered those fourteen
children hoping that those young humans would therefore get the care they needed. Of course,
Nebraska—the last state to pass a safe haven law—quickly adjusted it to rival
the strictness of the law in other states: it now applies only to children
under thirty days old. And the discussion of the desperation that had been
uncovered was quickly silenced.<br />
<br />
I've digressed. This book will make you do that. Which is to say that it is a
compelling non-fiction examination of a largely hidden and mysterious corner of
society to those of us who don't have intimacy with the mentally retarded, the
developmentally disabled.</span></div>
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<span style="color: #181818; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><br />
It was a good book to read for the insights and information it offered.
Evaluating books is like evaluating tools. It's not just whether or not it's
"good." It's what it's good for. This won't thrill you as literature.
But you will probably be glad you read it. </span></div>
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<br /></div>
Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-64412524462591603992017-01-17T10:38:00.002-08:002017-01-17T10:38:13.722-08:00Breath, Eyes, Memory by Edwidge Danticat<!--[if !mso]>
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<span id="freeTextContainerreview1882925718">I wanted to like this book.
I am convinced that the more books published by women and by
non-European men, the more possible it will be to see the world from
multiple perspectives, and the easier it will be to discredit any claim
that "we," of course, "know the world," where WE is some monolithic
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"> I wanted to like this book. But I didn't.</span></div>
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<span style="color: #181818; font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">I couldn't interpret the characters at all. I did not understand why Sophie hated sex with her
husband; I didn't understand that what was referred to as "testing"
her virginity was experienced as, or intended as, or interpreted as sexual
abuse which caused her horror of sexuality. I didn't know until more than
halfway through the book that she supposedly was bulimic. I didn't even really
understand the overall family dynamics. I hardly understood anything about
Tante Atie when Sophie goes back to Haiti, nor about Louise and her pig. I only
belatedly perceived there was supposed to be a lesbian relationship involved,
or was there? I couldn't empathize with Sophie's fury at her mother's lover
after her mother goes berserk, as it were.<br />
<br />
In short, I didn't "get it." (I even misplaced the book for awhile—a
subconscious passive-aggressive attempt to avoid finishing it?)<br />
<br />
This is my first Danticat. I hope if I read another, I will better understand
it. I kept thinking of Junot Diaz's <u>The Brief Wondrous Life of Oscar Wao</u>, and
wishing I were reading it again instead of this one.</span></div>
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UnhideWhenUsed="true" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
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</o:shapelayout></xml><![endif]-->Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-59755433437390123092017-01-17T10:08:00.001-08:002019-04-02T14:45:59.692-07:00Books and Islands in Ojibwe Country by Louise Erdrich<!--[if !mso]>
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<br />
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<span class="MsoSubtleEmphasis"><a href="http://www.goodreads.com/book/show/195324.Books_and_Islands_in_Ojibwe_Country"><span style="color: #404040; text-decoration: none;">Books and Islands in Ojibwe Country</span></a><br />
by </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span class="MsoSubtleEmphasis"><a href="http://www.goodreads.com/author/show/9388.Louise_Erdrich"><span style="color: #404040; text-decoration: none;">Louise Erdrich</span></a> </span></div>
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<span style="mso-ignore: vglayout;"><a href="http://www.goodreads.com/user/show/1777872-juanita-rice"><img alt="1777872" border="0" height="32" src="file:///C:\Users\Juanita\AppData\Local\Temp\msohtmlclip1\02\clip_image001.png" width="32" /></a></span><span class="MsoSubtleEmphasis"></span></div>
<div class="MsoNormal" style="background: white; margin-bottom: .0001pt; margin-bottom: 0in; mso-line-height-alt: 10.5pt;">
<span class="MsoSubtleEmphasis">Feb 01, 09<span style="mso-spacerun: yes;"> </span>2 STARS</span></div>
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<br /></div>
<div class="MsoNormal" style="background: white; line-height: 13.5pt; margin-bottom: .0001pt; margin-bottom: 0in;">
<span class="MsoSubtleEmphasis">it was ok. Read in
January, 2009</span></div>
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</span></div>
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<span class="MsoSubtleEmphasis">I am a great admirer of
Louise Erdrich, so I was disappointed in this quasi-travel memoir. It read more like a
series of daily notes: a little bit about the writer, a little bit about how
enchanting she thinks her baby is, a little bit about her important lover, and
books she reads, and books she took with her, and her marvelous house, and the
death of a tree, and ancient Ojibwe rock paintings at Lake of the Woods. And so
on.<br />
<br />
I was interested in her remarks about rock paintings, and as always with
Erdrich, learned more history of the persistent, and ongoing, devastation of
the Ojibwe's cultural connection to living simply with their environment. She
speaks of the Canadian government's decision<br />
within the recent past (during the lifetime of Tobasonnakwut, Erdrich's baby's
father) to remove the Ojibwe, who "had stabilized their lives and partly
recovered from the wave of nineteenth-century invasions and diseases, from
their lives in and around Lake of the Woods and raise the water levels,
destroying their homes, their blueberry and cranberry and wildrice bogs, and
inundating many of their sacred paintings"</span></div>
<div class="MsoNormal" style="background: white; line-height: 15.75pt; margin-bottom: .0001pt; margin-bottom: 0in;">
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<span class="MsoSubtleEmphasis">As a registered Ojibwe with both
German and French blood, Erdrich lives in a present where through her blood
runs all the past--native and invader alike. She writes with great power and
imagination about all. She tells stories with refreshing unfamiliar humor
partly derived from a native tradition of earthiness and humorous survival and
appetite that reminds me of the Coyote stories of the natives of the southwest.
For examples, see her prose folk-tales about Potchikoo in <u>Original Fire:
Selected and New Poems</u>, and of course the beloved characters Nanapush and
Margaret Kashpaw in the tales that culminate in the greatest of her novels yet,
in my opinion: <u>The Last Report on the Miracles at Little No-Horse</u>.<br />
<br />
Her imagination for stories, for characters, for incidents at once tragic and
comic, romantic and lunatic, is rendered in deft language and amazing detail: "tender new labia of phlox"; "the first leaf
already, the veined tongue rigid between the thighs of the runner beans";
"two bluebirds pause on shivering wings". She brings us candid
reports and an authentic music from beyond common boundaries of contemporary
literature. She writes of young and old, men in and out of jail who are not
vicious or depraved, men and women and their children besieged by alcoholism,
by desperation. She writes of lovers who become irrationally passionate,
hungry, starved for more and more of each other, of enemies who simmer their
rancor over decades and generations. Her characters, poor, rich, broken,
blooming, male, female, native American, EuroAmerican, all have depth and
presence and purchase. None are mere figurants. She has no contempt. The only
writer I know who equally plumbs depths in every character touched is Shakespeare;
they both bestow attentive empathy on every character. They both find something
to love and something to laugh at in the heart of all humans.<br />
<br />
I read everything by Erdrich because her stories create unimagined worlds for
me, expand my sense of the depth of life in the most ordinary of us, surprise
me, delight and entertain me. And teach.<br />
<br />
Even this book teaches: of John Tanner, kidnapped by the Sioux as a child and
raised Ojibwe, a culture to which he returns; of Ernst Oberholzer a bibliophile
who passionately loved the north of the American continent, and his home on
Rainy Lake where his collection remains. Of the Ojibwe's ancient rock paintings
which I long to visit now. And of W.G.Sebald's <u>Austerlitz</u>, a book of
remembering.</span></div>
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<span class="MsoSubtleEmphasis">But <u>Books and Islands</u> disappointed.</span></div>
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Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-12171383477465297232017-01-17T09:56:00.000-08:002017-01-17T09:58:29.852-08:00<a href="https://www.goodreads.com/book/show/54208.An_Urchin_in_the_Storm" style="float: left; padding-right: 20px;"><img alt="An Urchin in the Storm: Essays about Books and Ideas" border="0" src="https://images.gr-assets.com/books/1390003905m/54208.jpg" /></a><a href="https://www.goodreads.com/book/show/54208.An_Urchin_in_the_Storm">An Urchin in the Storm: Essays about Books and Ideas</a> by <a href="https://www.goodreads.com/author/show/19109.Stephen_Jay_Gould">Stephen Jay Gould</a><br />
<br />
My rating: <a href="https://www.goodreads.com/review/show/1882848204">5 of 5 stars</a><br />
<br />
<br />
These book reviews by Stephen Jay Gould first appeared from 1963 to 1987 in <u>The New York Review of Books</u>, a doughty publication if there ever was one, but Gould manages to hold to his infinitely readable style even in the company of the sometimes somewhat grandiose pontificators there. (I mean that in the friendliest of humor for I quite enjoy <u>NYRB</u>. ) And humor, as always with Gould, is a strength in these ruminations, which use book reviewing as another point of entry to lucid and persuasive philosophical gambits. The humor is spiced with drawings by David Levine. <br />
<br />
From 19th-century attempts to find anatomical evidence of hierarchies of race and gender (which merits full and detailed examination in Gould's <u>The Mismeasure of Man</u>) to Carleton Coon's theory of separate human origins, Robert Ardrey's distortions of Australopithecus discoveries, and William Shockley's scaled "racial ratios of IQ," Gould is a kind of flawless GPS to orient the public in the foreign lands of scientific claims. Moreover in spite of accidents and arguments, passions and fashions, Gould's voice and persona retain composure. Although he admits to experiencing anger and disgust and grief at times, he keeps his wits and stands his ground. At the precise point where I become often literally speechless at what seem to me "lies, damned lies, and more lies," Gould proceeds with dignity and a lethal logic to articulate the precise sources of misrepresentations, distortions and misunderstandings. He is thus a model of patient and immovable resistance to the hysterical and antirational. What a gift to spend a couple of hours in his company.<br />
<br />
And he has, it seems, "world enough and time," at the tip of his tongue: geological history and social history, biography and biology, the arcana of Bacon, Newton, Hobbes, Descartes, Pascal and Montaigne. He can discourse on Herbert Spencer's Social Darwinism and counter it with his own expertise in Darwin verbatim, Darwin in context, and Darwin via Thomas Henry Huxley. He knows the crooks and demagogues just as intimately—concocted "IQ Experiments," the planting of forged "fossil stones" by spiteful colleagues to mislead a German Professor, and other examples of bad faith—hypothesizing about motive, but in the end understanding the human source of all scientific ideas and methods, and the implication of the human heart in interpersonal motives and social ideologies. <br />
<br />
The first two sections of the book discuss the "irreducibility of history" and contingency; one strain of argument stresses structuralist and historicist alternatives to what Gould calls "the mistaken functionalist paradigm of adaptation that still [1987] shapes Darwinian theory." His answer to the problems of social images of popular evolutionary teleology is to show how unique and unrepeatable each historic epoch and change has been; i.e., that the path of history was not laid out beforehand as a kind of inevitable "stairway to the stars," if we take the Victorian British Empire to be the major constellation in those stars, or even our illustrious selves. <br />
<br />
The third section deals explicitly and directly with the social, political and intellectual ramifications of biological determinism, with essays entitled "Genes on the Brain," "Jensen's Last Stand," and "Nurturing Nature." The books reviewed are <u>Promethean Fire</u> (by Charles L. Lumsden and Edward O. Wilson—yes, that E.O. Wilson), <u>Bias in Mental Testing</u> (by Arthur R. Jensen, yes that Jensen), and, a book he much admires, <u>Not in our Genes: Biology, Ideology, and Human Nature</u> (by R.C.Lewontin, Steven Rose, and Leon J. Kamin) respectively.<br />
<br />
Throughout, the book is Gould's plea for rationalism, lamenting "the perilous slide from our current ignorance into a glorification of the nonrational." A recurring target here, as will be true in much of his writing to come over the next dozen years, is "NeoDarwinism," an image or interpretation of Darwinian natural selection that posits a history of "progress" and "teleology," viewing the evolution of humans as if it were the only path, or even a major one, and then calls that path "progress" from lower to higher, from formlessness to complexity. Such a path, of course, would allow one to have credence in Francis Fukuyama's 1989 proposal of "The End of History." Such a version of the grand positive conqueror's history always brings to my mind the Calvin and Hobbes cartoon strip in which Calvin is gratified to realize the grand scheme of the universe, which was all "to produce me!!´ He spreads his arms to say, "Now I'm here and history is vindicated." (Watterson, 1991: <u>Scientific Progress Goes Boink!</u>)<br />
<br />
Gould's range of knowledge and interest allows him to spice this rich ideological meandering with references from Kurt Vonnegut and Dorothy Sayers to Groucho and Karl, from Gilbert & Sullivan to Gunnar Myrdal. He gives special attention to dissecting the spurious rise of the idea of a "well-known 80-20 split" between the influences of nature (inherited and ineradicable and unavoidable genetics) and nurture (education and environment)—a mythical belief that is pretty well laid to firm and not-so-gentle rest as one of many fallacies of "hereditarian" arguments for the source of complex human social behaviors. Gould deplores the continued implicit dependence on such debunked data of, for instance, the fraudulent claims of Sir Cyril Burt with which racialist "scientists" like Arthur Jensen and others pad their claims with "It has been shown..." and "Studies have revealed..." He explicitly praises the book <u>Not in our Genes</u> for going beyond the debunking of determinist claims--e.g., about IQ and various artificial measurements for determining social value and hierarchical placement--and attempting a useful model of the actual, and intricate, interactions of culture and biology. <br />
<br />
Human frailty (call it prejudice or venality) will "infect" scientific claims, data, and so-called discovery, which is not to say that there is nothing useful or valid about science, but often not what the public thinks. Just as Quantum Physicists admit that any attempt to observe, witness, record, or measure phenomenon will influence the results, there is no disconnect between observer and observed. (Which Buddhist philosophy has always posited.) When there is observation, there is presence. Human presence. Which changes "things." Stephen Jay Gould would—and did—claim that the best we can do is to put our beliefs, fears, and expectations under the microscope of our consciousness to find out where our biasses lie, and then do our best to disprove the very conclusions we like so well. If nothing else, we should communicate our social, personal and ideological position in order to at least alert the reader's caution.<br />
<br />
<br />Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-13154526725903080702015-10-17T11:21:00.000-07:002019-02-12T14:08:16.789-08:00Why Buddhism?<br />
<br />
If you like your spirituality to be a deep cosmology without superstition, and your mental health practice seasoned with logic, close observation of your own thinking, and a non-fanatical social outlook, you could do worse than studying Buddhism. Besides, there's no reason to 'give up' a theistic religion for Buddhism. If you approach the non-magical side of Buddhist practice, you can still be, as many Buddhist practitioners are, Christian, Jewish, Islamic--whatever.<br />
<br />
My own favorite commentator and translator is the Vietnamese Zen Master (and poet and artist) Thich Nhat Hanh, whom his followers fondly call "Thay," a Vietnamese term variously pronounced "Tie" or "Tay" as nationality dictates perhaps, meaning "Rabbi, Teacher, Maestro"-- that kind of title. But you can sample from perhaps hundreds of writers and lecturers and leaders. What's important, I think, is to differentiate between the psychological/philosophical practice and the religious beliefs and rituals. I know many Buddhist teachers and practitioners think that you "MUST" believe in spirits, deities, gods, demons and magical formulas and rituals. Most of all, the most common non-rational tenet is reincarnation.<br />
<br />
I can't say any of that is wrong. It's just that, to quote an apocryphal remark of the scientist LaPlace to Napoleon, "I have no need of that hypothesis." Somewhere (it's written) that when Buddha was asked by one of his students whether or not there was life after death, he responded in the same vein: his teachings were not invitations to speculate about invisible and immaterial theories. His teachings were how to practice supreme and sublime sanity. Yes, such practice can and must become, to some extent, psychedelic: i.e., we can all agree rationally that everything is connected to everything else, but when you grasp it deeply, it is said to "make you one with everything." At that point life and death are no more separate than you and the air you breathe. It is said.<br />
<br />
YOU ARE NOT YOURSELF ALONE <br />
<br />
Buddhism, overall, is a system of thought and behavior directed toward reducing suffering--suffering in and of one's self as a direct result of and cause of suffering in "the world." For if you can grasp deeply and intuitively that within-the-self and outside-the-self is a false dichotomy, you see that every action is an action in the world sum of suffering and delight. The "self" as a being delimited by the boundary of the skin then becomes an illusion. <br />
<br />
Buddhism is inherently consistent with a common First-Americans' belief that the earth is our body, its rivers our blood, its air our life. Buddhism agrees. Agrees <u>literally</u>. No single thing exists entire and to itself alone. Thay calls the realization of this mutually dependent web of being "Interbeing" as an equivalent of the more complex Buddhist phrase "Interdependent Co-Arising." "This is because that is. And vice-versa. Not just a causation through time, a causation through space. Interbeing.<br />
<br />
Louise Erdrich wrote that the Ojibwe word "Manitou" does not name a 'primitive god,' but is the reverent word for that mystery in which all things have their being. Not primitive at all, but much more comprehensive than most Christians' idea of "God."<br />
<br />
Mental health? No such thing as one person's mental state in isolation. So your path to personal 'salvation' has to be via an effort for everyone's salvation, everyone's happiness. Compassion for all, the self included. Salvation, or 'Enlightenment,' thus cannot be achieved by someone in isolation, because there really is no isolation except a delusion of separateness.<br />
<br />
NOTHING IN THE COSMOS IS PERMANENT <br />
<br />
All human suffering springs from that delusion, and its twin: the desire to make things last. To oppose death, to oppose change, to try to build up a store of things that are yours unchangingly and forever. Illusion of permanence. Illusion of separateness. When/if you read or hear about Impermanence in Buddhism and Emptiness, those words refer to the antonyms of humans' desires to make things last, and their delusion of separateness. There is no separate self. That separate self is 'empty' as a concept.<br />
<br />
So there's no contradiction between spiritual practice and social practice. Christ put it like this: "Even as you do to the least of these, so you do to me." Or, as he died, tormented by Roman guards, he said, "Forgive them. They know not what they do." They don't know that I am one with them and so they languish in ignorance and suffering.<br />
<br />
The marks of spiritual and mental health are generosity, compassion, stability, happiness and peacefulness, and stability--equanimity. These are not considered to be 'feelings' but character traits that come with deep meditation, especially on one's own thoughts. They are not virtues, as in good behavior that can affect one's value or worth. The compassionate person is more fortunate than the selfish person, but not "better." There is no hierarchy in practical Buddhism, Zen Buddhism. And maybe the hardest habit for a contemporary American to break is the habit of perceiving everything by comparison in a hierarchy: good and evil, worst and best, least and most, superior and inferior.<br />
<br />
There are degrees of freedom from suffering. That's it. So if I feel compassion for others who are suffering, it may break my heart but it will not contribute to the world's suffering. I may grieve for the destruction of the web of life through pollution, waste, greed. But I do not increase my suffering.<br />
To grieve, to know what one's pain is, is to be free of it becoming a permanent knot in my guts, anger in my mind.<br />
<br />
Of course if one holds the goal of decreasing suffering in the world, it's easy to see that compassion is a useful tool. But it is not a virtue that makes me or you better. It's not "praiseworthy" so much as it is plain good sense. In that connection I remember an episode of the "Friends" tv series in which Joey and Phoebe try to find how they can do a good deed that doesn't benefit themselves. They find it impossible. I miss Joey and Phoebe.<br />
<br />
To perceive reality with good sense, one must be capable of good sense. Good sense requires a mind that can hold focus and can separate itself from waves of mental chatter and tsunamis of emotions.<br />
To achieve a focused mind, one must train it not to chase after every whim nor wobble with every moodshift and fancy. Mind-training. Who or what can train a mind?<br />
<br />
FOCUS ON BREATH TO TRAIN YOUR MIND <br />
<br />
As in theatre training, the first available physical tool is awareness of breathing. Instead of worrying about the lines or the audience, turn your attention to the physical sensations of simple breathing. As you experience breath, the mind is given something practical to do that helps it escape nonsense. The actor may indeed experience breathing with an increased vitality. That increased vitality could become nervousness if the mind was given over to looking at it and describing it and worrying about it. But that increased vitality is mere excitation: it is the same physical sensation as preparation for receiving a football pass, as playing music, entering a stage, or focusing on deep contemplation of what the mind is.<br />
<br />
It's intense. Intensely alive, deeply alert, enlivened. It is a discovery mode.<br />
<br />
The practice of conscious attention to breath helps a person to locate 'home base,' from which they can see how the will-o'the-wisps and mirages sweep over the surface of the mind like reflections of clouds in a lake. You don't stop the clouds. You just don't obsess about them and mistake their transience for the deep inner silence of the water.<br />
<br />
Meditation can be as simple as that. Training the mind to know itself. Quieting the ideas of passion and finding the physical site of feelings. Once you can 'feel' your feeling, it can pass. You don't have to keep complaining about it to yourself. You feel your feeling, you cradle it as if it were a distressed child or whimpering puppy. And it calms down.<br />
<br />
The mind matters. More on that later.<br />
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<br />Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-45710466141723032532015-09-23T10:21:00.002-07:002019-04-02T15:29:41.727-07:00Consider the Lobster and Other Essays by David Foster Wallace<u><br /></u>Top of my lists. 340 pages of a fluid questioning intelligence that can track on many levels at once, as best seen perhaps in his review of a Dostoevsky critic, Joseph Frank, who applies simultaneously a close textual/aesthetic approach and contextual criticism. Wallace's review becomes a Dostoevskian parsing of existence at the synchronic and diachronic nexus as he peppers his text with Dostoevskian self-interrogations, e.g.: "What is 'an American'? Do we have something important in common....are there also special responsibilities that come with being an American? If so, responsibilities to whom? (p.269,Backbay Paperback 2007).<br />
<br />
Another representative foray into S. Hunter Thompson territory is Wallace's essay on the Adult Video (Porn Film) industry; its economics, its audience, its workers and its sociological implications are plotted for the reader to interpret herself <u>or</u> himself--each gender invited to arrive at separate conclusions. <br />
<br />
Essay topics range from these two to a lobster-eating festival and what it means to eat living beings (reference made to the video "Meet your Meat"), cosmic comic twists in Kafka, 9/11 as experienced in the heart of the working-class Christian Bible Belt, a long graphic exquisition on "Talk Radio."<br />
<br />
My "must-read" essay is Wallace's linguistically savvy article on rhetorical ploys in the highly political and contested field of American language, via a review of Bryan A. Garner's <u>A Dictionary of Modern American Usage</u>. This 62-page essay written in 1999 is subtitled "<u>or, POLITICS AND THE ENGLISH LANGAGE IS REDUNDANT</u>." I think it is a brilliant analysis (again, SOP) although I disagree with his condemnation of something I call "double-speak" or "institutional euphemism," and which he labels "Politically Correct English" in a mostly subconscious resentment of feminism's opposition to male prejudice in language. Yes, DFW can, and occasionally does, have his own unexamined life. However, for me to discuss the label Political Correctness as a reactionary and extremely clever label for efforts to expose politically prejudicial language would take an essay of my own, and would be to start a DFW-ish chain reaction here, an opportunity I respectfully decline. <br />
<br />
Nevertheless and notwithstanding, I think the Language essay should be required reading for all teachers at every level who, whether or not teaching English language skills is their primary purpose, judge the English usage of their students, even and maybe especially in primary grades, but certainly in secondary and post-secondary education, on a continuum from "wrong" to "right." Perhaps I say that because I hit upon a teaching strategy very much like the one Wallace himself arrived at: i.e., to acknowledge that "Standard" or "Correct" English is a specific dialect and one among many. <br />
<br />
As Wallace argues persuasively, what many educated intellectuals believe is "correct usage" is misidentified. There exists, certainly, a use of language which is accepted as correct, but it is thus accepted by a specific elite demographic segment of English speakers. The elite here includes especially professionals who will judge you in your life which includes many employment agents including interviewers who allow you or not to become a teacher or professional, and others such as judges, police, lawyers, teachers, clients, etc. For precisely that reason, it should be revealed to students as a code, one rhetorical ploy among others, a specific way to speak and write when you wish to be heard out by anyone "elite." <br />
<br />
One pedagogical advantage is that teachers can then "correct" language usage without condemning it: saying for example, "this is a Standard English error" instead of saying "this is wrong." Like David Foster Wallace, I had hit upon a teaching strategy very much like the one he outlines here. A second advantage is that one hereby exposes to clear appraisal the class structure of our society and some of the arbitrary codings that signal one's class position. "Standard Written English" is a passcode, the secret handshake for "advancing" up the ladder. This method of teaching acknowledges the ladder and may demystify social power and hierarchies.<br />
<br />
Finally, Wallace takes on in the longest of the essays (79 pages, while Talk Radio gets 69, American Usage 62, Big Red Son 47) John McCain's bid for the Presidency in 2000. I would hazard a guess that the length relates to Wallace's puzzlement in the end over how a person can be somehow heroic and enviable and yet must enter into a vast smarmy ideological cloud even to become a primary candidate for President of the US. <br />
<br />
All these essays are unified by Wallace's passionate appetites for tennis, physics, language, addiction, philosophy, entertainment, politics, rage and all the self-binds of ideology. In the end we have traversed a restless almost limitless intelligence that sees everything as clues worth turning, testing, examining from every angle with elaborate self-reflexive curiosity, catching all the double-binds, noticing his own ploys and strategies, in quest of Dillard's <u>Holy the Firm</u> that could put in perspective the field of human existence.<br />
<br />
Also a dry cut at the "Great Male Narcissists," Updike, Mailer, Roth, in "Certainly the End of Something or Other, One Would Sort Of Have to Think."<br />
<br />
A curiosity driven, we see in sad retrospect, partly by the insatiable ravening need of the afflictions of depression. Rest In Restless Peace, David Foster Wallace. We loved you.<br />
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<a href="https://www.goodreads.com/review/list/1777872-juanita-rice">View all my reviews</a>Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-14227700395082044012015-08-18T11:39:00.000-07:002019-04-02T15:47:10.005-07:00A Room of One's Own by Virginia Woolf. <br />
<br />
What a wonderful book, a classic to read again and again for the precision of Virginia Woolf's language, the inimitable way she mixes gentle humor and fiction with a serious social critique, and for the unassuming, patient research and analysis of its subject.<br />
<br />
It is a long and delicate essay about Women and Fiction (in England) cast as a fictional autobiographical epistle. Woolf's alter-ego/narrator here drolly sets her essay in the form of what English Composition 1-A used to call the "I-Search" paper. Here, however, the "I" is a pretend-character who is articulate, bemused, insightful and not afraid to say simple truths. She composes a meandering story of how she came to conclude that a woman's need for 500 pounds a year and a room of her own (then) was the most important thing to say about a topic she's been invited to "give a talk on." The topic is Women and Fiction.<br />
<br />
Woolf acknowledges that she's writing fiction, and that it doesn't matter what you call the narrator, call her any of the "Marys" from an English folksong about Mary Hamilton's death: "There was Mary Beton, and Mary Seaton, and Mary Carmichael and me." This allusion accomplishes several things. First, because the Mary Hamilton of the song was executed for gender-related reasons, seduced or used by the queen's husband/consort and consequently a perpetrator of abortion or infanticide, the fictional Woolf identifies with being a powerless woman, punished for what a man did to her. Second, Woolf finds a form for her essay that allows her to present results of research without the crushing apparatus of a work claiming to be "true" scholarship. "Lies will flow from my lips," she says, "it is for you to seek out [the] truth." Third, this "fiction" guise allows her to cite contemporary abuses and scandals, books by contemporary women that drew the wrath of powerful men.<br />
<br />
For instance, she writes about reading a new work of modern women's fiction in which closeness between women could be acknowledged:
"Chloe liked Olivia perhaps for the first time in literature. Cleopatra
did not like Octavia. And how completely <u>Antony and Cleopatra</u>
would have been altered had she done so!"<br />
<br />
How subtly she has introduced the idea that in men's books women do not like each other, and that perhaps in reality they do, or will, more often, and thus perhaps in new fiction by independent thinking women, they will.
Writing in 1928, Woolf is less theoretical although no less radical than Simone de Beauvoir would be in <u>The Second Sex</u> (1949). Her ultimate focus is the need of a woman writer for at the very least some private space of her own from which to think, and a minimal independent income. Although far from being an existentialist philosopher, Woolf is certainly not an essentialist claiming that women's writing would bring to literature a needed "womanliness," in any sense, but especially as that was commonly understood: tender or sweet, emotion-based, interested in home and appearance and babies. She thinks women who are free to write without excessive insecurity will write "differently" than what literature has been in the past. Perhaps such women, free to perceive independently of men's ideas about women, will have new perspectives, ones that she herself cannot foresee.<br />
<br />
She does not claim that women's literature will be "other" than men's literature on some essential level, but that women free from the image and influence of "the male sentence" can create something unpredictable and new. She envisions a day when occupational gender-limits are abandoned and then things will be so changed that, well, let me quote her:<br />
The nursemaid will heave coal. The shopwoman will drive an engine.<br />
All assumptions founded on the facts observed when women were the<br />
protected sex will have disappeared. . . .Anything may happen when<br />
womanhood has ceased to be a protected occupation.<br />
<br />
But until then, patronizing and prejudicial opinions would and do dominate. Mr. Oscar Browning, for instance, is cited by his biographer as complaining, after reviewing student examination papers from Girton and Newnham, the two Cambridge women's colleges, that "the best woman was intellectually the inferior of the worst man." And Mr. Greg: the "essentials of a woman's being are that they are supported by, and they minister to, men." Woolf asks specifically that the psychologists of Newnham and Girton should try to determine what effect not just the material difficulties, but also the psychological difficulties of men's attitudes-- "not indifference but hostility"—had on women's ability to write with any confidence or hope.<br />
<br />
The book begins its history of how she came to think as she does with a day when "Mary" has been invited to lunch at "Oxbridge" (Oxford/Cambridge). Before lunch she's contemplating her talk but at one point she is frantically warned off of the grass which a woman is not allowed to walk on, and the interruption makes her lose her train of thought, which especially irks her. Remembering as she passes a famous Oxbridge library that her favorite essayist, Charles Lamb, had seen a manuscript of Milton there, she recalls his reaction to seeing Milton's changes: "it shocked him to think it possible that any word in "Lycidas" could have been different from what it was." She wonders whether the emendments were for style or sense, but then, she thinks, "one would have to decide what is style and what is meaning, a question which – but here I was actually at the door." And "instantly there issued, like a guardian angel barring the way with a flutter of black gown instead of white wings, a deprecating, silvery, kindly gentleman, who regretted in a low voice as he waved me back that ladies are only admitted to the library if accompanied by a Fellow of the College or furnished with a letter of introduction."<br />
<br />
She continues, in the next paragraph: "That a famous library has been cursed by a woman is a matter of complete indifference to a famous library."<br />
<br />
It is a frustrating day, and that evening she compares the meager and rather ascetic supper at "Fernham" (a fictional name combining the two women's colleges at Cambridge, Girton and Newnham) with the sumptuous delights of the Oxbridge kitchen lunch, all of which leads her to wonder why women are and have been so poor, and what effect it has had on their development in literature, and it prompts her to a public library where her question becomes one of how sex (not sexuality, but gender ) affects writing. She finds that many men have written extensively on females, especially their inferiority and their incapacity for education.<br />
<br />
Women writers, she notes, have frequently been confronted with men's scorn. First there was Nick Greene's remark that a woman acting put him in mind of a dog dancing. Dr. Johnson repeated the phrase two hundred years later about a woman preaching. And in 1928, a Mr. Cecil Gray reproduced the famous simile about a woman composer: "Sir, a woman's composing is like a dog's walking on his hind legs. It is not done well, but you are surprised to find it done at all." Woolf convincingly and charmingly surveys the library's entries about "woman.". But she notices they are all by men, and they all treat women as a curious anthropological phenomenon. Woolf ponders this attitude from a number of viewpoints. Instead of instantly starting to fulminate, she patiently watches herself and her thoughts, and a growing proclivity to doodle on her paper at this point, making, in fact, rather uncomplimentary doodles of "the professor," as she calls her personification of all those opinion-writers.<br />
<br />
And she discovers that she is angry. Why, she asks, should all this make her angry? Well, of course, she admits, it's never pleasant being told that you are inferior. But she traces her deep anger to a different source: from encountering a sense of anger, indignation, righteousness, in "the Professor's" writing.
But that raises the question of why the estimable Professor should be angry. Here she deftly articulates the psychologically salient proposal that men's overreaction to women being their equals or independent in thought or livelihood or education is related to how hard it must be to feel superior enough to everyone else that it is possible to dictate, direct, lead, manage, conquer and subdue others, which seems to be the male prerogative.<br />
<br />
To maintain their secure superiority is, it seems, the role of woman: dependent, deferring, admiring,<br />
reassuring, comforting, but above all looking up to them. At the slightest hint that their women might cease to fulfill this magnifying mirror duty, the men—the professors and the pontificators—are edgy. And angry. "Mary" gives gentle specific examples. It is interesting that Woolf writes here about the importance of Mirrors in creating and sustaining a sense of superiority; it calls to mind the later Lacanian theories involving mirrors as being the primary wedge which divides a person from authentic whole existence into an observer and a gendered role, teaching us that you Are, only as you Are a Male or a Female, and from that early point in the journey toward maturation one is thus living a divided and inauthentic life. (I paraphrase and oversimplify Lacanian mirror theory wildly, of course.)<br />
<br />
Here she examines the effect on women's writing. First of all, she looks at how much men control not only law, institutions of learning, business, government and the like but the very sources of information and influence. She hypothesizes that a visitor to the planet taking one look at a single edition of a London newspaper could not fail to understand that the society was a patriarchy. In that paper are stories of important men, and a few graphics about unimportant women—like an actress being suspended in mid-air over Hollywood; moreover, the writers of these articles, the editors, the very owners of the papers are also men. Like Simone de Beauvoir in the fifties, she notes that one effect is that women are convinced either that they may be inferior to male writers or that at least the male appraisers who bestow such important opinions on writing will think so. Consequently they sometimes try too hard to disguise their gender by writing overmuch like they think men write. She notes that George Eliot to some extent fell prey to this temptation of the male sentence, committing "atrocities with it that beggar description." Unfortunately, she does not give us an example.<br />
<br />
Or, of course, women "dare not" write at all, or at least not publish. Again and again in the sixteenth and seventeenth centuries, women asseverated that "no woman has any business to meddle with that or any other serious business." And yet she calls attention to the poetry of Lady Winchilsea, born about 1661, lamenting indignantly the position of women. Traces of writing by Margaret of Newcastle, or Margaret Cavendish, also noble and discontent, and in rage: "Women live like Bats or Owls, labour like Beasts, and die like Worms." Dorothy Osborne, then, a contemporary who wrote expressive and sensitive letters, regretted the Duchess's writing: "Sure the poore woman is a little distracted, shee could never bee soe ridiculous else as to venture at writeing book's and in verse too, if I should not sleep this fortnight I should not come to that." And yet, Woolf points out, "what a gift that untaught and solitary girl had for the framing of a sentence, for the fashioning of a scene. . . .One could have sworn that she had the makings of a writer in her."<br />
<br />
And then Virginia Woolf turns to "a very important corner on the road": Mrs. Aphra Behn, "a woman forced by the death of her husband and some unfortunate adventures of her own to make her living by her wits. . . . She made, by working very hard, enough to live on. The importance of that fact outweighs anything that she actually wrote. . . for here begins the freedom of the mind." Woolf suggests that this historical moment might be a fit subject for a student at Girton or Newnham, perhaps, especially how shocking Mrs. Behn's life seems to have been, bring into question "the value that men set upon women's chastity and its effect upon their education."<br />
<br />
She notes: "Thus, towards the end of the eighteenth century a change came about
which, if I were rewriting history, I should describe more fully and
think of greater importance than the Crusades or the Wars of the Roses.
The middle-class woman began to write."<br />
<br />
[<i>Actually, I place Aphra Behn at the end of the seventeenth century, during the period generally called the Restoration, when women, including Mrs. Behn, also began to act on the English stage for the first time. Women had long appeared in French theatre, and it will be remembered that the English monarchy took refuge in France during the period of the Puritan-dominated Commonwealth. When James II returned in triumph to the English throne he brought with him a thoroughly Francophone culture. ed</i>.])<br />
<br />
In <u>The Rise of the Novel</u> (1955) Ian Watt observes that the very inception of the English novel coincides with this amazing development in England: women of the middle class were beginning to have more leisure time generally and they provided England with its most voracious class of readers and coincidentally women of the middle class were also beginning to turn to writing. Not just the intrepid Fanny Burney, but hundreds of women wrote novels in the late eighteenth and the early nineteenth centuries. In fact, perhaps the majority of novels written in the 1700s were written by women.<br />
<br />
In Woolf's perceptive examination of Jane Austen, Charlotte and Emily Bronte, and George Eliot, the four main British women writers of the nineteenth century, she selects a passage from <u>Jane Eyre</u> by Charlotte Bronte. The passage describes Jane Eyre's suppressed feelings of being caged, limited, denied scope, as she stands on the roof looking longingly out over the horizon of countryside. Or perhaps, Woolf notes, these are not the feelings of Jane Eyre imagined, but the feelings of Charlotte Bronte recorded. For the passage sticks out uncomfortably from the surrounding fiction. Its bitter complaining tone ends abruptly, too abruptly, with Jane noticing the "laughter of Grace Poole." (The original <u>Madwoman In the Attic</u>; see Gilbert and Gubar.) Woolf's conclusion is that Charlotte Bronte's work was marred by the discontent she herself felt which intruded into and marred the writing.
Jane Austen, she says, and even Emily Bronte perhaps were able to find a placid acceptance of their circumstances, but such complacency is rare.<br />
<br />
Woolf, or rather, "Mary" retails how bitter and insecure and harassed she herself had been before an<br />
aunt left her a bequest that freed her from the exhaustion and the worry of finding work to support herself. Even worse was the grief at how her time and energy thus were diverted from exercise of the gift that she felt within herself. She quotes Milton's plaint about the wasting of "that gift which it is death to hide." After the bequest, "Mary" makes the discovery that with a bare survival subsidy she begins to recover the dignity which allows her to think for herself, without fear or bitterness or anger, and which may in time let her write freely.<br />
<br />
The great beauty of Woolf's book is its research into the actual circumstances surrounding women, especially in English history, tracing the tragic obstruction of women's ability to know, to study, to find out anything about their "mothers" in history, and/or to communicate freely. ." She comments on the ironic dysjunction between the heroic and empassioned characters of women in drama and women's actual lives---noting that for instance in the seventeenth century, in reality, as a "Professor Trevelyan points out, she [woman] was locked up, beaten, and thrown about the room."<br />
<br />
It is here that Woolf writes her famous remarks on what would have been the fate of Shakespeare's gifted sister, had he had one: "who shall measure the heat and violence of the poet's heart when caught and tangled in a woman's body?" She observes that history teaches us that "genius is not born among labouring, uneducated, servile people." And, she continues, "It is not born today among the working classes." But, she demurs: "Yet genius of a sort must have existed among women as it must have existed among the working classes." But what a fate it would have been in Shakespeare's era: "Had she survived, whatever she had written would have been twisted and deformed, issuing from a strained and morbid imagination."<br />
<br />
SOJOURNER TRUTH<br />
In the latter twentieth century, to U.S. feminists, and to "womanists" specifically, Woolf's view of women here, however, revealed itself as limited to the middle and upper classes, the "genteel" classes. And that criticism is certainly warranted. Virginia Woolf was the daughter of respected scholar Leslie Stephens, in a relatively privileged and narrow social circle. She is not alone in being an artist with a blind spot when it comes to class and ethnic hierarchies. Sojourner Truth at a (U.S. Women's Suffrage meeting in 1849 (or 1851) proudly defied the same exclusive preoccupation with women needing male protection: "That man over there says that women need to be helped into carriages, and lifted over ditches, and to have the best place everywhere. Nobody ever helps me into carriages, or over mud-puddles, or gives me any best place! And ain't I a woman?" The protected sex, indeed!<br />
<br />
In a 1983 publication, <u>In Search of Our Mother's Gardens: Womanist Prose</u>, Alice Walker commented on the impossibility of Woolf's solutions for many, especially underprivileged, women of color. What, Walker asks, then of poets like Phyllis Wheatley, a black slave, not even owning herself let alone a bequest and a room "with lock and key"?<br />
<br />
Moreover, post-colonial awareness highlights the source of the great equalizer in Woolf's book: her bequest comes from, -- but here's the passage: "My aunt, Mary Beton, I must tell you, died by a fall from her horse when she was riding out to take the air in Bombay." In Bombay. On her horse in Bombay. Out in one of the Colonies, out where England was engaged in siphoning off the wealth of the 'brown' people of the East as well as of Africa, with which to provide young Mary Beton in London an income that would obviate the necessity of work and deprivation and insecurity.<br />
<br />
On the other hand, Woolf backs up her position that women writers will probably come first from the middle classes, and certainly Woolf is right about the need for the "space" in which writing can be generated. It would be healthy to acknowledge how powerful has been the correlation between being independently wealthy and being a writer, whether of poetry or fiction. She herself allows that "you may object that in all this I have made too much of the importance of material things." You "may say that the mind should rise above such things." She then quotes Sir Arthur Quiller-Couch to the contrary, and I will repeat an abbreviated version here:<br />
<br />
<i>"What are the great poetical names of the last hundred years or so? Coleridge, Wordsworth, Byron, Shelley, Landor, Keats, Tennyson, Morris, Rossetti, Swinburne—we may stop there.
Of these, all but Keats, Browning, Rossetti were University men; and
of these three, Keats, who died young. . . was the only one not fairly
well-to-do. It may seem a brutal thing to say, and it is a sad thing to
say: but, as a matter of hard fact, the theory that poetical genius bloweth
where it listeth, and equally in poor and rich, holds little truth. As
a matter of hard fact, nine out of those twelve were University men:
which means that somehow or other they procured the means to get
the best education England can give. . . . These are dreadful facts, but
let us face them. It is – however dishonouring to us as a nation — certain
that, by some fault in our commonwealth, the poor poet has not in these
day a dog's chance. . . .Believe me – and I have spent a great part of
ten years in watching some three hundred and twenty elementary schools —
we may prate of democracy, but actually, a poor child in England has
little more hope than had the son of an Athenian slave to be emancipated
into that intellectual freedom of which great writings are born."</i><br />
(Quiller-Couch, <u>The Art of Writing</u>)<br />
<br />
And I would add, too, that when that wealth is dependent on social inequities, like the Colonial wealth that flowed into England so consistently for more than four hundred years (1500-1950 for the bald colonial empire specifically), that which is expressed will benignly overlook that injustice itself. Woolf is so thoughtful that one has to be surprised she could pose the prospect of a bequest from an aunt "out riding in Bombay" without at least an ironic comment on the relationship of the colonies to the commonwealth, but that is how material interests obscure our insight. For she is addressing her talk to young women who are already "at college," and hardly acknowledging the class privileges that got them there, let alone the relationship of "Fiction" to the women of color of England's widespread empire.<br />
<br />
Today most well-known well-published poets are still "university" educated; moreover, most of them teach poetry in universities. Are they willing to look social inequities in the face seriously? Do their poems and essays address the great injustice that keeps many longing young people out of college, and bankrupts others who manage to get there by means of loans? No. Look at the general tenor of what is publishable today and you will find it mostly apolitical. There come periods when the energy of the lower classes, the exploited and socially devalued, pushes up hard against moribund hierarchies, and then the literature, the art, the music and theatre and dance begin to speak of, and from, the lower social strata. But usually: not.<br />
<br />
Walker's example of a "great" poet who had none of the material or educational advantages unfortunately fails; Phyllis Wheatley was amazing for her time and place. But the impossibility then of thinking and writing rebelliously stifled what must have been an enormous innate ability. Wheatley's poetry expresses an 'approved' theme in which there is no injustice, no race, no poverty, no cruelty. Importantly, Alice Walker did also acknowledge the common ground between Woolf's vision of women writers and her own womanist search. That common ground was the acknowledgment of the need for some kind of space—-psychological, financial, educational. For Walker it was a search for the fecundity of our mothers' gardens. In our misogynistic and cruel social age, genuine matriarchal fecundity is often a psychological luxury.
<u>A Room of One's Own</u> is a delightful semi-fictional musing about non-fictional social history which makes the reading so pleasant and palatable that one hardly knows one is being profoundly educated.<br />
<br />
<blockquote class="tr_bq">
"Who's Afraid of Virginia Woolf?" indeed.
</blockquote>
Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-51709125971728689612015-08-02T06:51:00.001-07:002015-08-02T06:52:59.306-07:00The House of Mirth by Edith Wharton; a Review.<!--[if gte mso 9]><xml>
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<div class="MsoListBullet" style="margin-left: 0in; mso-list: none; tab-stops: .5in; text-indent: 0in;">
Edith Wharton: the name seemed familiar.<span style="mso-spacerun: yes;"> </span>I was browsing in a bargain book bin at a
used book store.<span style="mso-spacerun: yes;"> </span>Edith Wharton.<span style="mso-spacerun: yes;"> </span>As I dredged up some fragments from the
memory-stew, out came <u>Ethan Frome</u>. We read it in high school English
class.<span style="mso-spacerun: yes;"> </span>And then I snatched at another
floating wisp:<span style="mso-spacerun: yes;"> </span>an <u></u>of Julie Harris
in the movie.<span style="mso-spacerun: yes;"> </span>That's all I really knew
about Wharton, and it's probably more than many people do. So I picked this up,
on a whim, to know more about women novelists of the past. Once I began
reading, I couldn't put the book down.<span style="mso-spacerun: yes;">
</span>And this novel is supposedly "inferior" to her later major
works such as <u>Ethan Frome</u> which I suspect is read in high school because
it is short and because it "teaches" that any girl who fools around
with a married man, even just sled-riding, is going to be very very sorry. I
think of Dylan Thomas and "useless" Christmas gifts: <span style="mso-spacerun: yes;"> </span>"books about boys who were warned not to
skate on Farmer Giles's pond, and did, and drowned."</div>
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<span style="mso-spacerun: yes;"> </span>Edith Wharton was one of
the few women novelists to win a Pulitzer Prize in the early twentieth century:
hers was for <u>The Age of Innocence</u> in 1920. She was elected to the American Academy of Arts and Letters in
1930.<span style="mso-spacerun: yes;"> </span>To my mind she excels any other
woman novelist until the 1960s.<span style="mso-spacerun: yes;"> </span>She is comparable
to Henry James in faultless style and vivid situations, and better than him to
my mind, although much less well-known.<span style="mso-spacerun: yes;"> </span>Gore
Vidal was of this opinion:<span style="mso-spacerun: yes;"> </span></div>
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Traditionally Henry James has always been placed slightly
higher up the slope of Mount Parnassus than Edith Wharton. But now that the
prejudice against the female writer is on the wane, they look to be exactly
what they are: giants, equals, the tutelary and benign gods of our American
literature.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
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Edith Jones Wharton was born into the upper class New York society
she so dispassionately dissects in <u>The House of Mirth</u>, and she knows all
the tiny markers of prestige, the subtlety of tone or gaze that indicates the
rise or fall of someone's stocks in the social market.<span style="mso-spacerun: yes;"> </span>She understands the eccentricities that
differentiate individuals while seeing clearly that, on the other hand, the
apparent idiosyncracies and distinctions are only tiny markers in a conformist
herd. The actors ascribe almost instinctively to a rigid and pretentious code that
remains unspoken while they frequently and gaily declare their opposition to
it, thinking themselves daring, free and spontaneous. Oh, yes. <span style="mso-spacerun: yes;"> </span>So open, unstuffy, gregarious, free of
judgment they are in their frivolities.<span style="mso-spacerun: yes;">
</span>So ready to spring open trapdoors under another's feet.<span style="mso-spacerun: yes;"> </span>So coldly calculating each other's relative
currencies.<span style="mso-spacerun: yes;"> </span>So careful to obey the
subtle strictures.</div>
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<u>The House of Mirth</u>, 1906, was not Edith Wharton's first
publication by any means but it was the first to establish her as both a
serious novelist and a popular one.<span style="mso-spacerun: yes;"> </span>In
many ways this could be a companion piece to Balzac's <u>Père Goriot</u>, but
written about a young woman in a position comparable to that of Balzac's young
law student who tries to go "into society." And the two
enviable-seeming daughters of Old Father Goriot whose dashing lives are so
perilously close to disaster. <span style="mso-spacerun: yes;"> </span>In
Wharton's novel Lily Bart is, in a way, already "in" society; she was
born to a life of spending and making life decorative in social
circulation.<span style="mso-spacerun: yes;"> </span>But her father lost his
fortune, and both parents died.</div>
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The advent of Lily's sudden fall dramatizes her naïve incomprehension
of "expense."<span style="mso-spacerun: yes;"> </span>As her father
approaches a luncheon table, the young Lily appeals to him to please furnish
the house with better fresh flowers, lily-of-the-valley, she thinks. He laughs
in an odd way which causes Lily's mother instantly to dismiss the butler.<span style="mso-spacerun: yes;"> </span>"Are you ill?" she says cuttingly.
"Ill?—No,
I'm ruined," he answers. </div>
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For two years after his death, which followed hard on the
bankruptcy, Lily's mother keeps herself and her daughter anxiously on the edges
of society while she prepares Lily to use her extraordinary beauty as "the
raw material of conquest."<span style="mso-spacerun: yes;">
</span>Wharton's shows keen insight into the self-delusion inculcated by the
idea of personal beauty as a distinctive value, and of "good taste"
as a virtue.<span style="mso-spacerun: yes;"> </span>Lily comes to see herself
as having an innate superiority, unable as she is, like most of us actually, to
understand that social advantages do not bestow moral rights:</div>
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<span style="mso-tab-count: 1;"> </span>[Lily] liked
to think of her beauty as a power for good, as giving her </div>
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<span style="mso-tab-count: 1;"> </span>the opportunity
to attain a position where she should make her influence </div>
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<span style="mso-tab-count: 1;"> </span>felt in the
vague diffusion of refinement and good taste.<span style="mso-spacerun: yes;">
</span>.<span style="mso-spacerun: yes;"> </span>.<span style="mso-spacerun: yes;"> </span>. she could not </div>
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<span style="mso-tab-count: 1;"> </span>help thinking
that the possession of such tastes ennobled her desire for </div>
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<span style="mso-tab-count: 1;"> </span>worldly
advantages.</div>
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After both parents' death, Lily is taken in reluctantly by a
stuffy widowed aunt who understands the need for a woman to "dress,"
and at least pays for Lily's clothes, allowing Lily stay beautifully costumed <span style="mso-spacerun: yes;"> </span>although always in debt because she wants more
and genuinely sees no reason she should not have everything she desires.<span style="mso-spacerun: yes;"> </span>We meet her when she is twenty-nine.<span style="mso-spacerun: yes;"> </span>She has been courted by many but she is still
unmarried.<span style="mso-spacerun: yes;"> </span>Most men bore her.<span style="mso-spacerun: yes;"> </span>Why should she give up her pleasant
life?<span style="mso-spacerun: yes;"> </span>She is so popular, so charming, so
decorative, that women vie to have her for their weekends, their seasons, their parties. And that means gifts from
her hostesses:<span style="mso-spacerun: yes;"> </span>sometimes dresses,
sometimes cash.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Lily makes her way by means of these parties
and gifts. </div>
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She knows, however, that she is at the age when she must marry
or lose the status of "charming girl" and become "spinster."<span style="mso-spacerun: yes;"> </span>She identifies a good candidate:<span style="mso-spacerun: yes;"> </span>a young man <span style="mso-spacerun: yes;"> </span></div>
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fabulously wealthy but almost pathologically shy.<span style="mso-spacerun: yes;"> </span>Just then, however, another complication presses
upon her.<span style="mso-spacerun: yes;"> </span>Her main benefactor Judy
Trenor has taken up hosting bridge parties, and Lily is expected to play cards.
For money. It is understood that at parties, her role is to "help" Judy,
whether that means the tediousness of writing out notes and cards for her, or the
task of charming guests who might be sticky or stodgy.<span style="mso-spacerun: yes;"> </span>Or appearing as a lively entertaining figure at
the card tables. <span style="mso-spacerun: yes;"> </span>And the wealthy play
for rather large stakes.<span style="mso-spacerun: yes;"> </span>When Lily wins,
she is delighted and she spends.<span style="mso-spacerun: yes;"> </span>When
she loses, however, difficulties arise.<span style="mso-spacerun: yes;">
</span>No one must know how utterly destitute she really is. And the young man
she thinks she must marry would be shocked to know she owes money for
"gambling debts." <span style="mso-spacerun: yes;"> </span></div>
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The final complication is that there is one man who does not
bore her, an attorney, Lawrence Selden. He has adequate family status to be
seen at occasional parties but he has no money to speak of.<span style="mso-spacerun: yes;"> </span>She likes him but he is ineligible as a
husband.<span style="mso-spacerun: yes;"> </span>He doesn't have enough money or
social clout.<span style="mso-spacerun: yes;"> </span>Just as Lily had to have
better fresh flowers at home she needs a better fortune for the life she is
trained for.<span style="mso-spacerun: yes;"> </span>He is just attractive
enough, however, that spending time with him compromises her dedication to taking
a rich husband. </div>
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One of Wharton's gifts is to make the reader admire the grit
and cleverness with which Lily maneuvers in this artificial society and
simultaneously to see the fatuous vanity of it as well as its
heartlessness.<span style="mso-spacerun: yes;"> </span>Wharton doesn't make Lily
an innocent victimized by cruelty; Lily is an adept: she knows what she is
doing.<span style="mso-spacerun: yes;"> </span>But she is also spoiled by her<span style="mso-spacerun: yes;"> </span>success managing people, and she is
impulsive, drawn to instant gratifications. The novel begins with such an
impulse:<span style="mso-spacerun: yes;"> </span>to have tea with Lawrence
Selden when she is stranded in a hot train station waiting for a late
train.<span style="mso-spacerun: yes;"> </span>There is always a mild flirtation
between them, with something more serious just under the surface, and when he
invites her to take tea with him in his hotel lodgings she yields to the
impulse.<span style="mso-spacerun: yes;"> </span>As she leaves afterward, she
realizes how it may look—a single woman going to a man's hotel rooms, and it gives
her a momentary disquiet. To her dismay she is seen by a man who moves somewhat
in her circles but it is someone she finds loathsome. She knows she could give
him a charming smile and a bright word that would effectively put him "on
her side," so he does not speak maliciously about her leaving Selden's
apartment). But she disdains to do so.</div>
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Lily is not above resentment that she cannot have both her
freedom from financial worries and complete freedom from bores. She chafes
under her obligations to always be careful, adroit, winsome, guarded: </div>
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<span style="mso-tab-count: 1;"> </span>Why must a
girl pay so dearly for her least escape from routine?<span style="mso-spacerun: yes;"> </span>Why </div>
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<span style="mso-tab-count: 1;"> </span>could one
never do a natural thing without having to screen it behind a </div>
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<span style="mso-tab-count: 1;"> </span>structure of
artifice? She had yielded to a passing impulse in going to </div>
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<span style="mso-tab-count: 1;"> </span>Lawrence
Selden's rooms, and it was so seldom that she could allow herself</div>
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<span style="mso-tab-count: 1;"> </span>the luxury of
an impulse! <span style="mso-spacerun: yes;"> </span>This one, at any rate, was
going to cost her rather </div>
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<span style="mso-tab-count: 1;"> </span>more than she
could afford.</div>
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<br /></div>
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Thus Wharton casts a somber shadow over these three characters:<span style="mso-spacerun: yes;"> </span>Lily, Selden, and Sim Rosedale. </div>
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For Wharton is not Louisa May Alcott: she builds a careful case
to convince us of the complete unlikelihood of Lily Bart freeing herself.<span style="mso-spacerun: yes;"> </span>Anyone who has read <u>Ethan Frome</u> knows
that Edith Wharton is not going to supply artificial happy endings even if a
situation is intolerable;<span style="mso-spacerun: yes;"> </span>people are
what they are in her fictions and there is no divine rescue,<span style="mso-spacerun: yes;"> </span>no poetic justice, no fairy godmother.<span style="mso-spacerun: yes;"> </span>Lily herself knows her own weaknesses: the
idea of setting herself up independently to earn her own way is laughably
unrealistic.<span style="mso-spacerun: yes;"> </span>No life seems to her more
dreadful than that of the few single women she knows who live by their own work
in ugly little rooms with dismal clothing and no parties, no thrillingly
beautiful people, no excitement.<span style="mso-spacerun: yes;"> </span>She
knows herself incapable of making that choice. </div>
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Wharton's most admirable quality is the patience, the detail,
the fulsomeness with which she constructs the plot for both believability and
empathy, in which she details each step in the inexorable descent, and with
which she allows the coils she has laid out to slowly close around Lily. </div>
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Mentioning Sim Rosedale, however, brings up one aspect of the
book that stings.<span style="mso-spacerun: yes;"> </span>Or stinks.<span style="mso-spacerun: yes;"> </span>How does an author go about casting the
villains in a plot? One method, unfortunately, is to choose the outsider,
someone who doesn't really "belong."<span style="mso-spacerun: yes;">
</span>As if there is in social exclusion a wise intuition of moral
inferiority.<span style="mso-spacerun: yes;"> </span>In British and American
literature and drama, the "dark" character is always to be
mistrusted. Today (I hope) the educated reader finds this racist tactic flimsy
and objectionable, an offensive reminder of how culturally promoted prejudices
can fasten themselves on even the most intelligent of persons.<span style="mso-spacerun: yes;"> </span>Sim Rosedale is one such character. And his
darkness is, or seems to be, Jewish;
Wharton describes him as fabulously successful on Wall Street(!) and doggedly
determined to rise in society, although he does not come from
"people."<span style="mso-spacerun: yes;"> </span>Social aversions to Rosedale
(think Rosen, Rosenbaum, etc.) are never stated
flatly in terms of anti-Semitism. He is a "nouveau riche" in a
setting with long traditions about restricting who is acceptable to the
"good families."<span style="mso-spacerun: yes;"> </span>Any
"nouveau" or "nobody" is avoided in this world. <span style="mso-spacerun: yes;"> </span>Nevertheless Wharton depends on us to
sympathize with Lily's special repugnance by describing Rosedale
in terms of "the instincts of his race," and "the tradition of
his blood," for instance.<span style="mso-spacerun: yes;"> </span>Wharton
may have empathy for others excluded from the elite air, but not for Rosedale. </div>
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<div class="MsoListBullet" style="margin-left: 0in; mso-list: none; tab-stops: .5in; text-indent: 0in;">
She also employs racist associations to describe a woman of
disrepute, in ways that I suppose are meant to be telling to the reader.<span style="mso-spacerun: yes;"> </span>But the particular references have fallen
from use now, so that I was completely mystified by what she was referring to
as "ladies of her nationality,"<span style="mso-spacerun: yes;">
</span>"the ideal of their race," and<span style="mso-spacerun: yes;">
</span>"Oriental indolence and disorder."<span style="mso-spacerun: yes;"> </span>And we are expected to understand that
"Oriental" does not here refer to a nationality but to decadence and
sensuousness, characteristics Western Colonialist prejudice assigned to those
'Others' as justification for needing to civilize them (needless to say the
task was accomplished by invasion, aggression and oppression). </div>
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In the 1999 edition I had purchased, there is a prefatory
essay, "Mrs. Wharton in New York," by Elizabeth Hardwick, an extract <u>Sight
Reading</u>(1998), that glosses over the ugly tracks of racism in Wharton as merely
"[i]n the practice of the period."<span style="mso-spacerun: yes;">
</span>Hardwick finds predatory Gus Trenor (husband of Lily's friend Judy) merely
"realistic" when he is only a nudge away from an attempted rape.<span style="mso-spacerun: yes;"> </span>But she describes Rosedale as "a crafty
usurper" because in the end he turns down marriage with Lily when she has
become a social liability, even though he never does anything particularly unkind
or rude to Lily, or to anyone else that we know of. Besides, the premise of the
whole book is that almost everyone in elite society is craftily
"usurping" social position. Hardwick does acknowledge that there is
something objectionable in the characterization of Rosedale, but ascribes it to
an innocuous "practice of the period." I am surprised at a woman of
Hardwick's stature continuing "in the practice of the period" in her
own prejudices in 1998, and failing to identify that practice as racist and
anti-Semitic. </div>
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All in all, however, <u>The House of Mirth</u> was a great
book.<span style="mso-spacerun: yes;"> </span>I was swept up in the story, and I
found myself in tears for many pages leading to the ending.<span style="mso-spacerun: yes;"> </span>Perhaps a reason for my special
susceptibility was that I could identify with Lily's predicament.<span style="mso-spacerun: yes;"> </span>When I was a girl, women still had to
"take care" around men. You had to accept and pass off with smiling
grace their crude suggestions, dirty little insinuations, and outright sexual aggressions.<span style="mso-spacerun: yes;"> </span>I was in my thirties before I was finally
willing to risk a man's hostility, at last becoming more comfortable with
insults and anger than with being a willing, smiling, victim. </div>
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<br /></div>
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Moreover, in my twenties I honestly did not know what to do
with my life so I understand much of Lily's dilemma. I was not trained to
envision myself in a career, and I was not prepared for one. <span style="mso-spacerun: yes;"> </span>When I turned thirty, however, I had an
epiphany which Lily did not. <span style="mso-spacerun: yes;"> </span>I realized
my "girlhood" was gone, but in its place I found my adult competence
and my assumption of competence I owed to the tide of<span style="mso-spacerun: yes;"> </span>the Women's Liberation movement which swept
me up in its power. It was far less exciting than a vision of myself as being
"attractive" to men.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>But I enrolled in graduate school, even though
I had to temporarily support myself with office work. (Which I loathed because
of the necessity to "dress the part," one more artificial demand for
being 'attractive.')<span style="mso-spacerun: yes;"> </span>I look back now, at
that moment and think how easily it might not have been.<span style="mso-spacerun: yes;"> </span>How easily any young woman who is attractive
and successful at girlhood charm might not in other circumstances, find
independence and authenticity. I work with such girls every week, as a volunteer
mentoring girls in juvenile detention. They are not raised to luxury, but they
are raised in a media culture of parties, sexiness, and fashionable
self-display. They are not all beautiful but they are all young flesh and they
can make that to work for them at least some of the time. It's a revolving
door; they get addicted to parties and drugs, they get strung out and used by
men, they are arrested and go into detention, they are rehabbed, educated,
psychologized, medicated, but they come out into the same world they left.<span style="mso-spacerun: yes;"> </span>Like the stereotypical pretty small-town girl
of thirties and forties fiction, they dream of "Celebrity" the way
those girls envisioned "Hollywood."<span style="mso-spacerun: yes;">
</span>They want to become famous and glamorous, or at least to feel like
it.<span style="mso-spacerun: yes;"> </span>Yes, like Lily, young women can
still "fall from grace."</div>
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<div class="MsoNormal">
Lily Bart never betrays her inner
sense of decency or dignity.<span style="mso-spacerun: yes;">
</span>She doesn't stoop to blackmail.<span style="mso-spacerun: yes;">
</span>She doesn't stoop to selling her body or sexuality.<span style="mso-spacerun: yes;"> </span>She doesn't intentionally hurt anyone.<span style="mso-spacerun: yes;"> </span>And she doesn't waste her spirit in hatred, revenge, or blame.<span style="mso-spacerun: yes;"> </span>She just tires out. And in her circumstances,
she hits a wall.<span style="mso-spacerun: yes;"> </span>In her circumstances I
could have. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A marvelous book.</div>
<div class="MsoNormal">
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Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-21707277470449646082015-07-30T07:06:00.001-07:002015-07-30T07:06:32.618-07:00The Lying Stones of Marrakech: Penultimate Reflections in Natural History by Stephen Jay GouldPublished in 2000, this collection of essays from <u>Natural History Magazine</u> is subtitled <u>Penultimate Reflections in Natural History</u> because the "millennial issue" of January 2001 was to carry the 300th in an unbroken series of Gould's monthly columns since 1973, which would be the last. His "Preface" doesn't say why he was ending the series. Like John Lennon at 30 observing that he had, "goddess willing, a good 40 years of productivity yet," Gould had good reason to expect ample years for more writing and research in Paleontology and Evolutionary Biology, unless he knew then that a swift malignant cancer would soon snuff out his light in 2002.<br />
<br />
However it was, the brightness of Gould's searching brain here assays the very foundations of science (especially paleontolgy and "evolution")and its nemesis, Social Ideologies founded on distortions and prejudice. He investigates the difference between questions which can or cannot be asked of science, the crucial difference between valid scientific methods and theories which are often demonstrated to be mistaken or misinterpreted, on the one hand, and fraudulent evidence, invalid methods and inappropriate topics like God's existence, whose religion is 'right,' and which human beings are 'more valuable' or 'more evolved' than others. It is in his probing analysis of the devastating effects of the latter that his light is most valuable.<br />
<br />
Let us take Darwin's theory of "descent with modification" as a scientific thesis, and the fulminations of that "chief Victorian pundit of nearly everything "(as Gould calls him) Herbert Spencer, so-called philosopher when he should more rightly be called apologist to Capitalism "bloody in tooth and claw." Spencer took Darwin's findings and turned them on their heads: he devised the slogan "survival of the fittest" to mean that evolution is the history of Progress, and thus the struggle for existence is purification; Thomas Huxley called his theory the "gladiatorial" school of evolution. As many historians have noted, this theory should really be called "social Spencerism." <br />
<br />
Specifically, Spencer called for an end to all state-supported services--education, postal services, regulation of housing, even public sanitary systems. He thought that any social intervention in suffering is counterproductive because it promotes the "vitiation of the race through the multiplication of its inferior samples." Charities and philanthropists he calls "pauper's friends" who "defeat the sharp...spur to the lazy and so strong a bridle to the random." <br />
<br />
Does his program sound familiar in 2011? Andrew Carnegie who had been troubled by a devout Christian conscience was vastly relieved that Spencer "reconciled God and capitalist society"; Carnegie had worried about the suffering of the poor, but now "I got rid of theology" and realized that "All is well since all grows better." He acknowledged that "while it may be sometimes hard for the individual, it is best for the race" and concluded that we should welcome the "great inequality of environment, the concentration of wealth...in the hands of a few" because it was "essential for the future."<br />
<br />
Gould studies the interweaving of such social ideology with political slogans such as those that justified the Triangle Shirtwaist Fire tragedy of 1911 when the horrifying spectacle of human beings leaping from the upperstories of the Trade Center buildings to escape fire in 2001 was prefigured in the deaths of all 50 young women who were forced to jump from the 8th through 10th floors of the Asch building because all safety exits had been blocked. Another 110 women perished in the fire. <br />
<br />
This fascinating and important lesson in the ideology we could call today neo-conservatism is only a fraction of the assets of this important book. Highly, highly recommended. <br />
<br />
<a href="https://www.goodreads.com/review/list/1777872-juanita-rice">View all my reviews</a>Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-26061016941546291232015-07-13T12:28:00.003-07:002022-07-31T08:42:19.413-07:00Not Like Other Girls by Rosa N. Carey; a review.<!--[if gte mso 9]><xml>
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<![endif]-->I happened to read <u>Not Like Other Girls</u> only because
it was among some old books I brought home after my mother's death a few years
ago.<span style="mso-spacerun: yes;"> </span>It was in poor condition and missing
any publication data, so I didn't know what period it represented. I was
surprised as I read the first fifty pages or so to realize how firmly set it
was in a past very far from my usual reading preferences. According to an internet
search, it <span style="mso-spacerun: yes;"> </span>was first published in 1884
and is one of the best-known of some forty novels by Rosa Nouchette Carey (1840-1909)
a popular Victorian novelist. "Best-known", however, is a relative
description: few contemporary readers know anything about Rosa Carey. And it
takes a special interest to read something like this out of curiosity--to see,
that is, what it meant to be a popular Victorian woman novelist.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Well, Victorian or no, I loved this book, despite the fact
that my favorites are generally contemporary, postmodern, and--well--anything
this book is not.<span style="mso-spacerun: yes;"> </span>I have lately explored
some older writing, for the sake of learning about historical values: George
Eliot, Edith Wharton, Wilkie Collins, Balzac.<span style="mso-spacerun: yes;">
</span>The essential difference among these five is that Balzac, Eliot, and Wharton
saw social hierarchies as cruel and tragic; Collins and Carey accept a more
stratified society as inevitable and natural, and see its dysfunctions as
accidental and correctable. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This is a representative Victorian story, reflecting genteel
English characters whose lives are ruled by money and class, but Carey is
surprisingly moderate, or sensible perhaps, in her views, and often amusingly
critical of the rules governing women's propriety. The plot's dilemma is a
problem of losing and attaining caste (and money, of course) but the characters
are complex and caught between acceptance of how things are and a basic refusal
to be ruled by 'society'<span style="mso-spacerun: yes;"> </span>against their
own needs. Since the author shows a partiality to the healthy and 'natural'
impulses of youth, even in women, and moreover because in the end no one is
shown to be particularly malicious or helpless, <u>Not Like Other Girls</u>
belongs, I think, in the comic genre.<span style="mso-spacerun: yes;">
</span>And this partly explains its appeal<b style="mso-bidi-font-weight: normal;">.<span style="mso-spacerun: yes;"> </span></b>Besides, a woman who writes forty
published novels in her life is not exactly a 'proper' Victorian gentlewoman. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Carey is what I would call fatuously Victorian only in a
susceptibility to mother-worship: although she sees and limns the faults in
mothers in this book, she is surprisingly acquiescent to the idea that,
although mothers may err, their children do worse when they resent it. <span style="mso-spacerun: yes;"> </span>In the end, however, although she <span style="mso-spacerun: yes;"> </span>may think the caste system harsh and unduly
punitive, she also accepts its basic structure unquestionably. No one in this
book will live happily ever after without servants and comfortable wealth.<span style="mso-spacerun: yes;"> </span>They may threaten to, for the sake of love or
for more practical reasons of necessity, but the book cannot end happily with
Dick and Nan living without the blessing of Dick's hefty inheritance. Carey
doesn't let herself imagine what would happen if needed money had not shown up.
<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">PLOT, CHARACTERS,
DILEMMAS</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Three daughters--Nan is twenty, Phillis is about nineteen,
and Dulce eighteen--lead an idyllic life in an English country neighborhood
with their widowed and semi-invalid mother who --Carey at one point confides to
the reader--has "a weak nature" and is over-dependent on other
people's opinions, especially those of men.<span style="mso-spacerun: yes;">
</span>The author often indulges in these confidential remarks on personal
foibles or sometimes on social manners, as if she is standing to one side with
the reader smiling at unfortunate tendencies in her characters and their
dilemmas.<span style="mso-spacerun: yes;"> </span>While not defying convention, the
author thus allows glimpses of different opinions on Victorian social rules; <span style="mso-spacerun: yes;"> </span>in some ways Carey might be called a
proto-feminist, but I get ahead of myself. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What is "an idyllic life"?<span style="mso-spacerun: yes;"> </span>First of all, it is a life without the
drudgery of housework, cooking, cleaning, laundry.<span style="mso-spacerun: yes;"> </span>It is a life without the demands of work at
all.<span style="mso-spacerun: yes;"> </span>The three daughters and their
mother Mrs. Challoner have two female servants and adequate resources for
festive, if not lavish, tennis and tea-parties with a circle of well-bred
friends, male and female.<span style="mso-spacerun: yes;"> </span>They are
healthy and surprisingly free of neurosis, temper, selfishness, vanity or greed<b style="mso-bidi-font-weight: normal;">. </b>Especially considering that their
mother is so demanding and dependent, their generous care for her is hardly
credible.<span style="mso-spacerun: yes;"> </span>As I said, the sacredness of
the mother figure is a concession to romanticism in Carey. <span style="mso-spacerun: yes;"> </span>They gather with friends for long walks in
open meadows and fields.<span style="mso-spacerun: yes;"> </span>They play lawn
tennis and a badminton-like game: "shuttlecocks and battledores." Nan
has long had an unspoken but assured relationship with the son of a wealthy
businessman nearby, a credentialed member of this social class. Phillis is
happily uninterested in such relationships herself, and Dulce seems almost a
precocious child devoted to her mother.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>The book's
opening paragraphs sketch the nature of things to come and set the tone of
light-hearted, even impertinent, joking.</div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 8pt 0.5in;">
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Five-o'clock tea was a great institution in
Oldfield.</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 8.0pt; margin-left: .5in; margin-right: 1.0in; margin-top: 0in; margin: 0in 1in 8pt 0.5in;">
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>It was a form of refreshment to which the
female inhabitants of that delightful place were strongly addicted.<span style="mso-spacerun: yes;"> </span>In vain did Dr. Weatherby, the great
authority in all that concerned the health of the neighborhood, lift up his
voice against the mild feminine dram-drinking of these modern days, denouncing
it in no measured terms: the ladies of Oldfield listened incredulously, and,
softly quoting Cowper's lines as to the "cup that cheers and not
inebriates," still presided over their dainty little tea-tables and vied
with one another in the beauty of their china and the flavor of the highly-scented
Pekoe. </div>
<div class="MsoNormal">
I was at once lulled by Carey's sense of humor and the fine awareness
of style in choice of words and structural rhythm.<span style="mso-spacerun: yes;"> </span>After two short introductory sentences,
almost intentionally affected, the third,"In vain did Dr. Weatherby,"
launches a light and comic flight in a parody of over-refinement.<span style="mso-spacerun: yes;"> </span>Mellifluous but humorous.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>The Challoners
are" middle class,", as are most of the characters in Oldfield: <span style="mso-spacerun: yes;"> </span>their father was a baronet's son but, alas, a
younger son, so the title and estate went to an elder and unpleasant brother
with whom there is no current relationship.<span style="mso-spacerun: yes;">
</span>Sir Francis was, Mrs. Challoner shudders, not a nice man. <span style="mso-spacerun: yes;"> </span>Their father left his money invested but since
the income is limited, the girls have cleverly learned to make their own
dresses which are no less admired than those of their friends. <span style="mso-spacerun: yes;"> </span>The other neighbors (of any status) are all significantly
wealthier, but we are assured that the fresh gracefulness of the girls and
their mother so distinguishes their company, that friends "flocked eagerly
into the pleasant drawing-room where Mrs. Challoner sat tranquilly summer and
winter to welcome her friends." <span style="mso-spacerun: yes;"> </span>Although Carey does not specifically say so,
it is also true that the three daughters, at least, are sensible and
kind-hearted.<span style="mso-spacerun: yes;"> </span>Not flawless paragons,
just free of any particular meanness. </div><div class="MsoNormal"> </div>
<div class="MsoNormal">
Two events expel the Challoners from this English Eden.<span style="mso-spacerun: yes;"> </span>First, Dick's father, Mr. Mayne, decides
that, as Dick is coming of age and finishing a degree at Oxford, it is time to
put a stop to such easy intimacy as he observes between his son and Nancy
Challoner.<span style="mso-spacerun: yes;"> </span>He expresses the intention
magisterially to Dick and, at an all-day party before the Mayne family leaves
for Switzerland for the summer, the patriarch makes his disapproval of Nan
unpleasantly clear to her as well. He has his eye on a wealthy daughter-in-law. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Then a solicitor visits Mrs. Challoner: the family's
investments have failed. There is no more money. Mrs. Challoner receives the
news with melodrama, collapsing, sobbing, getting "one of her
headaches," and needing both the maid and her youngest daughter to help
her to her room. Nan and her only just younger sister Phillis, meanwhile, take
stock.<span style="mso-spacerun: yes;"> </span>They own a small country house
near the coast so they can give up their leased home in Oldfield but they will
not even have enough for food and a maid (!) (a necessity for their mother in
their opinion) unless they make up their minds to earn money somehow.<span style="mso-spacerun: yes;"> </span>The usual fate would be to hire out as
governesses and let Dulce, the youngest, help her mother "let rooms"
at their cottage.<span style="mso-spacerun: yes;"> </span>Phillis, however,
realistically points out that they are under-educated for teaching children; they
don't have a firm knowledge of any languages, nor of music or mathematics.<span style="mso-spacerun: yes;"> </span>Besides, above all, they want to keep the
family together.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So they decide to use the one skill they have and to become
dressmakers.<span style="mso-spacerun: yes;"> </span>Which is considered
non-genteel and will expel them from their caste--the word is explicit.<span style="mso-spacerun: yes;"> </span>It will be disgraceful and scandalous in a
way it is hard to understand today in the U.S.<span style="mso-spacerun: yes;">
</span>Do we have comparable social shames? We have castes of course, but those
of us in the great formless middle class don't even know how far out of
"A-Society" we are, and we take the attitude that we don't care.<span style="mso-spacerun: yes;"> </span>Among us prison, drugs, prostitution,
alcoholism, homelessness and other disastrous marks of "low life" are
the primary signs of social degradation. Most of us, however, would not
"refuse to know" people in such conditions. It is hard to comprehend
why it is so scandalous that girls without money would make dresses for a
living.<span style="mso-spacerun: yes;"> </span>Woody Allen's film <u>Blue
Jasmine</u> is insightful about just this kind of falling out of society, but
for the great middle class our lives don't seem burdensome just because we work
to earn our livings. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It is curious how we even pretend to understand Victorian attitudes
toward class when we read historical stories like this.<span style="mso-spacerun: yes;"> </span>For instance, Jane Austen's books are readily
comprehensible as contemporary cinema. They should not be.<span style="mso-spacerun: yes;"> </span>They are stories of ludicrous snobbery, of a
Europe made rich from subduing, dominating and impoverishing the rest of the
world by means very far from genteel and then doting on a newly acquired
hypocritical 'elegance.' Balzac wrote devastating attacks on the French
version, and Edith Wharton and Henry James have made it abundantly clear that
American society was no exception<span style="mso-spacerun: yes;"> </span>in
late nineteenth and early twentieth centuries.<span style="mso-spacerun: yes;">
</span>I myself, when an undergraduate, idolized the Romantic poets.<span style="mso-spacerun: yes;"> </span>I wanted to live like that, going to Italy
for a month, stopping in France, then back to London.<span style="mso-spacerun: yes;"> </span>I had absolutely zero understanding of why I
too couldn't have a life of freedom and leisure in which to exercise aesthetic
tastes and literary preferences.<span style="mso-spacerun: yes;">
</span>True.<span style="mso-spacerun: yes;"> </span>What a shock by age 25 or
26 to understand that it was either marriage or "a job" for me, and
probably both. It's true that my relatively free and comfortable life is still
cushioned by the spoils of 500 years of exploiting countries that had not the
aggression or militance to resist when first invaded and subjugated by Europe's
'civilization.'<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>But I am not of that gentry which was such a
'natural' locale for literature until the twentieth century. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There are dozens of interesting side-stories in this clever
and amusing book.<span style="mso-spacerun: yes;"> </span>A very young and raw
"Oxford man" has been newly appointed parish minister, or 'vicar,' in
the town the Challoners move to.<span style="mso-spacerun: yes;"> </span>Archie
disapproves strongly of the Challoner girls' decision to 'do business,' and he
expresses himself firmly. And officiously. But he nevertheless learns to like
them, and even falls in love a little bit.<span style="mso-spacerun: yes;">
</span>Archie's overweening and immature self-importance make him first a comic
figure, and at last an earnest and caring pastor. His older sister Mattie who
comes to keep house for him is somewhat dowdy and fluttery and talkative and he
had not wanted her, but another sister he likes better, so Archie is
disgruntled with his mother and his whole family, who are in financial straits
also.<span style="mso-spacerun: yes;"> </span>He treats Mattie with disapproval
and sharp remarks which hurt her feelings, but she musters on. Mattie will have
her own appealing and surprising story in the mix as well.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Then Nan's beloved Dick, back from summer vacation, finds
out where the girls are and comes to visit, chaperoned by his suspicious
father. When the girls' occupation is revealed, a war of wills begins.<span style="mso-spacerun: yes;"> </span>Dick will have Nan or none.<span style="mso-spacerun: yes;"> </span>He will have Nan as a dressmaker or not.<span style="mso-spacerun: yes;"> </span>Father will not have Nan even spoken of.<span style="mso-spacerun: yes;"> </span>Dick insists.<span style="mso-spacerun: yes;">
</span>Nan concedes in private that she will either marry Dick or no one.<span style="mso-spacerun: yes;"> </span>Father threatens.<span style="mso-spacerun: yes;"> </span>Nan concedes that she must not marry without
paternal consent.<span style="mso-spacerun: yes;"> </span>And --so it goes.<span style="mso-spacerun: yes;"> </span>Beautifully, feelingly, but humorously
written and Dick is revealed as a sturdy and courageous friend.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
Viewed as nineteenth-century
melodrama the situation is banal and would be tiresome, except Rosa Carey is a
skillful writer.<span style="mso-spacerun: yes;"> </span>Her characters feel
real.<span style="mso-spacerun: yes;"> </span>Their dialog, actions,
hesitations, indecisions, bursts of temper and impatience ring true, although their
social mores are perhaps almost laughably colored with incomprehensible rules
and shibboleths.<span style="mso-spacerun: yes;"> </span>Parental power over
their grown children's lives seems peremptory and heartless to us today
perhaps.<span style="mso-spacerun: yes;"> </span>Nevertheless, Carey creates
such individuated personalities with such unconventional characteristics and
such piquant dialogs and understated comedy that I thoroughly enjoyed this
book. </div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
<br /></div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
Well, by the end, every
impasse in the plot is eventually removed via a kind of <i style="mso-bidi-font-style: normal;">deus ex machina</i>. <span style="mso-spacerun: yes;"> </span>A familiar <i style="mso-bidi-font-style: normal;">deus</i>, in fact,<i style="mso-bidi-font-style: normal;"> </i>who arrives miraculously to solve the plot's problems. It is of
course a rich, and generous, and aristocratic relative; nothing new in that.
And the <i style="mso-bidi-font-style: normal;">machina</i>--i.e., that which
allows this god to appear suddenly-- is British Colonialism*.<span style="mso-spacerun: yes;"> </span>And when I realize how there is nothing new
in that, either, I am reminded of Edward Said's powerful study of the interplay
of the whole Colonial past of Europe with every feature of its arts: <u>Culture
and Imperialism</u>. </div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
<br /></div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
<b style="mso-bidi-font-weight: normal;">THE COLONIES AS PLOT DEVICE</b></div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
<br /></div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
It is almost a cliché of
English Victorian literature that instead of merely having a wealthy relative
show up to save the day, that convenient hero is someone who has been far away,
"making his fortune."<span style="mso-spacerun: yes;"> </span>How did
the Challoners not know they had a wealthy relative and one kindly disposed
toward them? <span style="mso-spacerun: yes;"> </span>Why, Harry Challoner has
been in one of the British colonies where he "struck it rich." <span style="mso-spacerun: yes;"> </span>Even more vividly, he has "made a
killing." <span style="mso-spacerun: yes;"> </span>We all know what that
means and never think about it.<span style="mso-spacerun: yes;"> </span>It means
going "out there" somewhere and finding some precious valuable
commodity that hasn't been claimed by anyone else yet.<span style="mso-spacerun: yes;"> </span>Inconveniently, when we look more closely, we
see that anyone who lives "out there" doesn't count as anyone.<span style="mso-spacerun: yes;"> </span>In Australia the native population was
considered so non-human that they were shot for sport, but in the literature
the colonies are dangerous and rough for the Europeans who went so innocently
and righteously forth to 'discover.'*<span style="mso-spacerun: yes;"> </span>Or
maybe what they 'find' <span style="mso-spacerun: yes;"> </span>has been claimed,
but by such inferior, almost inhuman nonentities that a man (inevitably
European)<span style="mso-spacerun: yes;"> </span>has a right to kill them and
take what he wants. And to bring wealth "home." <span style="mso-spacerun: yes;"> </span>After all, you risked a lot to go discover
it. And they were just 'natives.'<span style="mso-spacerun: yes;"> </span>That
says it all.<span style="mso-spacerun: yes;"> </span>How amusing it is to
realize that many folk tales from Europe start with "the sons who go out
to seek their fortune."<span style="mso-spacerun: yes;"> </span>That didn't
happen during feudalism.</div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
<br />
(*I was stunned and dismayed
when cinema director Tim Burton ended his <u>Alice in Wonderland</u>, a
bittersweet and poignant coming-of-age fable for Alice, by constructing her as
joining the male business of Colonialism to symbolize her emancipation from
Victorian strictures on women.)<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
Like nunneries in earlier
literature as places of refuge, concealment, withdrawal and punishment for
women, and like wars (the infamous Crusades, for instance) for men, the
"colonies" are places for Victorian denouement: fled to, retired to,
arrived from, lay concealed in, brought wealth from, disappeared into.<span style="mso-spacerun: yes;"> </span>More, colonialism is the invisible source of
inflowing wealth that creates this "genteel class" at home. In fact, Colonialism
is the heart and soul of European art: poetry (Kubla Khan), painting (the
Levirates), music (<u>The Nutcracke</u>r, <u>The Pearlfishers</u>, <u>Turandot</u>,
<u>Aida)</u>, drama, (from <u>The Tempest</u> to <u>Lawrence of Arabia</u>)
until at least the middle of the twentieth century. </div><div class="MsoNormal" style="tab-stops: right 6.5in;"> </div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
So the Challoner mother and
daughters are dumbfounded when a jolly red-haired giant shows up at their small
cottage door.<span style="mso-spacerun: yes;"> </span>Remember, the deceased
father was a younger son of nobility and the plot made clear that there was no
hope of help from that direction, the elder son being a ne'er-do-well, a
scoundrel who spent all the wealth 'out there.'<span style="mso-spacerun: yes;">
</span>But Harry, that baronet's son, has come into both the title and a
fortune "out there."<span style="mso-spacerun: yes;"> </span>And
everything is resolved to everyone's satisfaction.<span style="mso-spacerun: yes;"> </span>Minor characters as well as the Challoners
all benefit equally.<span style="mso-spacerun: yes;"> </span>Several surprising
but logical turns are taken in the story and the last scene is free of a humorous
undertone, as the 'main characters' finally come together. In other words, because jolly cousin Harry got rich in Australia, all ends happily. In this England. Maybe not for Australians.</div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
<br /></div>
<div class="MsoNormal" style="tab-stops: 67.25pt 68.6pt;">
NOTES<span style="mso-tab-count: 2;"> </span></div>
<div class="MsoNormal" style="tab-stops: 67.25pt 68.6pt;">
<span style="mso-tab-count: 2;"> </span></div>
<div class="MsoNormal">
1.<i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i>The title was tantalizing to me for I am
conscientiously feminist and consciously idiosyncratic, let us say. In the 1950s as I grew up, the phrase "not like other girls" was loaded with
ambiguity.<span style="mso-spacerun: yes;"> </span>It could mean
many things.<span style="mso-spacerun: yes;"> </span>It could mean, lightly, a
tomboy or a girl who liked sports or horses or other 'unmaidenly'
diversions.<span style="mso-spacerun: yes;"> </span>It could mean, tragically,
someone mal-adapted to the point of social rejection or psychological
breakdown.<span style="mso-spacerun: yes;"> </span>It could mean, with a
derogatory side-glance, a lesbian.<span style="mso-spacerun: yes;"> </span>It
could refer to someone who broke social conventions but by having a big heart
and no fear earned warmth and respect from the very people who scorned her
behavior<span style="mso-spacerun: yes;"> (viz. <u>Girl of the Golden West)</u> . </span>More commonly, however, it was
a back-handed compliment, used by men to imply the inferiority of women
generally but the exceptional quality of the 'girl' addressed.<span style="mso-spacerun: yes;"> </span>The girl, of course, believed in her
exceptional quality, not knowing that this was common and complicated
flattery.<span style="mso-spacerun: yes;"> </span>Why was it flattery?<span style="mso-spacerun: yes;"> </span>It attributed the girl's attractiveness to
her ability and willingness to distance herself from those 'other girls.'<span style="mso-spacerun: yes;"> </span>Divide and conquer.<span style="mso-spacerun: yes;"> </span>A hesitation to pursue something proposed by
the man?<span style="mso-spacerun: yes;"> </span>All he has to say is, "I
thought you weren't like other girls."<span style="mso-spacerun: yes;">
</span>And the pressure is on. </div><div class="MsoNormal"> </div>
<div class="MsoNormal">
It was therefore fascinating that this book's main
characters do such an unconventional and sensible thing as rejecting
pretensions to class in order to stay together as a family.<span style="mso-spacerun: yes;"> </span>The girls are brave in the face of ostracism
and disapproval although they find working life more difficult than they'd
imagined, and of course soon long for their freedom, exercise, fresh air,
parties, friends, socializing, and Nan's courageous resignation of the
impossibility of her liaison with beloved Dick turns to tortured longing. </div>
<div class="MsoNormal">
Carey puts the authorial seal of approval on their bravery
and sensibility but of course finds a solution for their 'suffering.'<span style="mso-spacerun: yes;"> </span>It is interesting to compare the heroine of
Edith Wharton's <u>The House of Mirth</u>, a more tragic book that also treats
what happens when a young woman of 'society' becomes impoverished, especially a
girl who fails to capitalize on her ability to fascinate and manipulate men,
for it is an ability that requires pretense and being bored.<span style="mso-spacerun: yes;"> </span>She is used to disingenuousness, but she
longs for fun and sincerity. </div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
<br />
2<span style="mso-spacerun: yes;">, </span>Colonialism may be not just the enabling
device for sudden plot turns, it seems, but the enabling device for English
literature in general since the rise of the novel in the late seventeenth
century, or perhaps all literature related to the novel genre, which just
coincidentally happened to arise at that point in history.<span style="mso-spacerun: yes;"> </span>From <u>Robinson Crusoe</u> to <u>Pamela</u> or <u>Moll Flanders.</u></div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
The wealth brought home from
colonies supplied the wherewithal for the creation of a new Europe. It
enriched for the first time many who began outside the aristocracy and thus
arises a new privileged class which took political power over the next two or
three stormy centuries, ousting the aristocracy (though never acquiring quite
the "panache" of the titled). The very concept of a merchant class,
of wealthy firms and manufacturers, of investments that fail or soar is derived
from all those innocuous 'discoverers," "explorers," and
'conquistadors" which, although the names are given an innocent
significance, are still important enough to teach to children in Eurocentric
curricula. Magellan, who brought back (kidnapped) natives of South America, the
survivors arriving in Europe seasick and homesick: frightened disheartened
captives.<span style="mso-spacerun: yes;"> </span>Vasco da Gama, who had his
crew cut off the hands of men, women and children to fill a basket on his
"voyages of exploration."<span style="mso-spacerun: yes;">
</span>Cortez, Ponce de Leon, all the degradation, exploitation and genocide
spread worldwide, to create also a "Third World."<span style="mso-spacerun: yes;"> The slave trade, and in North American unimaginable eradication of the very language and cultures of the Americans Europe encountered. </span>In the twentieth century that Third World
would soon be called the "undeveloped world," as if those countries were
poor because of their lack of 'our' civilization, and not poor because the
First World had enslaved the people, brutalized them, stolen their wealth and
their property.<span style="mso-spacerun: yes;"> </span>Today we are advanced;
we say they are "developing nations."<span style="mso-spacerun: yes;">
</span>We should call their status "in recovery." And God forbid they
should develop into "us."<span style="mso-spacerun: yes;"> </span><br />
</div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
<span style="mso-spacerun: yes;"> </span>It
is sobering indeed to understand that for all non-Europeans (with the marginal
exception of the Japanese) the year 1500 was at the beginning of an apocalypse,
a tsunami we are still witnessing in the turmoil of the Middle East and the
absolute degradation of the starving and refugees in much of Africa.<br />
</div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
As a literary form, the novel
itself derives from the same phenomenon. It arose in England as new middle
class wealth began to consolidate after the century of the English Civil War, in late sixteen hundreds.<span style="mso-spacerun: yes;"> </span>It depended for
its existence on a leisured class with education, with leisure time to read for
"diversion," and time to expend on the writing of something that
would not repay the writer for all that labor. The early writers had
independent income or they could not have spent their time writing and
pontificating in coffee houses.<span style="mso-spacerun: yes;"> </span>True,
all societies in one way or another secure life support for those who draw or
decorate or tell skilled stories, play music (fife and drum as it were at
least) and dance and make ceremonies and rituals. Or for at least some of the
'artists,' as we call it, <span style="mso-spacerun: yes;"> </span>since we are a
fractured society and thus even the creators have to compete.<br />
</div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
But the relationship of a novelist
to society is of new devising in 1700s Europe, a creation of a wealthy, leisured
self-conscious class. Early novels, interestingly, concerned themselves
importantly with marrying "up" or "down," of increasing, or
retaining, or losing status and wealth, and of male predatory piracy on female
'chastity.'<span style="mso-spacerun: yes;"> </span>But then that was the great
social upheaval: they were all busy establishing a completely new system of
status and social identity.<span style="mso-spacerun: yes;"> </span>Only one
hundred years before (1600), it was considered virtuous to stay in the social
position to which God had appointed you. <span style="mso-spacerun: yes;"> </span>The Elizabethan "Great Chain of
Being." But the possibility for Europeans to 'make a fortune' in the
colonies changed all that.<span style="mso-spacerun: yes;"> </span>The first unmistakable
sign of the upheaval was the British Civil War (mid-1600s) when the monarchy
was overthrown, a 'Commonwealth' declared, and the king of England
beheaded.<span style="mso-spacerun: yes;"> </span>Cromwell, the new leader,
perhaps took his religious Puritanism too seriously and didn't adequately
understand the financial changes necessary to accommodate the new merchant class;
<span style="mso-spacerun: yes;"> </span>he was overthrown and a new modified
Monarchy was 'Restored':<span style="mso-spacerun: yes;"> </span>thus the
society and culture and period called the Restoration.<span style="mso-spacerun: yes;"> </span>Reaction against the straight-laced
Puritanism was expressed in an excessively materialist and frankly sexual
culture.<span style="mso-spacerun: yes;"> </span>Plots of theatrical comedies
turned to legalistic trickery and marital infidelity:<span style="mso-spacerun: yes;"> </span>all expressing an acquisitive viewpoint. But
all that went a little overboard and the resulting pendulum return gave us
Puritan and Sentimental and Adventurist novels.<span style="mso-spacerun: yes;">
</span>The economic behavior of the nation was not to be examined from a
morality point of view, so its private and social behavior, sexuality and
status, were substituted as Christian virtues.<span style="mso-spacerun: yes;">
</span>The Puritan worries about having and behaving.<span style="mso-spacerun: yes;"> </span>Not about oppression or exploitation.<span style="mso-spacerun: yes;"> </span>Coveting?<span style="mso-spacerun: yes;">
</span>No longer a problem unless it's your neighbor's wife you covet, and even
then, if you are caught, it's her problem.<br />
</div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
What creates the
self-consciousness of society in England (and Europe in general) and also gives
rise to the writing of novels, to the career of being a writer, is a sense of domination
and superiority among "the privileged," who now procure for
themselves education (necessary to keep track of wealth), leisure time, and the
sense of the"brave new world" that Shakespeare apostrophized.<span style="mso-spacerun: yes;"> </span>And what provides those abstracts is unlimited
aggression toward "others," who are named the backward and
uncivilized.<span style="mso-spacerun: yes;"> </span>What makes us civilized and
them barbaric or savage is the fact of "us" going out there and
ruling and using "them."<br />
</div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
Can you imagine yourself in
either role, discoverer or discovered?<span style="mso-spacerun: yes;">
</span>Suppose I am a member of a small village and I hear the amazing news
that we've been "discovered."<span style="mso-spacerun: yes;">
</span>By strange aliens, humanoids, who "claim" our village for
their king or gods or boss. And I'm supposed to leave my house and garden and
move into barracks from which I will work in their fields of extraction of whatever
they can "take home." <span style="mso-spacerun: yes;"> </span>Or, on
the other hand, imagine I am mountain climbing and come down in an area that
has rich farms, so I "stake my claim" to the land and take away the
produce and/or livestock as well as anything that strikes my eye: a beautiful
stained glass window, some of their unique 'ceramics,' a couple of cute
children, maybe.<span style="mso-spacerun: yes;"> </span>I bring it all home and
sell it for six million dollars and I'm set for life. When I am set for life, I
suddenly apply to myself new maxims about "healthy, wealthy, and
wise."<span style="mso-spacerun: yes;"> </span>"If you're so damned
smart, why aren't you rich?"<span style="mso-spacerun: yes;"> </span>"Early
to bed, early to rise."<span style="mso-spacerun: yes;"> </span>"The
early bird" (first one there gets it all). End of digression, but you see
what I mean.<span style="mso-spacerun: yes;"> </span>Unimaginable today, and yet
we routinely read about it, see films about it, our children are taught about
this being done by Europeans to people in all the other continents and the
world's islands. We learn about it and honor the "explorers" and
"pioneers."<span style="mso-spacerun: yes;"> </span>So this naive book (we can't say anything is innocent any more) like
how many Eurocentric novels, rests for its plot mechanisms and its very existence
on Europe's aggressive invasions between 1500 and, say, 2000. Or 1950 perhaps, since resistance has arisen in the last sixty years.<br />
</div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
I'll just mention that
"the colonies" also play another role in <u>Not Like Other Girls, </u>in
a subplot of great drama (perhaps overly so for here there is no nuance, no
humorous undertone) in which a man thought dead returns from his ventures, this
time in Africa.<span style="mso-spacerun: yes;"> </span>All the conventions of
brutality and savagery figure in the story of his "capture" by
"a hostile tribe," although a woman, an "old negress. . . a poor
degraded ill-used creature, half-witted and ugly" fed and nursed and
protected him.<span style="mso-spacerun: yes;"> </span>"They were a set of
hideous brutes and the fetish they worshipped was cruelty."<span style="mso-spacerun: yes;"> </span>He was saved and freed, but then fell in
"with some Dutch traders who had come far into the interior in search of
ivory tusks."<span style="mso-spacerun: yes;"> </span>Get the picture? And they all lived happily
ever after.<span style="mso-spacerun: yes;"> </span>(Not the brutes or the
negress or the elephants, of course, but…as long as you "make a
killing," that's all that matters.<span style="mso-spacerun: yes;">
</span>I'm not bitter. )
</div>
<div class="MsoNormal" style="tab-stops: right 6.5in;">
<br /></div>
Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com2tag:blogger.com,1999:blog-2639631349680427890.post-11166162357720042162015-07-13T06:36:00.001-07:002015-07-13T08:05:20.953-07:00The Girl Who Played With Fire by Stieg Larsson; a Review.<div style="text-align: left;">
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<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in;">
<u>The Girl Who
Played With Fire</u> is the second book in Stieg Larsson’s <u>Millennium</u> trilogy.<span style="mso-spacerun: yes;"> </span>Like the first book (<u>The Girl With the
Dragon Tattoo)</u>, it is powerful, compelling, and suspenseful, with intriguing
characters, and a world-view unusual in the long literary history of detectives
vs crime.<span style="mso-spacerun: yes;"> </span>Larsson’s criminals don’t so
much threaten the social order as represent its ugly persona. Yes, of course,
there is the scum of profiteers and thugs, sadistic hoodlums for hire, the
familiar underworld of drug pushers, pimps, creeps and bullies.<span style="mso-spacerun: yes;"> </span>But Larsson's books reflect what he had
investigated and worked to expose as a journalist: the Swedish Extreme Right
where misogyny, racism, and fascism fester together, a world very far from being
subordinate or lower class.<span style="mso-spacerun: yes;"> </span>In this
book, he targets the cancerous undermining of democracy by careerists and
self-appointed "guardians of the free world'' within government and public
institutions. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="line-height: 200%;">
Above all, his books are
vitally feminist in their depiction of female resilience, intelligence and
courage, as well as in their uncompromising attacks on misogyny in all its forms,
from savage physical abuse to contempt for women at all levels.<span style="mso-spacerun: yes;"> </span>The feminist pulse would surprise you
if you merely look at the titles. All this stuff about "The
Girl"?<span style="mso-spacerun: yes;"> </span>In Swedish, however, Larsson
called the first book <span style="mso-spacerun: yes;"> </span><u>Män Som Hatar
Kvinnor</u>, or<span style="mso-spacerun: yes;"> </span><u>Men Who Hate Women</u>.
<span style="mso-spacerun: yes;"> </span>(See a perceptive article in <u>New Statesman</u>
about the English titles as a paradigm for misogynistic exploitation: Laurie
Penny, "Girls, Tattoos and Men Who Hate Women," 9/5/2010.) The Swedish
title of this second book (<u>Flickan som lekte med elden</u>) is the only one of
the trilogy legitimately translated as <u>The Girl</u>, for this book refers to
Lisbeth Salander's childhood, especially the period after an attempt to kill her abusive
father with a crude fire bomb when she was twelve years old. This becomes only
one way she will "play with fire" throughout this novel.<span style="mso-spacerun: yes;"> </span>It explains her status as a ward of the state,
labelled violent and unstable, <span style="mso-spacerun: yes;"> </span>and sets
the scene for finding out why all records have disappeared that concern the
abusive father, the attack, and her court-remanded institutionalization in a
children's psychiatric hospital.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> Salander's father
survived the attack, and readers will meet him in this installment of
the long story broken into three books. </span>The
Swedish title of the third book, by the way, does not repeat "the
girl" trope, and makes the English title is even more strained and
irrelevant as a marketing ploy, as "The Girl" suggests, at least to one
critic, an 'alluring waif' (see my last paragraph below) with an immaturity
which can be sold as a hint at eroticism. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
When twelve-year-old Salander was
hospitalized, she was subjected to treatment that might have broken even an
adult: strapped immobile to a bed in a dark room alone—what was euphemistically
called a "stimulus-free room"--the purpose of which was ostensibly to
calm a child who was excessively violence-prone.<span style="mso-spacerun: yes;"> </span>The Prologue begins with these words: </div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>She lay on
her back fastened by leather straps
to a narrow bed with a </div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>steel
frame.<span style="mso-spacerun: yes;"> </span>The harness was tight across her
rib cage. Her hands were </div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>manacled to
the sides of the bed.<span style="mso-spacerun: yes;"> </span>She had long since
given up trying to </div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>free
herself.<span style="mso-spacerun: yes;"> </span>She was awake, but her eyes
were closed.<span style="mso-spacerun: yes;"> </span>If she opened her </div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>eyes she would
find herself in darkness.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
Toward the end of the page we read,
"It was her forty-third day of imprisonment."</div>
<div class="MsoNormal" style="line-height: 200%;">
The Prologue concludes: "It
was her thirteenth birthday." <span style="mso-spacerun: yes;"> </span>From
then on, she refers to this period of her life only as the time of "All
the Evil."</div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>Two
characters who I wanted to know better figure briefly in the preliminary stages
of the plot. They have collected evidence that sets the scene for main drama of
the book.<span style="mso-spacerun: yes;"> </span>The couple--journalist Dag
Svensson and PhD student/ criminologist Mia Johansson--have prepared an expose
of sex trafficking in Sweden which <u>Millennium</u>, the news magazine of Blomkvist
and his editorial partner Erika Berger,<span style="mso-spacerun: yes;"> </span>plans
to publish.<span style="mso-spacerun: yes;"> </span>Larsson himself, by the
way,<span style="mso-spacerun: yes;"> </span>published a similar real<span style="mso-spacerun: yes;"> </span>journal, <span style="mso-spacerun: yes;"> </span><u>Expo</u>, which may account for the
importance of publishing in the series. When the couple <span style="mso-spacerun: yes;"> </span>are murdered, Lisbeth Salander is named as the
suspect and a danger to the public. Blomkvist and the team on his investigative
journal work both to exculpate Salander and to find the real killer/s.</div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>I
don't think it's giving anything away to say that Lisbeth Salander ends up
being wanted by the police and made notorious in the media. Even those with
most faith in her are troubled by the evidence.<span style="mso-spacerun: yes;">
</span>A police team assembled to catch her plays a major role in the novel.
Two "good cops," including a woman whose patience is severely tested
by macho prejudice, try to make sure Salander won't be killed as a dangerous
public enemy before being captured. Two men on the team—one a macho sourpuss,
and the other someone with an axe to grind —threaten and bully women named as
Salander's associates and undermine the investigation.<span style="mso-spacerun: yes;"> </span>An ambitious prosecutor trying to promote his
career misdirects the investigation, thinking that he is working with sensitive
government security agents.<span style="mso-spacerun: yes;"> </span>Dragan
Armansky, her former employer, allies with Blomkvist in efforts to exonerate
Lisbeth, and even her stroke-damaged
former guardian and friend Holger Palmgren comes back into the picture.<span style="mso-spacerun: yes;"> </span>Her former hacker friend Plague helps
Salander with a virtual raid on all relevant computers including that of the
chief prosecutor. </div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>The
book's core crime mystery, however, is deeper, more complex and far-reaching <span style="mso-spacerun: yes;"> </span>than even this book alone can really work out;
consequently, <u>The Girl Who Played With Fire</u> is not a very satisfactory
stand-alone novel.<span style="mso-spacerun: yes;"> </span>It is so utterly
dependent on the next book for resolution that it invites speculation about the
motivation for making the plot stretch over two books. </div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>The
plot is complex, true, much more so it seems than that of the first book. For
one thing, we are halfway through the book before the double murder
occurs.<span style="mso-spacerun: yes;"> </span>When it begins, a year has passed
since Salander left Sweden to secure and spend her windfall from stealing the
fortune of the crooked financier Wennerstrom, and to forget her disappointment
in Blomkvist.<span style="mso-spacerun: yes;"> </span>She is on Grenada, has
travelled around the world, is fascinated with mathematics, is working on
Fermat's unsolved Theorem proof, has a teen-aged boy as lover and friend, and
kills an abusive husband in a hurricane. Whew! She finally returns to
Stockholm, with no intention of ever seeing
or speaking to Mikael Blomkvist who
she has renamed in her mind <i style="mso-bidi-font-style: normal;">Kalle F*ing
Blomkvist</i>. No wonder it takes half a book to get to the climactic turning
point at which the fates of Blomkvist and Salander once more come together.<span style="mso-spacerun: yes;"> </span>In retrospect, I wondered if her ex-pat adventures
were partly "filler," either because Larsson planned a trilogy from
the beginning, or the mystery material that carries over to the third book was
too unwieldy to deal with in one volume.<span style="mso-tab-count: 1;"> </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
I did not enjoy
this book as much as I did the first one.<span style="mso-spacerun: yes;">
</span>Part of my delight in the first book was the thrill of discovering an
exciting book with a world-view like mine.<span style="mso-spacerun: yes;">
</span>One of my reading problems, I confess, is that when all of the
characters are referred to by their last names, I lost track frequently of who
was who: Svensson, Erikssen, Sandstrom, Johansson, Berger, Bjurman, ...and that
doesn't even touch the police and multiple other characters.<span style="mso-spacerun: yes;"> </span>There were fewer characters in the first book. Moreover,
the fact that I don't have even a reasonable grasp of Swedish geography means
that I didn't know where people were unless it was just
"Stockholm."<span style="mso-spacerun: yes;"> </span>"After
Nykvarn he had gone to Lundin's house in Svavelsjo, only a hundred yards ...he
told Lundin to get himself to Stallarholmen as fast as he could and start
another fire."<span style="mso-spacerun: yes;"> </span>What???</div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-spacerun: yes;"> </span>This is certainly no criticism of the
book, just a reading obstacle.<span style="mso-spacerun: yes;"> </span>Sometimes
I would get partway through a segment and realize that I was imagining the
wrong characters in the wrong place.<span style="mso-spacerun: yes;"> </span>And
the street names:<span style="mso-spacerun: yes;"> </span>"Bjorneborgsvagen!"
"Annika was silent as she turned down the Hammarby industrial road and
passed Sickla lock. She wound her way down side streets parallel to Nynasvagen
until she could turn up Enskedevagen."</div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>Larsson
creates some nightmarish characters here: <span style="mso-spacerun: yes;"> </span>a maimed but still dangerous former Russian hitman
and a 'blond giant' (and having just read <u>2666</u> I'm wondering about the coincidentally
duplicated giant scary blond character).<span style="mso-spacerun: yes;"> </span>Blomkvist
turns up evidence of a much bigger crime than the double murder while
pursuing his thesis that the real murderer of Svensson and Johansson would be
somehow linked with human trafficking, and that the couple was killed to protect
someone's identity.<span style="mso-spacerun: yes;"> </span>A mystery
name keeps coming up that will eventually link that murder to a massive
conspiracy and cover-up within the government as well as disclosing enemies who
threaten Salander's life even outside of the police investigation. <span style="mso-spacerun: yes;"> </span>Of course she threatens right back: half the
excitement of this book is her irrepressible instinct to fight back.<span style="mso-spacerun: yes;"> </span>Her self-defense cannot be faulted, and I
think this is the first book I ever read in which someone convincingly returns
from the grave.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
I love Stieg
Larsson. I lament that he did not write more and more often or survive.<span style="mso-spacerun: yes;">
</span>Fifty years old!<span style="mso-spacerun: yes;"> </span>Not fair.<span style="mso-spacerun: yes;"> </span>So-o-o many others I would love to have seen
go in his place.</div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Now, some only
indirectly related kvetching!<span style="mso-spacerun: yes;"> </span>I am
simmering a little—well, all right, I'm seething—because just before I finally
found time to read this (after having loved Book One, as well as its American
film version with Rooney Mara and Daniel Craig) I was browsing through an
edition of <u>New York Review of Books</u> in which a male writer offered to
explain why <u>Fifty Shades of Grey </u><span style="mso-spacerun: yes;"> </span>has had such popularity.<span style="mso-spacerun: yes;"> </span>He also referred to <u>The Girl With the
Dragon Tattoo</u>.<span style="mso-spacerun: yes;"> </span>And—let me be
brief—he explains that we all really love pornography and books like Larsson's
and <u>Fifty Shades</u> "pretend" that we are reading the book for
other more prudish reasons.<span style="mso-spacerun: yes;"> </span>Christopher
Hitchens also calls Salander an alluring waif (or something like that, <u>Vanity
Fair)</u>. <span style="mso-spacerun: yes;"> </span>And suggests that the
brutality against women portrayed in Larsson's books is created as <i style="mso-bidi-font-style: normal;">sub rosa</i> pornography-- you know, those
dirty Swedes.<span style="mso-spacerun: yes;"> </span>Sometimes my brain just
wants to lie down and give up when it discovers such intransigeant prejudices.<span style="mso-spacerun: yes;"> </span>If you write about rape or about beating up a
woman or killing a woman, you are writing something to be enjoyed as
pornography???<span style="mso-spacerun: yes;"> </span>Of course, in 2013,
"Radio Lab," (NPR) aired a program touting a method which two (white
male middle-class American) psychological professionals proposed for finding
out if a person lies: "Ask if they fantasize about rape --doing it, or
having it done to them.<span style="mso-spacerun: yes;"> </span>If they say no,
they are lying."<span style="mso-spacerun: yes;"> </span>I wrote in protesting that this "fantasy" that is supposedly so universal is
about desire, not sexualized hatred and violent power-craving.<span style="mso-spacerun: yes;"> </span>But, you know, who am I to say?<span style="mso-spacerun: yes;"> </span>Just kidding. </div>
Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0tag:blogger.com,1999:blog-2639631349680427890.post-43824626612668685712015-07-11T17:19:00.006-07:002022-07-31T08:58:05.662-07:00As I Lay Dying by William Faulkner: a Review<br />
Okay, I admit to being a card-carrying English major (although it's really a state of mind, no card required). So I recognize William Faulkner as a 20th-century GAW: Great American Writer of the twentieth century. Not only is he a "great," I think that at his best he's one of the very greatest modernists, like John Dos Passos and Eugene O'Neill (drama). And far superior to Fitzgerald and Hemingway. So I'm inclined to respect one of his books whether or not I "like it" for one reason or another. Long ago I read many, if not most, of Faulkner's novels and I chose this title for my book club to read without remembering it particularly from undergraduate days.<br />
Then I got only a couple pages into the book and panicked. It seemed almost unreadable: abstract, dense, dialect, idioms. When someone in our book club does not like a book, it is often interesting to discuss the different perspectives. But I couldn't imagine the meeting with eleven hard-eyed women looking at me and saying, "What were you thinking?"<br />
<br />
It begins with a monolog by "Darl," who is walking on a hard dirt path through a hot cottonfield in the sun. Darl and "Jewel" are walking single file and wordlessly. Darl does not explain the purpose or the cause. Are they men or women? They are in the south, obviously, with "cotton field." Are they children? Are they white or black, or one of each? One cannot be a servant or subordinate to the other because the one who leads changes at a shortcut where Jewel walks through an empty cotton hut instead of around: Jewel steps through the window, so I guess it's a "he" and at least nearly adult. But in what period? The dialect makes me think of the "local color" movement in American literature, so I would guess it's the 20s or 30s in the rural south, anytime from 1910 to 1935.<br />
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But how the heck can I read this if I have to be continually trying to guess or deduce what's going on. In a page or two, another character has a monolog: who, what, where, why, when…all unknown. Faulkner seems to go to some trouble to avoid anything journalistic. And then another character speaks. And another. Each narrator has a unique style and perspective and inflection, but with no exposition, nothing so handy as an objective outside narrator to tell us in what mood we should receive these monologs. I plowed on for a few pages and then laid the book aside. Despite my obligations as the monthly club "leader." Despite my expectations for a Faulkner book. It was grueling reading and the content was grim and getting grimmer. The dialects were so idiosyncratic it made hash of the prose in some places, and yet with vivid descriptions of rain, mud, mules, floods, fires, deaths, poverty. How dense it all was. I imagined all the club members cursing me under their (genteel) breaths.<br />
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But the next time I opened the book--thinking of my obligations to lead a discussion--I could hardly put it down. The story-telling became transparent, it disappeared, and the story was a dream I was having. I was hardly aware of "reading," I was just "being" this gruesome story. As in a dream I didn't have explanations for all that happened. Things just kept getting worse. Gradually the characters' monologs accumulate, until you begin to understand, almost by intuition, it seems, the complex set of characters and events. You are drawn into a series of glimpses through one person's eyes and then another's. Different perspectives convey information about who is perceptive, who is deluded, who is blind. And now there come memories and disclosures that fill in the background, especially comments from a neighbor here or there, a gathering at the general store, critical comments of a doctor, a merchant, and others along the grueling path.<br />
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The "I" who is dying is Addie. Addie Bundren, mother of four sons and a daughter. The Darl and Jewel of the opening passage are the second (Darl) and third (Jewel) sons. The first son, a perfectionist carpenter, is Cash. Fourth is Dewey Dell, seventeen and secretly pregnant, and finally a boy who is possibly eight or nine, Vardaman. As Addie is dying, Cash is making her coffin outside her window while Dewey Dell fans her in the heat. A few neighbor women sit in the hot room with her. And she dies quietly, stoical. The trek across the hot field which began the book is a microcosm for everything that follows Addie's death: Addie is transported, without anyone "to do for her" (embalming), in a wooden coffin in an open mule-drawn wagon to be buried with her own kin at "Jefferson." They start three days late waiting for Darl and Jewel to return from a job they wanted to get done. Then the first two bridges are out because of flood. She is nine days dead by the time she is buried, with borrowed spades.<br />
<br />
I say I was hardly aware of reading, but on the other hand I had a dual self who noticed and appreciated details of the composition. Descriptions were vivid and many of the metaphors reflected firsthand experience with rural living. A man is stunned like a steer with its head down to drink when the river disappears. Or startled like a horse jumping sideways. A child (Vardaman) who sees a man's bare legs in moonlight says "his legs got fuzzy." Faulkner knowledgeably describes attempts to get panicked livestock out of a burning barn. The mules and horses have to have their heads covered with shirts or whatever's available to become docile enough to lead. The cow, on the other hand, charges Jewel and Darl as they break the barn wall open, and disappears through the hole into the night, her tail upright and rigid. The two mules in harness who are drowned in a flood and roll in tandem "with rigid legs." Descriptions of buzzards circling, of freshly sanded boards being hand-beveled with great care for the coffin, of scrimping to get enough eggs "laid by" to make cakes. A young man's passionate attachment to a particularly stubborn and cantankerous--or, spirited--horse: Jewel fighting to hold the horse near "in a flurry of hooves." A river at full flood with trees and logs coming down, ponderous and explosive, in the surging current. The dimpled surface of the flood deceptively calm, and the cold force of stepping into the water. Cash struggling to keep the wagon on the path of a fording place with one hand, while, with the other, he tries to keep the coffin from floating free. A boy chasing vultures away from the coffin, furious and grieved. A country doctor coming out "in a cyclone" and faced with climbing up to a cabin on a steep bluff. A naïve country girl stubbornly trying to purchase something in a drugstore to end her secret pregnancy.<br />
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And lyrical passages, dense philosophy clothed in the plain language of these characters. We are well past the death in the plot when Faulkner inserts the real "stuff" Addie was thinking "as she lay dying." She reflects on how inadequate language is to express experience, describing her intimacy with an evangelical minister who came to her "clothed in desire." Her hatred of teaching school, how she married Anse Bundren to get away from it, how she hated his "love" and how her third child, Jewel, the son of the preacher, restored her to wholeness and virginity from the violations of what her husband called "love."<br />
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And ultimately of the inextricable tangles of love and hate, generosity and selfishness, deprivation and a kind of stunned acquiescence with which characters meet fates as different as the sexual victimization of Dewey Dell, the fateful "capture" of Darl, Cash's debilitating accident, Vardaman's weary confusion, Jewel's grieved devotion. And, above all, the victory of the ultimate conman, Addie's husband.<br />
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At our club discussion, almost no one had liked the book, but they were almost all glad they struggled through it. A discussion arose that kept us around the table until way past our end-time. Why do artists write about, or otherwise try to portray, the suffering of the poor and destitute? What do we "get" from receiving it? Ultimately, we concluded, the goal is to "give voice" to the voiceless, to "hear them." Which is sometimes all we can do. When women as diverse as our group don't "like" a book but then cannot stop discussing it, and to good purpose, since we talked about our various ways of trying to help students, teens at risk, poor children, abused women. And why we get discouraged, but why we don't stop. When that happens, it's a good book.<br />
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(I read the book eagerly twice after I almost quit on it.)<br />
<br />Juanitahttp://www.blogger.com/profile/05452354453681039455noreply@blogger.com0